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

Poster designed by the notable poster artist, A. M. Cassandre (1901-1968), for the Davis Cup - 29, 30, 31 Juillet challenge round de la Coupe Davis. Fantastic Art Deco design featuring a tennis player behind the net with a huge tennis ball in the air. Official lithograph re-issue by the grandson of the artist, Henri Mouron, from the 1932 original - Studio Editions printed in France by Bedos, Paris. Very good condition, restored thin cut on top corner. Cassandre, pseudonym of Adolphe Jean-Marie Mouron (24 January 1901 – 17 June 1968) was a French painter, commercial poster artist, and typeface designer. Inspired by cubism as well as surrealism, he earned a reputation with works such as Bûcheron (Woodcutter), a poster created for a cabinetmaker that won first prize at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes. Cassandre became successful enough that with the help of partners he was able to set up his own advertising agency called Alliance Graphique, serving a wide variety of clients during the 1930s. He is perhaps best known for his posters advertising travel, for clients such as the Compagnie Internationale des Wagons-Lits. His creations for the Dubonnet wine company were among the first posters designed in a manner that allowed them to be seen by occupants in moving vehicles. His posters are memorable for their innovative graphic solutions and their frequent denotations to such painters as Max Ernst and Pablo Picasso. In addition, he taught graphic design at the École des Arts Décoratifs and then at the École d'Art Graphique. With typography an important part of poster design, the company created several new typeface styles. Cassandre developed Bifur in 1929, the sans serif Acier Noir in 1935, and in 1937 an all-purpose font called Peignot. In 1936, his works were exhibited at the Museum of Modern Art in New York City which led to commissions from Harper's Bazaar to do cover designs. The Davis Cup is the premier international team event in men's tennis. It is run by the International Tennis Federation (ITF) and is contested annually between teams from competing countries in a knock-out format. It is described by the organisers as the "World Cup of Tennis", and the winners are referred to as the World Champion team. The competition began in 1900 as a challenge between Great Britain and the United States. By 2016, 135 nations entered teams into the competition. The most successful countries over the history of the tournament are the United States (winning 32 tournaments and finishing as runners-up 29 times) and Australia (winning 28 times, including four occasions with New Zealand as Australasia, and finishing as runners-up 19 times). The present champions are Croatia, who beat France to win their second title in 2018.Year of printing: 1980, country of printing: France, designer: Adolphe Mouron Cassandre, dimensions (cm): 91x69.

La formation du sexe. . 1973. Acrylic on canvas. Cm 88,00 x 115,00. Signature and year lower center. On the back Marlborough Art Gallery, Rome, label; L'Alfiere Gallery of Modern Art, Padua, label. (lot with extra-ue provenance subject to import taxes, 10% to be added to the buyer's premium).

Structure 247A. 1978. Lacquered wood. Cm 100,00 x 100,00 x 15,00. At the back title, signature, year and label. Publication: Marcello Morandini Arte Architettura Design by Mariastella Margozzi , National Gallery of Modern Art, Rome, 27 June-28 September 2014, p.42-43. Exhibitions: Ludwigshafen, Wilhelm Hack Museum, 2005; Padova, Galleria Daniele, 2006; Venezia, Galleria Internazionale d'Arte Moderna Ca' Pesaro, 2008; Roma, Galleria nazionale d'arte moderna e contemporanea, 2014.

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.

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.

Oil on canvas (Dimensions: 31.5cm x 39.3cm (12.5in x 15.5in))(31.5cm x 39.3cm (12.5in x 15.5in))Footnote: Provenance: The Redfern Gallery, London; Leicester Galleries, London; The Piccadilly Gallery, London, 1963; The Rt. Hon Lord Grimond of Firth M.P.; Christie's, London, 23 March 1995, lot 72; Private Collection. Exhibited: Probably Ernest, Brown & Phillips, Ltd., The Leicester Galleries, London, Modern English Pictures , March 1932, no. 115. Walter Sickert visited Dieppe for the first time in 1879, and regularly returned to live and work there. This view shows La Grand Rue from the Place Nationale, and the shops lining the street receding into the background. Apart from extended stays in Venice, between 1898 and 1905, Sickert focussed most of his work on Dieppe and made many paintings in and around the Place Nationale. The concept of an empty foreground, receding street and flat front of shops was a technique that Sickert employed many times in his landscape works of the period, as in this painting. From his first exhibition of work from Dieppe at the New English Art Club in 1891 his works attracted acclaim, the Sunday Times noting ‘Mr Walter Sickert…has never done anything better than ‘Dieppe’, a vivid vision of the place that palpitates with actuality, and is entirely pictorial’ (Sunday Times, 12 April 1891).Condition report: Re-lined. Otherwise, appears in good condition - with nothing showing under UV.

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.

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.

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

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.

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.

Signed and dated in pencil (to back board) and inscribed to mount, print on tissue paper possibly a monoprint (Dimensions: 19cm x 15cm (7.5in x 5.87in))(19cm x 15cm (7.5in x 5.87in))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.

Studio stamp (to reverse), collage and mixed media on board (Dimensions: 11.5cm x 17.5cm (4.5in x 6.8in))(11.5cm x 17.5cm (4.5in x 6.8in))Footnote: Provenance: Estate of the artist. Note: FROM THE ESTATE OF BRYAN INGHAM Bryan Ingham was an independent and dedicated artist, who furrowed his own artistic path throughout a long and productive career, attributing his successful endeavours to ‘sheer, bloody hard work.’ Born and raised in Yorkshire, he was introduced to poetry and music by his bachelor uncle, who also forged in him a deep love of reading, despite his struggles at school. His first encounter with visual art and painting was through attendance at Scouts, where one evening a lady artist shared her watercolours; Ingham fell in love and was inspired to start painting himself. Later called up to the RAF, an ‘artistic sort of airman,’ he was fortunate enough to be paired in accommodation with a designer who had attended the Royal College of Art, whom further encouraged Ingham’s creative instincts and set him up still-life studies to work from. Ingham returned to Britain following his service armed with the ambition to be an artist. His ensuing formal artistic training took place at Central St. Martins and then the Royal College of Art, as the young Ingham felt a move to London entirely necessary to both his personal and artistic development. He gained attention from senior staff for his talent, and on the strength of his work generated numerous job offers at graduation and a grant allowing him to spend a year in Italy, travelling and then studying at the British Academy in Rome. At this stage, Ingham seemed poised to become an establishment artist, with works already receiving prime positions and sales at the Royal Academy. Yet, eternally independent, he instead made the decision to purchase a remote cottage on the Lizard peninsula in West Cornwall, following in the footsteps of Ben Nicholson and Barbara Hepworth. He maintained this for the rest of his life, and worked there for long periods every year, interspersed with trips abroad, particularly to northern Germany, and times where he lived elsewhere in Cornwall, most notably at St. Ives. This commitment to Cornwall drew him into both the inspiration and social network of the St. Ives school, of which he became an important figure. Throughout his career, Ingham worked in a variety of mediums, creating a large body of works that drew on the rich artistic legacy of Britain, and artists such as Nicholson and Peter Lanyon, alongside the wider continental influences of Mondrian, Braque and Picasso. Towards the end of his life he reflected on his career as a 45-year ‘apprenticeship,’ acknowledging ‘there is the argument that by going down many false paths one has enriched one’s vocabulary, if only minimally, but positively enriched it…because nobody else has gone up and down those various pathways . . . I’ve been up and down a hell of a lot of pathways.’ Lyon & Turnbull are delighted to be offering a carefully curated selection of work from the artist’s estate, showing the fundamental role that Ingham played in the interdisciplinary nature of British art during the 20th Century.Condition report: The work appears sound. Possibly some faint slight surface dirt. Subject to the above the work appears in good condition. Set in a modern black recessed wooden frame.

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

Signed and dated (lower left), signed, titled and dated in pencil (to reverse), oil on panel (Dimensions: 23.5cm x 30.5cm (9.25in x 12in))(23.5cm x 30.5cm (9.25in x 12in))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.

Bronze modern reproduction Art Deco style figure om a marble plinth

LURCAT, JEAN1892 Bruyères - 1966 St. Paul de VenceGold-Brooch. France, presumably ca. 1950. 750/- yellow gold, total weight: 19.0g. L x W=ca. 7.0 x 4.5cm. The versatile surrealist Jean Lurcat turned to jewellery design and had his objects produced by Patek Philippe. Marked PP Co. artist's mark Lurcat. Explanations to the CatalogueJean Lurcat Figurative Art Modern Art Jewellery 20th century Brooch Yellow gold FranceLURCAT, JEAN1892 Bruyères - 1966 St. Paul de VenceGold-Brosche. Frankreich, wohl um 1950. 750/- Gelbgold, Gesamtgewicht: 19,0g. L x B=ca. 7,0 x 4,5cm. Der vielseitige Surrealist Jean Lurcat wandte sich auch dem Schmuckdesign zu und ließ seine Objekte von Patek Philippe anfertigen. Gepunzt PP Co. Künstlermarke Lurcat. Erläuterungen zum KatalogJean Lurcat Frankreich Figurative Kunst Moderne Kunst Schmuck 20. Jahrhundert Brosche Gelbgold Frankreich- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

LURCAT, JEAN1892 Bruyères - 1966 St. Paul de VenceGold-Brooch. France, presumably ca. 1950. 750/- yellow gold, total weight: 22.0g. L x W=ca. 7.7 x 5.9cm. Marked PP Co. artist's mark Lurcat. Explanations to the CatalogueJean Lurcat Figurative Art Modern Art Jewellery 20th century Brooch Yellow gold FranceLURCAT, JEAN1892 Bruyères - 1966 St. Paul de VenceGold-Brosche. Frankreich, wohl um 1950. 750/- Gelbgold, Gesamtgewicht: 22,0g. L x B=ca. 7,7 x 5,9cm. Gepunzt PP Co. Künstlermarke Lurcat. Erläuterungen zum KatalogJean Lurcat Frankreich Figurative Kunst Moderne Kunst Schmuck 20. Jahrhundert Brosche Gelbgold Frankreich- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

AN INDIAN RED SANDSTONE TORSO OF A DEVATA 10TH/11TH CENTURY Probably Rajasthan, the female deity depicted in tribhanga, her voluptuous body adorned with elaborate jewellery, wearing a sheer dhoti secured with a belt, all supported on a modern stand, 69cm. Provenance: by repute, formerly a UK private collection acquired in the 1980s; and then the collection of Mr Richard Nathanson (d.2018), London, purchased from Jonathan Tucker Antonia Tozer Asian Art on 18th September 2002. A copy of the invoice is available. Cf. Christie's New York, 25th March 2004, lot 49 for a comparable red sandstone torso of a Devata. Richard Nathanson began his career at Sotheby's in 1966 and was immediately captivated by Impressionist and early 20th century art. He subsequently set up as an independent art advisor in that field, in which he became well respected and known, in particular for his involvement with the work of artists such as Sisley, Modigliani, Rouault, Bonnard and Albert Houthuesen. During his lifelong career in the art world, Richard expanded his expertise across time and space and gathered an extraordinarily eclectic collection of artworks which included classical, medieval, African, Asian and Oceanic pieces as well as folk art, natural forms and early toys. As he learnt more about these cultures and the art they inspired, his profound admiration for them grew, broadening his spiritual and philosophical outlook. He observed the intense affinities between these pieces, sometimes separated by millennia and thousands of miles and was fascinated by the conversations that arose between these various expressions of human experience. Richard felt that art had the ability to give hope and inspiration in the human quest for truth and beauty.

AN INDIAN BRONZE HEAD AND TWO TIBETAN HEADS 18TH/19TH CENTURY The Indian head depicting the goddess Gauri, with traces of blue and red pigment, one Tibetan head cast in bronze as a monk's head, the other a repouss? gilt-copper head of Buddha with traces of cold painting to his hair, two with modern stands, 11cm max, 1.3kg, 505g and 78g. (4) Provenance: from the collection of Mr Richard Nathanson (d.2018), London. The gilt-copper head purchased from Brandt Asian Art on 24th October 2006. The Tibetan monk's head and Indian head purchased from Peter Sloane Early and Eastern Art on 26th June 2013 and 18th May 2012 respectively. Copies of the invoices are available. Richard Nathanson began his career at Sotheby's in 1966 and was immediately captivated by Impressionist and early 20th century art. He subsequently set up as an independent art advisor in that field, in which he became well respected and known, in particular for his involvement with the work of artists such as Sisley, Modigliani, Rouault, Bonnard and Albert Houthuesen. During his lifelong career in the art world, Richard expanded his expertise across time and space and gathered an extraordinarily eclectic collection of artworks which included classical, medieval, African, Asian and Oceanic pieces as well as folk art, natural forms and early toys. As he learnt more about these cultures and the art they inspired, his profound admiration for them grew, broadening his spiritual and philosophical outlook. He observed the intense affinities between these pieces, sometimes separated by millennia and thousands of miles and was fascinated by the conversations that arose between these various expressions of human experience. Richard felt that art had the ability to give hope and inspiration in the human quest for truth and beauty.

THREE TIBETAN GILT-COPPER REPOUSSE ITEMS 18TH AND 19TH CENTURY Comprising: a panel depicting a standing snow lion, a lion mask with a fierce expression and its mouth agape revealing its teeth and tongue, and a model of a leg wearing a tall boot with a ruyi-head at the toe, probably from a Lokapala, two with modern stands, 50cm max, 2kg, 1kg and 2.6kg. (5) Provenance: from the collection of Mr Richard Nathanson (d.2018), London. The lion mask purchased from Peter Sloane Objects & Works of Art on 29th March 2001. The leg purchased from Brandt Asian Art Ltd on 6th November 2009. Copies of the invoices are available. Richard Nathanson began his career at Sotheby's in 1966 and was immediately captivated by Impressionist and early 20th century art. He subsequently set up as an independent art advisor in that field, in which he became well respected and known, in particular for his involvement with the work of artists such as Sisley, Modigliani, Rouault, Bonnard and Albert Houthuesen. During his lifelong career in the art world, Richard expanded his expertise across time and space and gathered an extraordinarily eclectic collection of artworks which included classical, medieval, African, Asian and Oceanic pieces as well as folk art, natural forms and early toys. As he learnt more about these cultures and the art they inspired, his profound admiration for them grew, broadening his spiritual and philosophical outlook. He observed the intense affinities between these pieces, sometimes separated by millennia and thousands of miles and was fascinated by the conversations that arose between these various expressions of human experience. Richard felt that art had the ability to give hope and inspiration in the human quest for truth and beauty.

A SMALL COLLECTION OF SOUTH ASIAN AND HIMALAYAN ITEMS C.2ND CENTURY AND LATER Comprising: two small Gandharan grey schist heads, each with a modern stand, a bronze model of the Hindu deity Khandoba on horseback, an Indian bronze figure of a seated many-armed goddess, an Indian bronze figure of Garuda, a figure of the Baby Krishna, a small bronze model of a snake, a Jain marble section of a seated Buddha, and a Tibetan tsa-tsa mould, 21.7cm max. (11) Provenance: from the collection of Mr Richard Nathanson (d.2018), London. The Gandharan heads, figure of Garuda, Tibetan tsa-tsa mould, and model of Khandoba purchased from Peter Sloane Early and Eastern Art between 2011 and 2016. Copies of the invoices are available. Richard Nathanson began his career at Sotheby's in 1966 and was immediately captivated by Impressionist and early 20th century art. He subsequently set up as an independent art advisor in that field, in which he became well respected and known, in particular for his involvement with the work of artists such as Sisley, Modigliani, Rouault, Bonnard and Albert Houthuesen. During his lifelong career in the art world, Richard expanded his expertise across time and space and gathered an extraordinarily eclectic collection of artworks which included classical, medieval, African, Asian and Oceanic pieces as well as folk art, natural forms and early toys. As he learnt more about these cultures and the art they inspired, his profound admiration for them grew, broadening his spiritual and philosophical outlook. He observed the intense affinities between these pieces, sometimes separated by millennia and thousands of miles and was fascinated by the conversations that arose between these various expressions of human experience. Richard felt that art had the ability to give hope and inspiration in the human quest for truth and beauty.

A CHINESE CARVED STONE LION FRAGMENT TANG DYNASTY The lion depicted with bulging eyes beneath a defined brow, detailed with swirls of hair to its mane which continue down its spine, together with a modern stand, 21cm. (2) Provenance: from the collection of Mr Richard Nathanson (d.2018), London, purchased from Brandt Asian Art Ltd on 6th November 2009. A copy of the invoice is available. Richard Nathanson began his career at Sotheby's in 1966 and was immediately captivated by Impressionist and early 20th century art. He subsequently set up as an independent art advisor in that field, in which he became well respected and known, in particular for his involvement with the work of artists such as Sisley, Modigliani, Rouault, Bonnard and Albert Houthuesen. During his lifelong career in the art world, Richard expanded his expertise across time and space and gathered an extraordinarily eclectic collection of artworks which included classical, medieval, African, Asian and Oceanic pieces as well as folk art, natural forms and early toys. As he learnt more about these cultures and the art they inspired, his profound admiration for them grew, broadening his spiritual and philosophical outlook. He observed the intense affinities between these pieces, sometimes separated by millennia and thousands of miles and was fascinated by the conversations that arose between these various expressions of human experience. Richard felt that art had the ability to give hope and inspiration in the human quest for truth and beauty.

LITERATURE A COLLECTION OF AUCTION CATALOGUES Mostly from Sotheby's, Christie's and Bonhams, the majority relating to Asian, modern and contemporary art. (60) To be offered without reserve.

B. PRABHA (1933-2001)Untitled (Two Boys)signed and dated 'B. Prabha, 1965' (upper right)oil on canvas56 x 38 inProvenance: Philip Richardson, Esq, Arundel, Sussex (by c.1990);Thence by descent Philip Richardson travelled to India and had a wide circle of Indian friends and contacts both there and in the UK. He met Prabha in person on at least one occasion, and may very possibly have acquired this painting direct from the artist. Badgelwar Prabha (better known as B. Prabha) began her career when there were few other leading women artists in India. Working in the 1950's and 1960's when post-independence India was in the throes of dynamic change and upheaval, Prabha utilised her unique position as one of the very few professional artists to become a medium for strong social commentary on poverty and inequality in Indian Society. She studied at the Nagpur School of Art and afterwards at the Sir J. J. School of Art, Mumbai. Soon after she married the artist and sculptor B. Vithal. Two years following that she exhibited at the Bombay Exhibition of 1958, where she won first prize. She followed that up with two solo shows at Delhi's Kumar Gallery in 1959 and 1961.Prabha had come to Bombay as a financially struggling artist, and is said to have initially sold pieces of family jewellery to raise funds. At that time she and her husband were living in a dilapidated house at Worli Naka. Their first month's rent and Prabha's paints allegedly being purchased from Vithal's first ever commission fee which he received for helping sculpt a statue of Vallabbhai Patel. Prabha's first break through came when three of her paintings were purchased by the eminent Indian scientist Homi J. Bhaba.Prabha embraced a bold, modern Indian aesthetic. She developed a style which became well known for her characteristic images of elongated pensive figures on canvases, executed in a single dominant colour. Over the years, her penchant for simplicity, perhaps to counter the myriad complexities of life, led her to develop a characteristic, elegant style that came to be instantly recognisable. Her refined aesthetic language, defined by elongated, graceful lines and figures, always guided and informed her works.The writer Shirin Bahadurji wrote of Prabha's paintings "Her figures have a haunting presence as if caught in a rare moment of stillness and silence- a single second stolen out of the bustle of daily living'' Prabha claimed that 'she was more at ease with the female form, painting men only in large murals where they blend into the backdrop'. The subject matter of her work often centred on the rural and urban poor. She was particularly concerned with the issues of hunger, homelessness and the subservient role of women in Indian life. In 1965 she executed a 'hunger' series of fourteen paintings that depicted the slums of Bombay and the 'shattered dreams of the hutments'. For three other figurative paintings by Prabha dateable to 1965, cf. Christies's, New York, March 8th 2008, Lot 22; Sotheby's, London June 16th 2009 lot 43; and Christies's London June 11th 2008, lot 76. The Brightwell's example with, unusually for Prabha, all nude sitters, has certain compositional similarities with a later 1982 work by the artist sold at Artiana Auctions, Dubai, 13th October 2016, Lot 5. That work also depicted a double portrait (of two Indian Girls wearing Saris) featured against a largely opaque background.

A modern Art Deco style plaster figure depicting a semi nude lady, signed 'Italy' to base, height 62cm. Condition: no signs of any damage or repairs.

JACQUES LIPCHITZ (1891-1973)Arrival inscribed 'J Lipchitz', marked with the artist's thumbprint, numbered '4/7', and stamped with the foundry mark 'Modern Art FDRY, N.Y.' (on the base)bronze 21 1/8 in (53.6 cm) (height)Conceived in 1941 

Judith Berrill has been an artist for over 30 years, working as a book illustrator, stage designer, painter and graphic designer. She has painted for Wild in Art trails before and takes pride in producing characterful designs to be enjoyed by many. ‘Savanna’ is an African elephant, the largest animal on Earth. Her vibrant coat celebrates her African roots, with its many historic and modern fabric designs. Being an elephant, she is particularly fond of the traditional mud-cloths, but she also loves the geometric patterns of Kente cloth and the brightly painted wax and batik prints. Savanna also reminds us that she and her elephant friends are in danger of soon becoming extinct and they badly need our help.

AN UNUSUAL JAPANESE WOOD CARVING OF A FOREIGNER, OKIMONO EDO PERIOD OR LATER, 18TH/19TH CENTURY The Dutch or Portuguese man standing, holding a small bat in his hand while gently caressing it with the other, a benevolent expression on his face, typically depicted with long curly hair and wearing a short jacket over breeches, raised on a modern rectangular base, with a paper label for the Greenfield Collection, n.40, 26cm overall. (2) Provenance: formerly from the Charles A Greenfield Collection, no.40. The Charles A Greenfield Collection of Japanese art is particularly renowned for its lacquer pieces which have been exhibited at the Metropolitan Museum of Art, New York in 1980. Highlights from the collection are discussed in Eskenazi, The Charles A Greenfield collection of Japanese lacquer, and many pieces from the collection were sold at a three-part sale at Sotheby's New York between 1998 and 1999.

* PETER GRAHAM ROI (SCOTTISH b 1959), OLD TOWN, ALTEA gouache on paper, signed and dated '89 75cm x 62cm Mounted, framed and under glass. Note: A rare appearance at auction for one of Scotland's and the UK's most successful contemporary artists. Peter Graham was born in Glasgow in 1959. He attended the Glasgow School of Art, graduating in 1980. In 2000 Peter was elected to Full Membership of The Royal Institute of Oil Painters, R.O.I. Peter has earned a reputation as one of Britain’s most gifted and distinctive Modern Colourists. His work is often related to the Modern Scottish School but Peter has a flamboyant style which is unique, – detailed brush work combined with loose fluid strokes creating vibrant contrasts of pure colour, line and tone. In the winter months within his studio he delves deeply into the still life genre, creating some of his most stunning compositions, always with colour the dominant theme but reflecting the heightened sense of atmosphere and passion that comes directly from painting in the beauty of the Mediterranean. Recently, hugely successful exhibitions in London have allowed Peter to take on extra studio space and his work is being enthusiastically exhibited by many of the UK's most prestigious galleries.

* GORDON BRYCE RSA RSW (SCOTTISH b 1943), APPLES oil on board, signed and titled verso 30cm x 30cm Framed and under glass. Note: Born in Edinburgh in 1943. Gordon Bryce studied at Edinburgh College of Art, where his tutors were Sir Robin Philipson and Sir William Gillies. His love of colour and texture stems from that time and has remained with him since. After graduating, Gordon moved to Aberdeen, to Gray's School of Art, where he was appointed as a Lecturer in Printmaking. He later became head of Fine Art at Gray's, a post he held from 1986 to 1995 when he began to paint full time. Gordon Bryce is now a highly established figure and his contribution to the UK art scene is considerable. His exhibitions both in London and in Scotland have spanned nearly 30 years. He has won numerous awards Including the RSA Latimer Award, May Marshall Brown Award, Shell Expo Premier Award and Sir William Gillies travelling Scholarship. His work is in many Private and Public Collections worldwide including those of the Fleming Collection and the Scottish National Gallery of Modern Art.

* AVRIL PATON (SCOTTISH b 1941), TOPPING OUT DAY (c1995) watercolour on paper 80cm x 100cm Framed and under glass. Label verso: Gatehouse Gallery, Rouken Glen Road, Giffnock, where acquired by the vendor. Note: a remarkably rare work by Avril Paton, the artist who painted "Windows in the West", one of Scotland's best known and most popular contemporary paintings which was acquired for the nation by the Scottish National Gallery of Modern Art and is currently on display at Kelvingrove Gallery, Glasgow. There has been much written about Paton's work from the 1990's explaining the meticulous detail and the many months it took to complete a single picture. Paton eventually moved on to a more spontaneous abstract style of work and consequently her paintings from the 1990's are a distinct isolated body of work and the examples from this time are few and rarely, if ever, appear at auction. Avril Paton's work from this period has been studied as part of the curriculum for many of the nation's youth and there are talks and discussions on YouTube which include "Topping Out Day". Private collection, England.

* WALTER LANGHAMMER (AUSTRIAN 1905 - 1977), STILL LIFE WITH INDIAN VASE oil on canvas, signed 40cm x 61cm Framed Note: Born in Austria. Left Austria during Nazi occupation of World War II. He was a contemporary of the famous painter Oskar Kokoschka, and was professor of the Academy in Vienna in the 1930s. After fleeing Austria Langhammer spent some time in London where he painted many images of city scapes and travel (carriage) posters for British rail. After moving to India, Langhammer was appointed as the first art director of the Times of India, and later the Chairman of Bombay Art Society. He played a matchless part in bringing art patrons and artists together, and a seminal role in the founding of the Progressive Arts Group. Langhammer would often say, he saw a future in the modern art movement – he felt it was all over Europe. So people like Ara, Raza, Husain, Souza and Raiba, the great names of the Indian Progressive Art Movement, became his students. Every Sunday, it was open house at his studio on Napean Sea Road. Langhammer inspired a generation of artists who then went on to propel Indian Art onto the international forum. Artists like Almelkar, Husain and Razza have candidly admitted to having drawn inspiration from him. His work is widely collected over several continents today. Whilst every effort is made to provide accurate and honest condition reports, none of our staff is a professional conservator, restorer or engineer. Any condition report offered should be accepted as an indication of any obvious issues or problems or the lack of them. Buyers are urged to satisfy themselves in respect of the condition of any lot and McTear’s can provide contact details of local professional restorers who will provide fully comprehensive expert reports – usually for a modest charge. The condition report does not form part of any contract between McTear's and the buyer, and all lots are offered "as is" in accordance with our Terms of Business in the printed catalogue and available on our website.

Derek Boshier (Modern British), Limited edition print on paper, 'Untitled', Initialled and dated to margin, numbered 19/60, named and titled to glass, 32cm x 32cm, Framed and glazed, Biography from tate.or.uk: Derek Boshier (born 1937) is an English artist, among the first proponents of British pop art. He works in various media including painting, drawing, collage, and sculpture.

A modern Art Deco style triangular table lamp

Modern Art abstract painting of human figures in bright colours on canvass, unsigned,122 x 109cm, canvass marked "Royal Board" Sweeden "Golden" from the same estate as the Barabara Hepworth letter from the previous lot.

JULIO GONZALEZ [1876-1942]. Bouquet, c.1914-18. pastel on paper. 30 x 47 cm [overall including frame 44 x 59 cm]. Exhibited: 'Julio Gonzalez', Civic Gallery of Modern Art, Turin, 1967, no.16; 'Julio Gonzalez', Museum of Modern Art, New York, Nov. 1968 - Jan. 1970, no.8. Literature: 'Julio Gonzalez', catalogue raisonne, vol.V1, Paris, 1975, p.122 [illustrated]. Major international artist, who taught Picasso to sculpt. [good condition - slightly ragged edge in places - unexamined out of frame]. Buyers premium 20% + vat payable. ARR 4%..

HENRY MOORE [1898-1986]. Elephant , 1970. etching, edition of 100 [96/100], signed in pencil. 50 x 37 cm sheet size - unframed. Literature: 'Henry Moore', Museum of Modern Art, New York, Nov. 1971-Jan. 1972, cat. pl.XX111. [very good condition]. Buyers premium 20% + vat payable..

SIDNEY JONAS BUDNICK [US 1921-94]. Ode to Modigliani, 1980. lithograph, edition of 97, signed. 61 x 92 cm image [sheet size 71 x 102 cm - unframed]. Provenance: artist's daughter; private collection, UK. His work is included in the Museum of Modern Art, New York and Guggenheim collections. [very good condition]. Buyers premium 20% + vat payable.

* Hodgkin (Howard, 1932-2017). Forty-Five Paintings 1949-1975, Museum of Modern Art, Pembroke Street, Oxford, 14 March - 18 April 1976, original colour lithographic Arts Council exhibition poster, 76 x 50 cm, framed and glazed, together with a copy of the exhibition catalogue, colour-illustrated throughout, original wrappers, 8vo, plus a folded card exhibition leaflet for an ICA exhbition of Howard Hodgkin and Allen Jones's work in 1962, together with Picasso. Dessins d'un demi-siècle, published Berggruen & Cie, Paris, 1956, colour and black and white illustrations, original colour lithographic wrappers by Picasso with signature in the plate, glassine dust jacket, small chip with loss at head of upper wrapper, narrow 8vo (Qty: 4)

Modern Art. A large collection of modern art & museum reference, many German language, many original cloth in dust jackets, some paperback editions, VG, 8vo/4to (Qty: 6 shelves)

Two modern Wedgwood limited edition 'Yo-Yo' vases, one entitled 'Cubist', the other 'Sliced Circle', height of each approx 23cm and a small 1930s Royal Doulton Art Deco plate decorated with harebells (30. CONDITION REPORT There are no obvious signs of significant damage or repair.

Bronze sculpture of Mercury's foot and flower, unsigned, 59cm on painted column. Provenance: Part of single owner collection of modern art and sculpture sold in this sale consigned by a London based collector

Gary Mauro (American), relief in fabric study of two nudes, signed, mixed media, 62cm x 180cm. Provenance: Part of single owner collection of modern art and sculpture sold in this sale consigned by a London based collector

Gary Mauro (American) relief in fabric study of nudes, signed, mixed media, 270cm x 60cm Provenance: Part of single owner collection of modern art and sculpture sold in this sale consigned by a London based collector

BE-BOP / COOL / MODERN JAZZ - LPs. Smart selection of 13 x LPs. TItles/artists include John Coltrane With The Read Garland Trio (PR 7123, Ex/VG), Somethin' Else (BLP 1595, NY US Label, no deep groove, RVG Plastylite "P" - VG+ a few light surface marks/'43 West 61st St.' address sleeve - VG, a clean copy with 'protective' tape down the opening edge), Jimmy And Wes The Dynamic Duo (SVLP.9160, Ex/VG+), Thelonious Monk Quartet - Way Out! (Fontana FJL.113, Ex/VG+), Paul Gonsalves - Tell It The Way It Is (HMV CSD. 1548, VG+/VG), Johnny Hodges & Wild Bill Davis - Mess Of Blues (VLP 9067, Ex/VG+), Jimmy Smith - The Cat...The Incredible (VLP 9079, Ex/VG+), The Modern Jazz Quartet Plays One Never Knows (SAH-K 6029, Ex/VG+), Benny carter & His Orchestra - Further Definitions (CSD 1480, Ex/VG+), Art Blakey Quartet - A Jazz Message (CLP 1760, Ex+/VG+), Stan Getz & Charlie Byrd - Jazz Samba (SVLP 9013, Ex/VG+), Sonny Stitt & Paul Gonsalves (CLP 1808, Ex/VG+) and Johnny Hammond Smith - The Stinger (PR 7408, Ex/VG+).

MODERN JAZZ - LPs. Refined collection of 27 x LPs. Titles/artists include Joe HArriott - Personal Portrait (Columbia SX 6249, Ex/VG+), John Surman - How Many Clouds Can You See? (Deram SML-R 1045, Ex/VG+), Jimmy Witherspoon With Brother Jack McDuff - The Blues Is Now (Verve VLP 9181, VG+/VG+), Directions In Jazz, Art Blakey's Jazz Messengers At Birdland, Dizzy On The French Riviera, A Simple Matter Of Conviction, Bill Evans, Shelly Manne, Eddie Gomez, Alone, Dig It!, Frank Ricotti Quartet, The Westbrook Blake, Andre Previn, J. J. Johnson Quartet, My Fair Lady, A touch Of Elegance, Jon Hendricks, Bossa Man, Marian In The Morning, Stan Getz, Swingle Singers, Charlie Parker Vol 4 Jazz At Massey Hall, Jimmy Smith, Ramsey Lewis, Blossom Dearie, Sweet, Mel Torme and Marian Montgomery On Stage!. Condition is generally VG to Ex.

Modern British Art - Keith Vaughan (British, 1912-1977), Two Male Figures, watercolour on paper, bearing signature 'KV' lower right, 26 x 22cm

A Rob Crooks art glass vase; together with two modern decorative glass items

“Art du Paumier Raquetier et de la Paume” by Francois Alexandre Pierre de Garsault, Diderot and Denis & Jean le Rond d'Alembert,9 French 18th century engraved plates “Paumier”, extracted from Encyclopedie ou Dictionnaire Rasisonne des Sciences, des Arts et des Mettieres 1767, plus two additional pages of text, illustrating the skills of the Real Tennis equipment maker, presented in a modern folio (45 by 31cm), Excellent condition

"Art du Paumier Raquetier et de la Paume" by Francois Alexandre Pierre de Garsault,a rare first edition published 1767, 34 pages including five detailed engravings illustrating the skills of the Real Tennis equipment maker, presented in a modern folio 45 by 31cm, excellent condition

[ILYA ZDANEVICH] NATALIA GONCHAROVA, MIKHAIL LARIONOV, 1913 [ILYA ZDANEVICH (GEORGIAN 1894-1975)] ELI ENGANBUIRI (pseud.), NATALIA GONCHAROVA, MIKHAIL LARIONOV (Moscow: Ts. A. Miunster, 1913). Edition of only 525. 4to (282 x 225 mm). Illustrated with eight tipped-in lithographs (four by Goncharova, four by Larionov) and 46 reproductions of engravings by both artists.LITERATUREPeter Hellyer, A Catalogue of Russian Avant-Garde Books 1912-1934, (London: British Library, [1994]), p. 85The Russian Avant-Garde Book 1910-1934 (New York: Museum of Modern Art, 2002), p. 27

FROM AN IMPORTANT COLLECTION OF BOOKS AND NEWSPAPERS WITH DESIGNS FROM KLUCIS (A COLLECTION OF POETRY BY THE UNION OF POETS, 1922) VSEROSSIYSKIY SOYUZ POETOV. VTOROY SBORNIK STIKHOV [All-Russian Union of Poets. Second Collection of Poems] (Moscow: SoPo [All-Russian Union of Poets], 1922). 12mo (180 x 125 mm). [30 pp.] Text in Russian. Including poems by Akhmatova, Mandelstam, Tsvetaeva, et al.LITERATUREThe Russian Avant-Garde Book 1910-1934 (New York: Museum of Modern Art, 2002), no. 394

[KLUTSIS, KRUCHENYKH] FROM AN IMPORTANT COLLECTION OF BOOKS AND NEWSPAPERS WITH DESIGNS FROM KLUCIS (METHODS OF LENIN'S SPEECH, 1928) GUSTAV KLUTSIS (LATVIAN 1895-1938), cover and illustrations by ALEKSEI KRUCHENYKH (RUSSIAN 1886-1968), PRIEMY LENINSKOY RECHI [Methods of Lenin's Speech] (Moscow: Izdanie Vserossiyskogo Soyuza Poetov, 1928). 12mo (170 x 130 mm). 60+[6] pp. Text in Russian. With original two-tone Constructivist cover and 4 full-page illustrations by Klutsis.LITERATUREThe Russian Avant-Garde Book 1910-1934 (New York: Museum of Modern Art, 2002), no. 596