22
§ IVON HITCHENS (BRITISH 1893-1979)
In MODERN MADE
1/3
Description
IVON HITCHENS (BRITISH 1893-1979)
BLUE RIVER, 1932
signed and dated 32 (lower left), oil on canvas
50.8cm x 76.2cm (20in x 30in)
with Leicester Galleries, London;Crane Kalman Gallery, London, from whom acquired by Dorothy and Louis Bohm;The Estate of Dorothy Bohm.
Blue River perfectly encapsulates Ivon Hitchens’ work of the early 1930s, his stylish, unique take on modernism that saw him elected to the prestigious Seven & Five Society. Yet this painting also presages the developments in his painting that were to come at the end of the decade, when his vision of the English landscape became increasingly abstracted, the scene before him dissolving into patterns of form and colour which then unfold across the canvas, creating an effect that Hitchens himself described as ‘a visual music’. Hitchens had followed movements in European art very closely, ever since Roger Fry had enraged the British art establishment (and delighted British art students like Hitchens) with his ground-breaking exhibitions of French Post-Impressionism in 1910 and 1912. And in many ways, Hitchens’ work of the 1920s and early 30s is a synthesis of Cézanne, Braque and Matisse, albeit replacing the calme, luxe et volupté of Provence and the Côte d’Azur with a distinctly English palette of leaden blues, pinky greys and restrained greens in every shade. In Blue River we can see these influences clearly: the black outlines on the hills and rocks evoking Matisse, whilst the flat application of blocks of paint – such as the division of the river into a checkerboard of blues – allude to Cubism’s play on perspective, constantly pulling our sense of this being a ‘view’ back to the surface of the canvas, to the making of the painting itself. Yet there are also motifs that are unique to Hitchens. On the left-hand edge, he has stacked forms - a large rock, swathe of meadow and then a stand of trees - to create a solid visual hold, from which the rest of the composition can unfurl. Then there is the exquisite balance between abstraction and figuration, with neither dominant, the sense of flatness and artifice held in tension with a very real sense of light and air. We can see too his variation of brushstrokes, from the broad to the spidery, and the subtle changes in the weighting of paint, between brushes dripping in pigment (which still seems wet, some 90 years later) to ones almost dry. All of this is most notable in the sky, in which broad brushes dipped in four shades of blue and one white dance across the surface of the canvas. Whilst this clearly has a (literal) atmospheric effect, if one views this section in isolation, it is remarkably free and abstract for the period. Indeed, it has something of Helen Frankenthaler or Joan Mitchell about it, the way the brushmarks seem to hang off the surface of the canvas. It’s no wonder, perhaps, that Patrick Heron, the man who effectively interpreted American Abstract Expressionism to an unwitting British audience in the early 1950s, was also the author of the first full monograph on Hitchens in 1952, a book in which Heron often described Hitchens’ work in terms that Clement Greenberg, the great apologist of Abstract Expressionism, would have enjoyed.There is a famous photograph, taken in 1931, the year before Blue River was painted, of Hitchens on the beach at Happisburgh in Norfolk, where he stands alongside Henry and Irina Moore, who in turn are next to Barbara Hepworth and Ben Nicholson (at the start of their affair). Moore and Nicholson are stripped to the waist, Hepworth is tying her hair up, cigarette in mouth, her muscular sculptor’s arms exposed by the top half of a swimming costume. Hitchens, on the other hand, is fully dressed, in shirt, tie, pullover, his tweed jacket fully buttoned up, raincoat slung over his arm, his black beret the only possible nod to la vie bohème. At first glance, he seems like a fish out of water amongst these pioneers of British Modernism. Yet this is to miss the point: he is absolutely one of them. At this point in time, all of these bright young things of the British avant garde are still wedded to some sort of figuration, albeit one transformed thorough the lens of ‘modernist primitivism’ and Cubism. A painting such as Blue River, if looked at closely, is as modernist as anything else coming out of the Mall Studios, Herbert Read’s ‘nest of gentle artists’ shared by Moore, Hepworth and Nicholson, just down the road from Hitchens’ studio in Hampstead. As these Mall Studio artists moved towards abstraction – Hepworth and Nicholson in particular – Hitchens might well have remained wedded to depicting the landscape, but not because he couldn’t let go of the figurative. It was more that those values of simplicity, order and harmony that his contemporaries felt could only be uncovered in the realm of the abstract, were, for him, to be found everywhere in the landscape, out in the open, and all the more fascinating for being impermanent and accidental.
BLUE RIVER, 1932
signed and dated 32 (lower left), oil on canvas
50.8cm x 76.2cm (20in x 30in)
with Leicester Galleries, London;Crane Kalman Gallery, London, from whom acquired by Dorothy and Louis Bohm;The Estate of Dorothy Bohm.
Blue River perfectly encapsulates Ivon Hitchens’ work of the early 1930s, his stylish, unique take on modernism that saw him elected to the prestigious Seven & Five Society. Yet this painting also presages the developments in his painting that were to come at the end of the decade, when his vision of the English landscape became increasingly abstracted, the scene before him dissolving into patterns of form and colour which then unfold across the canvas, creating an effect that Hitchens himself described as ‘a visual music’. Hitchens had followed movements in European art very closely, ever since Roger Fry had enraged the British art establishment (and delighted British art students like Hitchens) with his ground-breaking exhibitions of French Post-Impressionism in 1910 and 1912. And in many ways, Hitchens’ work of the 1920s and early 30s is a synthesis of Cézanne, Braque and Matisse, albeit replacing the calme, luxe et volupté of Provence and the Côte d’Azur with a distinctly English palette of leaden blues, pinky greys and restrained greens in every shade. In Blue River we can see these influences clearly: the black outlines on the hills and rocks evoking Matisse, whilst the flat application of blocks of paint – such as the division of the river into a checkerboard of blues – allude to Cubism’s play on perspective, constantly pulling our sense of this being a ‘view’ back to the surface of the canvas, to the making of the painting itself. Yet there are also motifs that are unique to Hitchens. On the left-hand edge, he has stacked forms - a large rock, swathe of meadow and then a stand of trees - to create a solid visual hold, from which the rest of the composition can unfurl. Then there is the exquisite balance between abstraction and figuration, with neither dominant, the sense of flatness and artifice held in tension with a very real sense of light and air. We can see too his variation of brushstrokes, from the broad to the spidery, and the subtle changes in the weighting of paint, between brushes dripping in pigment (which still seems wet, some 90 years later) to ones almost dry. All of this is most notable in the sky, in which broad brushes dipped in four shades of blue and one white dance across the surface of the canvas. Whilst this clearly has a (literal) atmospheric effect, if one views this section in isolation, it is remarkably free and abstract for the period. Indeed, it has something of Helen Frankenthaler or Joan Mitchell about it, the way the brushmarks seem to hang off the surface of the canvas. It’s no wonder, perhaps, that Patrick Heron, the man who effectively interpreted American Abstract Expressionism to an unwitting British audience in the early 1950s, was also the author of the first full monograph on Hitchens in 1952, a book in which Heron often described Hitchens’ work in terms that Clement Greenberg, the great apologist of Abstract Expressionism, would have enjoyed.There is a famous photograph, taken in 1931, the year before Blue River was painted, of Hitchens on the beach at Happisburgh in Norfolk, where he stands alongside Henry and Irina Moore, who in turn are next to Barbara Hepworth and Ben Nicholson (at the start of their affair). Moore and Nicholson are stripped to the waist, Hepworth is tying her hair up, cigarette in mouth, her muscular sculptor’s arms exposed by the top half of a swimming costume. Hitchens, on the other hand, is fully dressed, in shirt, tie, pullover, his tweed jacket fully buttoned up, raincoat slung over his arm, his black beret the only possible nod to la vie bohème. At first glance, he seems like a fish out of water amongst these pioneers of British Modernism. Yet this is to miss the point: he is absolutely one of them. At this point in time, all of these bright young things of the British avant garde are still wedded to some sort of figuration, albeit one transformed thorough the lens of ‘modernist primitivism’ and Cubism. A painting such as Blue River, if looked at closely, is as modernist as anything else coming out of the Mall Studios, Herbert Read’s ‘nest of gentle artists’ shared by Moore, Hepworth and Nicholson, just down the road from Hitchens’ studio in Hampstead. As these Mall Studio artists moved towards abstraction – Hepworth and Nicholson in particular – Hitchens might well have remained wedded to depicting the landscape, but not because he couldn’t let go of the figurative. It was more that those values of simplicity, order and harmony that his contemporaries felt could only be uncovered in the realm of the abstract, were, for him, to be found everywhere in the landscape, out in the open, and all the more fascinating for being impermanent and accidental.
Auction Details
Shipping
T&Cs & Important Info
Ask seller a question
IVON HITCHENS (BRITISH 1893-1979)
BLUE RIVER, 1932
signed and dated 32 (lower left), oil on canvas
50.8cm x 76.2cm (20in x 30in)
with Leicester Galleries, London;Crane Kalman Gallery, London, from whom acquired by Dorothy and Louis Bohm;The Estate of Dorothy Bohm.
Blue River perfectly encapsulates Ivon Hitchens’ work of the early 1930s, his stylish, unique take on modernism that saw him elected to the prestigious Seven & Five Society. Yet this painting also presages the developments in his painting that were to come at the end of the decade, when his vision of the English landscape became increasingly abstracted, the scene before him dissolving into patterns of form and colour which then unfold across the canvas, creating an effect that Hitchens himself described as ‘a visual music’. Hitchens had followed movements in European art very closely, ever since Roger Fry had enraged the British art establishment (and delighted British art students like Hitchens) with his ground-breaking exhibitions of French Post-Impressionism in 1910 and 1912. And in many ways, Hitchens’ work of the 1920s and early 30s is a synthesis of Cézanne, Braque and Matisse, albeit replacing the calme, luxe et volupté of Provence and the Côte d’Azur with a distinctly English palette of leaden blues, pinky greys and restrained greens in every shade. In Blue River we can see these influences clearly: the black outlines on the hills and rocks evoking Matisse, whilst the flat application of blocks of paint – such as the division of the river into a checkerboard of blues – allude to Cubism’s play on perspective, constantly pulling our sense of this being a ‘view’ back to the surface of the canvas, to the making of the painting itself. Yet there are also motifs that are unique to Hitchens. On the left-hand edge, he has stacked forms - a large rock, swathe of meadow and then a stand of trees - to create a solid visual hold, from which the rest of the composition can unfurl. Then there is the exquisite balance between abstraction and figuration, with neither dominant, the sense of flatness and artifice held in tension with a very real sense of light and air. We can see too his variation of brushstrokes, from the broad to the spidery, and the subtle changes in the weighting of paint, between brushes dripping in pigment (which still seems wet, some 90 years later) to ones almost dry. All of this is most notable in the sky, in which broad brushes dipped in four shades of blue and one white dance across the surface of the canvas. Whilst this clearly has a (literal) atmospheric effect, if one views this section in isolation, it is remarkably free and abstract for the period. Indeed, it has something of Helen Frankenthaler or Joan Mitchell about it, the way the brushmarks seem to hang off the surface of the canvas. It’s no wonder, perhaps, that Patrick Heron, the man who effectively interpreted American Abstract Expressionism to an unwitting British audience in the early 1950s, was also the author of the first full monograph on Hitchens in 1952, a book in which Heron often described Hitchens’ work in terms that Clement Greenberg, the great apologist of Abstract Expressionism, would have enjoyed.There is a famous photograph, taken in 1931, the year before Blue River was painted, of Hitchens on the beach at Happisburgh in Norfolk, where he stands alongside Henry and Irina Moore, who in turn are next to Barbara Hepworth and Ben Nicholson (at the start of their affair). Moore and Nicholson are stripped to the waist, Hepworth is tying her hair up, cigarette in mouth, her muscular sculptor’s arms exposed by the top half of a swimming costume. Hitchens, on the other hand, is fully dressed, in shirt, tie, pullover, his tweed jacket fully buttoned up, raincoat slung over his arm, his black beret the only possible nod to la vie bohème. At first glance, he seems like a fish out of water amongst these pioneers of British Modernism. Yet this is to miss the point: he is absolutely one of them. At this point in time, all of these bright young things of the British avant garde are still wedded to some sort of figuration, albeit one transformed thorough the lens of ‘modernist primitivism’ and Cubism. A painting such as Blue River, if looked at closely, is as modernist as anything else coming out of the Mall Studios, Herbert Read’s ‘nest of gentle artists’ shared by Moore, Hepworth and Nicholson, just down the road from Hitchens’ studio in Hampstead. As these Mall Studio artists moved towards abstraction – Hepworth and Nicholson in particular – Hitchens might well have remained wedded to depicting the landscape, but not because he couldn’t let go of the figurative. It was more that those values of simplicity, order and harmony that his contemporaries felt could only be uncovered in the realm of the abstract, were, for him, to be found everywhere in the landscape, out in the open, and all the more fascinating for being impermanent and accidental.
BLUE RIVER, 1932
signed and dated 32 (lower left), oil on canvas
50.8cm x 76.2cm (20in x 30in)
with Leicester Galleries, London;Crane Kalman Gallery, London, from whom acquired by Dorothy and Louis Bohm;The Estate of Dorothy Bohm.
Blue River perfectly encapsulates Ivon Hitchens’ work of the early 1930s, his stylish, unique take on modernism that saw him elected to the prestigious Seven & Five Society. Yet this painting also presages the developments in his painting that were to come at the end of the decade, when his vision of the English landscape became increasingly abstracted, the scene before him dissolving into patterns of form and colour which then unfold across the canvas, creating an effect that Hitchens himself described as ‘a visual music’. Hitchens had followed movements in European art very closely, ever since Roger Fry had enraged the British art establishment (and delighted British art students like Hitchens) with his ground-breaking exhibitions of French Post-Impressionism in 1910 and 1912. And in many ways, Hitchens’ work of the 1920s and early 30s is a synthesis of Cézanne, Braque and Matisse, albeit replacing the calme, luxe et volupté of Provence and the Côte d’Azur with a distinctly English palette of leaden blues, pinky greys and restrained greens in every shade. In Blue River we can see these influences clearly: the black outlines on the hills and rocks evoking Matisse, whilst the flat application of blocks of paint – such as the division of the river into a checkerboard of blues – allude to Cubism’s play on perspective, constantly pulling our sense of this being a ‘view’ back to the surface of the canvas, to the making of the painting itself. Yet there are also motifs that are unique to Hitchens. On the left-hand edge, he has stacked forms - a large rock, swathe of meadow and then a stand of trees - to create a solid visual hold, from which the rest of the composition can unfurl. Then there is the exquisite balance between abstraction and figuration, with neither dominant, the sense of flatness and artifice held in tension with a very real sense of light and air. We can see too his variation of brushstrokes, from the broad to the spidery, and the subtle changes in the weighting of paint, between brushes dripping in pigment (which still seems wet, some 90 years later) to ones almost dry. All of this is most notable in the sky, in which broad brushes dipped in four shades of blue and one white dance across the surface of the canvas. Whilst this clearly has a (literal) atmospheric effect, if one views this section in isolation, it is remarkably free and abstract for the period. Indeed, it has something of Helen Frankenthaler or Joan Mitchell about it, the way the brushmarks seem to hang off the surface of the canvas. It’s no wonder, perhaps, that Patrick Heron, the man who effectively interpreted American Abstract Expressionism to an unwitting British audience in the early 1950s, was also the author of the first full monograph on Hitchens in 1952, a book in which Heron often described Hitchens’ work in terms that Clement Greenberg, the great apologist of Abstract Expressionism, would have enjoyed.There is a famous photograph, taken in 1931, the year before Blue River was painted, of Hitchens on the beach at Happisburgh in Norfolk, where he stands alongside Henry and Irina Moore, who in turn are next to Barbara Hepworth and Ben Nicholson (at the start of their affair). Moore and Nicholson are stripped to the waist, Hepworth is tying her hair up, cigarette in mouth, her muscular sculptor’s arms exposed by the top half of a swimming costume. Hitchens, on the other hand, is fully dressed, in shirt, tie, pullover, his tweed jacket fully buttoned up, raincoat slung over his arm, his black beret the only possible nod to la vie bohème. At first glance, he seems like a fish out of water amongst these pioneers of British Modernism. Yet this is to miss the point: he is absolutely one of them. At this point in time, all of these bright young things of the British avant garde are still wedded to some sort of figuration, albeit one transformed thorough the lens of ‘modernist primitivism’ and Cubism. A painting such as Blue River, if looked at closely, is as modernist as anything else coming out of the Mall Studios, Herbert Read’s ‘nest of gentle artists’ shared by Moore, Hepworth and Nicholson, just down the road from Hitchens’ studio in Hampstead. As these Mall Studio artists moved towards abstraction – Hepworth and Nicholson in particular – Hitchens might well have remained wedded to depicting the landscape, but not because he couldn’t let go of the figurative. It was more that those values of simplicity, order and harmony that his contemporaries felt could only be uncovered in the realm of the abstract, were, for him, to be found everywhere in the landscape, out in the open, and all the more fascinating for being impermanent and accidental.
MODERN MADE
Sale Date(s)
Lots: 1-79
Lots: 80-444
Venue Address
The Mall Galleries
The Mall
London
SW1Y 5AS
United Kingdom
COLLECTION OF PURCHASED LOTS
Items will be available for collection from the Mall Galleries on Saturday 2nd November 10am - 3:30pm.
Following this, the works will be divided, with works belonging to Scottish buyers/vendors being stored at Lyon & Turnbull, 33 Broughton Place, Edinburgh EH1 3RR, and works belonging to international or rest-of-UK buyers/vendors moving to Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB6 0FD. Tel 0208 832 2222. Open 9am-5pm by prior appointment only.
Please ensure payment has been made prior to collection. This can be done online, by cheque, bank transfer or in person at our office - details will be shown on your invoice. Please note we are unable to take payments over the phone, and we are unable to accept payments in cash.
LONDON LOT COLLECTION
Items will be available for collection from the Mall Galleries on Saturday 2nd November 10am - 3:30pm.
Following this, items will be available to collect from Wednesday 6th November at 9am from Stephen Morris Shipping,
15 Ockham Drive,
Greenford, UB6 0FD.
Tel 0208 832 2222
They will be stored free of charge until Wednesday 20th November. From Thursday 21st November, clients will be charged by our storage partners. Insurance 0.25% (all items) | Smalls (paintings and objects) - £2.50 admin fee then £1.00 per day. Large or furniture pieces - £5.50 admin fee then £2.50 per day. Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB6 0FD. Tel 0208 832 2222. Open 9am – 5pm by prior appointment only.
EDINBURGH LOT COLLECTION
Scottish buyers and vendors items will be available to collect from Thursday 14th November at 9am from Lyon & Turnbull, 33 Broughton Place Edinburgh EH1 3RR. All collections must be by appointment only (this applies to both carriers and personal collections). Please book appointments by email at info@lyonandturnbull.com or telephone 0131 557 8844.
-----
UK & International - Smaller items and paintings
Art & Antique Delivery Centre
Mail Boxes Etc.
12 South Bridge
Edinburgh, EH1 1DD
T: 0131 556 6226
info@mbeedinburgh.com
Mailboxes Etc
8 Shepherd Market
Mayfair
London, W1J 7JY
Tel: 0207 491 0022
info@mbemayfair.co.uk
Mailboxes Etc
61 Praed Street
London, W2 1NS
Tel: 0207 706 3666
info@mbepaddington.co.uk
UK - Larger Items
Aardvark Art Services Ltd
Tel: 01253 794 673
info@aardvarkartservices.com
UK & International - Larger Items
Stephen Morris Shipping
Unit 15, Ockham Drive
Greenford, Middlesex
UB6 0FD
+44(0)20 8832 2222
hannah@shipsms.co.uk
Crown Fine Art
Art Central, Union Court
20-22 Union Road
London, SW4 6JP
+44 (0)20 7732 7610
auctionteam.uk@crownww.com
A Van Man Transport
Unit 5, Benridge Park
Holyrood Close, Creekmoor
Poole, Dorset, BH17 7BD
Tel: 01202 600 012
office@avmt.co.uk
Gallery Support Group
Unit 4, 89 Manor Farm Road
Wembley
London, HA0 1BA
Tel: 020 305 307 53
info@gallerysupportgroup.com
Important Information
BUYER’S PREMIUM
The buyer shall pay the hammer price together with a premium, at the following rate, thereon:
26% up to £20,000
25% from £20,001 to £500,000
20% thereafter.
VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).
ADDITIONAL VAT
† VAT at the standard rate payable on the hammer price
‡ Reduced rate of 5% import VAT payable on the hammer price
Ω Standard rate of import VAT on the hammer price
Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.
No VAT is payable on the hammer price or premium for books bought at auction.
DROIT DE SUITE
§ indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than £1,000. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT.
More information on Droit de Suite is available at www.dacs.org.uk
BIDDING & PAYMENT
For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.
REGISTRATION
All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:
- Government issued photo ID (Passport/Driving licence)
- Proof of address (utility bill/bank statement).
We may, at our option, also ask you to provide a bank reference and/ or deposit. (Particularly for bidding on lots marked by the high value lot symbol )
By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).
CATALOGUE DESCRIPTIONS
All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.
IMPORT/EXPORT
Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.
ENDANGERED SPECIES
Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside Great Britain. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites
COLLECTION OF PURCHASED LOTS
Items will be available for collection from the Mall Galleries on Saturday 2nd November 10am - 3:30pm.
Following this, the works will be divided, with works belonging to Scottish buyers/vendors being stored at Lyon & Turnbull, 33 Broughton Place, Edinburgh EH1 3RR, and works belonging to international or rest-of-UK buyers/vendors moving to Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB6 0FD. Tel 0208 832 2222. Open 9am-5pm by prior appointment only.
Please ensure payment has been made prior to collection. This can be done online, by cheque, bank transfer or in person at our office - details will be shown on your invoice. Please note we are unable to take payments over the phone, and we are unable to accept payments in cash.
LONDON LOT COLLECTION
Items will be available for collection from the Mall Galleries on Saturday 2nd November 10am - 3:30pm.
Following this, items will be available to collect from Wednesday 6th November at 9am from Stephen Morris Shipping,
15 Ockham Drive,
Greenford, UB6 0FD.
Tel 0208 832 2222
They will be stored free of charge until Wednesday 20th November. From Thursday 21st November, clients will be charged by our storage partners. Insurance 0.25% (all items) | Smalls (paintings and objects) - £2.50 admin fee then £1.00 per day. Large or furniture pieces - £5.50 admin fee then £2.50 per day. Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB6 0FD. Tel 0208 832 2222. Open 9am – 5pm by prior appointment only.
EDINBURGH LOT COLLECTION
Scottish buyers and vendors items will be available to collect from Thursday 14th November at 9am from Lyon & Turnbull, 33 Broughton Place Edinburgh EH1 3RR. All collections must be by appointment only (this applies to both carriers and personal collections). Please book appointments by email at info@lyonandturnbull.com or telephone 0131 557 8844.
Terms & Conditions
UK - Conditions Of Sale For Buyers
These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.
Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales.
In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer.
Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (
