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Lot 73
λ A mixed group of jewellery, including: an abstract diamond ring, set with round brilliant-cut diamonds in white gold, total approximate diamond weight 0.85cts, size K, a diamond half hoop ring, set with six circular-cut diamonds in fluted white gold setting, stamped 18K, size K, a demantoid garnet pendant with a diamond-set bail and a mid 19th century coral and seed pearl oval brooch, length 3cm
Lot 582
An emerald, ruby, pearl and enamel plaque, late 19th/early 20th century, designed in the Renaissance Revival style, centring on a cluster of step-cut emeralds and cushion-shaped rubies, to an elongated plaque composed of abstract scroll work and foliate motifs applied with multicoloured enamel accented with pearls, mounted in silver gilt, length 9.6cm
Lot 388
A diamond cluster ring, designed as an abstract floral motif, centring on a brilliant-cut diamond weighing 1.25 carats within smaller brilliant-cut diamonds in stylised petal formations, mounted in white gold, total approximate diamond weight 1.71 carats, size N1/2, stamped 750 and D.1.71Accompanied by GIA report no. 2195686538, dated 20th September 2018, stating that the diamond weighs 1.25 carats, H colour, VVS2 clarity, no fluorescence.
Lot 431
A rare Rococo gold, enamel and chalcedony scent bottle/fob seal pendant, mid 18th century, modelled as a baluster vase in gold chased with abstract scrollwork, applied with floral festoons and lappets in multicoloured enamels, to a screw lid with suspension hoop, the base with a white chalcedony intaglio depicting a bearded warrior in profile, possibly Achilles, height 4.4cmCf.: two comparable Rococo scent bottles with carnelian intaglio bases, circa 1740-60, in the collection of the Victoria and Albert Museum, collection nos. 182-1864 and M.173&PART-1941
Lot 614
Φ Φ Stuart Devlin, a pair of gold ear clips. circa 1972, each of domed circular form, decorated with abstract human figures against a textured background in 18ct gold, 2.4cm diameter each, British hallmarks, date letter for 1972, sponsor's mark for Stuart Devlin, fitted case stamped Collingwood & Co.
Lot 511
Van Cleef and Arpels, an emerald and diamond demi-parure, comprising an abstract yellow ring set with graduated circular-cut emeralds and diamonds, signed Van Cleef & Arpels 6500 C.S with French control marks and maker's lozenge, size L, with a pair of similar emerald and diamond earrings in textured yellow gold, signed, with maker's lozenge and French control marks and London import marks for 1960, post and clip fittings, length 3.2cm, gross weight 41g
Lot 779
Gübelin, an emerald, natural pearl and diamond brooch, mid 20th century, centring on a step-cut emerald measuring approximately 10.3 x 8.9 x 4.5mm, within a surround designed as an abstract starburst, set with brilliant-cut and baguette diamonds, and pearls, mounted in platinum, length 8.3cmAccompanied by report number 25045 from GPL London dated 30th August 24 stating that the three largest pearls are natural saltwater, the largest measuring 6.6mm diameter, the remaining pearls untested
Lot 88
A collection of four brooches, 19th and 20th century, comprising: a late 19th century amethyst and seed pearl brooch, length 2.4cm, stamped 18CT; an early 20th century seed pearl and rose-cut diamond bar brooch, length 3.9cm; a gold and simulant pearl stick pin, length 7.2cm, French assay mark for 18ct gold, French maker's mark, base metal stopper; and a gold abstract cluster brooch set with turquoise cabochons and half pearls, length 2.6cm, detachable brooch fitting, pearls untested, case stamped Ogden
Lot 124
Norman Clark glass vase, flattened oval with abstract design, iridescent blue on red and yellow mottled ground, etched signature to edge of footrim, with Peter Dingley Gallery label verso, 17cm high From the collection of the late Maurice Costley Condition ReportOverall in good order, very minor surface wear.
Lot 335
Late 1960's/early 70's cotton maxi dress labelled 'Fashioned by Alexander Clare', empire waist with rather jolly psychedelic printed pattern in greens, oranges and yellows to the ruffled hem, ruffled square neckline, a full-length knitted skirt in bright pinks and purples, a full-length silk skirt in Liberty-style pattern, a matching jacket, skirt and scarf in red abstract pattern on grey ground, a Dreta apricot-coloured Safari-style shirt with matching scarf, and a 1970's black net with silver thread maxi dress, full skirt, full length sleeves, back zip fastening (7)
Lot 221
SIX UNGLAZED EARTHENWARE PIERCED WATER JUG FILTERS Fustat, Fatimid Egypt, 10th - 12th centuryComprising six unglazed, incised, and pierced filters, each of similar circular shape but different in size, once possibly used at the junction of the body and neck of unglazed jugs, set in the middle of raised, flared walls, the largest decorated with a sunburst medallion in-filled with an irradiating rosette; the smallest with an abstract interlaced stellar motif; and the remaining four with similar geometric patterns and strapwork motifs.The largest 10.5cm outer diameterThe smallest 4.5cm outer diameter Although several hundreds of such filters have survived, very few are still attached to their original, complete jugs, making scholars wonder how these filters were actually produced and inserted in the jugs. Oliver Watson suggests that each filter was probably cut from a flattened piece of clay, and semi-dried so that it would be strong enough to handle and set into the neck of a jug as the throwing proceeded (O. Watson, Ceramics from Islamic Lands, 2004, p. 132). The largest 10.5cm outer diameter, the smallest 4.5cm outer diameter Qty: 6
Lot 211
A Plan of Samuel Days House Yard Gardens and Orchard, QUAKERS/STANSTEAD: Two unique hand-coloured plans: 1- A Plan of Mr. Samuel Days- Houses, yard, gardens & orchard. Situated in the parish of Stansted in Essex. Mounted, framed & glazed; 2- A Plan of several pieces of land & buildings. Situated in the parish of Stanstead Mountfitchet, Birchanger, & Ugley, in Essex, belonging to Mr. Samuel Day, and dated 1703. Mounted, framed & glazed; Plus: An Abstract of the Sufferings of the People call'd Quakers, vols. 1 & 3 only. 1733 & 1738. Cont. full leather; rubbed; Table in vol.1 torn, with loss. (4)
Lot 51
*SUSHILA SINGH (1904-1999) A coastal town at night, signed lower right, oil on board, 55.8cm x 76.2cm, Framed dimensions: 60cm x 80cmNote: An overlooked painter, muralist and wood engraver, Sushila Singh was born in India and studied at Hornsey School of Art and the Royal College of Art, graduating in 1929. Her early work was surrealist, her later work was more abstract with a near dream-like quality and is only now being properly appreciated.She took part in many shows including by the Arts Council’s ‘Committee for Encouragement of Music and the Arts’ (CEMA) during the Second World War and in public galleries including in Bradford, Leeds and Wakefield; her work is held in many galleries. She lived in Bournemouth and was married to the decorative artist Arthur Henry Andrews (1906-1966).
Lot 55
WALTER WHALL BATTISS (1906-1982) 'Nose Man', signed and numbered 3/25 in pencil lower left, silkscreen in colours, 44cm x 57cm,Framed dimensions: 63.2cm x 74.5cmNote: Walter Battiss, whose work draws on his interest in archaeology, prehistory, and African rock art, has earned a reputation as one of South Africa’s most celebrated abstract painters. Unlike many South African artists, Battiss did not study overseas but instead researched the artistic traditions of local Indigenous peoples; he later travelled to Greece, the Seychelles, Madagascar, Fiji, and other islands around the world. In the 1970s, Battiss created his imaginary “Fook Island,” a utopia that fused elements of the islands he visited. Battiss conceptualised an entire society located on the make-believe island, including maps, sketches of inhabitants, taxonomies of local plants, and even currency, stamps, and driver’s licenses, which he created and exhibited with other African artists. Although not intended as a straightforward political statement, Fook Island can be interpreted as an alternate reality compared to South Africa’s then apartheid state.
Lot 134
*FRANK PHELAN (1932-2023) 'I Denizen, 22/1/06', abstract composition in blues, mixed media on paper, titled verso, 55cm x 74cm, Framed dimensions: 71.5cm x 84cmProvenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024).Note: Born in Dublin, Frank Phelan was educated by the Christian Brothers and in Tipperary at Rockwell College, before studying at The Royal Architectural Institute of Ireland. He then worked as a draughtsman in a Dublin firm of structural engineers until 1953, when he, his father and his brother Brian emigrated to Canada. For six years, he worked in Ontario at various jobs while taking classes at the Doon School of Fine Arts in Kitchener.Around 1959, he returned to Ireland briefly before moving to London, where he lived with the sculptor Frank Morris. He found work as a stagehand at Joan Littlewood’s innovative Stratford East Theatre, and designed sets for the Unity Theatre and for Charles Marowitz’s Open Space Theatre Company. His theatre contacts eventually led to an introduction to Nancy Wynne-Jones, who invited him to be an artist-in-residence at Trevaylor, the Georgian house at Gulvel, near Penzance she had converted to a kind of artist’s colony.It was here that Phelan befriended the painter Tony O’Malley, who introduced him to many of the key figures in the early St Ives circle, including Roger Hilton, Bryan Wynter, Patrick Heron and Conor Fallon. Phelan also was particularly impressed by the work of Peter Lanyon. Throughout the decade, he worked between Cornwall and a rented studio off the Fulham Road, developing highly abstracted, compositional style.By 1966, he had had his first solo show of paintings at the Traverse Theatre in Edinburgh, organised by Richard Demarco. This partnership was one of the most fruitful of his early career, and he also showed his work at Demarco’s inaugural exhibition in Glasgow, in another solo show the following year at Demarco’s Edinburgh gallery, and in several important group shows, including an exhibition of contemporary British painting and sculptors at the Museum of Modern Art, Warsaw.During the past two decades and up to his death in 2023, Phelan re-engineered and re-energised his style and technique, exhibiting new works in Dublin, Cork London, Bath, Provence, Granada, and of course, St Ives. His paintings and mixed media works are now in private collections in England, Ireland, France, the United States, as well as in State Collection of Ireland (OPW) and the Cork Institute of Technology & Arts.
Lot 135
*FRANK PHELAN (1932-2023) ‘Sursum Corsa (Lift Your Heart)’, 2003, abstract composition, mixed media on paper,56cm x 74.5cm, Framed dimensions: 71.5cm x 85.5cm'Sursum Corda' is the motto of the Royal Brompton Hospital, where the artist underwent heart surgery, Provenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024).Note: Born in Dublin, Frank Phelan was educated by the Christian Brothers and in Tipperary at Rockwell College, before studying at The Royal Architectural Institute of Ireland. He then worked as a draughtsman in a Dublin firm of structural engineers until 1953, when he, his father and his brother Brian emigrated to Canada. For six years, he worked in Ontario at various jobs while taking classes at the Doon School of Fine Arts in Kitchener.Around 1959, he returned to Ireland briefly before moving to London, where he lived with the sculptor Frank Morris. He found work as a stagehand at Joan Littlewood’s innovative Stratford East Theatre, and designed sets for the Unity Theatre and for Charles Marowitz’s Open Space Theatre Company. His theatre contacts eventually led to an introduction to Nancy Wynne-Jones, who invited him to be an artist-in-residence at Trevaylor, the Georgian house at Gulvel, near Penzance she had converted to a kind of artist’s colony.It was here that Phelan befriended the painter Tony O’Malley, who introduced him to many of the key figures in the early St Ives circle, including Roger Hilton, Bryan Wynter, Patrick Heron and Conor Fallon. Phelan also was particularly impressed by the work of Peter Lanyon. Throughout the decade, he worked between Cornwall and a rented studio off the Fulham Road, developing highly abstracted, compositional style.By 1966, he had had his first solo show of paintings at the Traverse Theatre in Edinburgh, organised by Richard Demarco. This partnership was one of the most fruitful of his early career, and he also showed his work at Demarco’s inaugural exhibition in Glasgow, in another solo show the following year at Demarco’s Edinburgh gallery, and in several important group shows, including an exhibition of contemporary British painting and sculptors at the Museum of Modern Art, Warsaw.During the past two decades and up to his death in 2023, Phelan re-engineered and re-energised his style and technique, exhibiting new works in Dublin, Cork London, Bath, Provence, Granada, and of course, St Ives. His paintings and mixed media works are now in private collections in England, Ireland, France, the United States, as well as in State Collection of Ireland (OPW) and the Cork Institute of Technology & Arts.
Lot 187
*KITTY HILLIER (b. 1984) Untitled, 2008, abstract composition, signed and dated in pencil verso, mixed media on plywood panel, with incised work throughout, 122cm x 106.5cm, Note: Born in Londoin 1984, Kitty grew up in rural Somerset. After completing her Foundation year at Falmouth Art School she gained a 1st class honours degree in Fine Art Painting at Bath School of Art in 2007. She won the Reveal Emerging Artist Award in 2009 and was awarded the SAW Abundance Commission in 2013, which included a two week residency at Stroud Valley Arts and site-specific installation at Cannington Gardens.In 2019 she was selected by Hospital Rooms to make two works for the MBU Exeter visitor flats, and in 2020 she became a co-director of CAMP, a member-led network for the creative and visual arts community in Cornwall and Devon. During lockdown, Kitty launched @artinthewindow, using the old shop window of her home to show other artists work, and she ran a drawing group (online and IRL) @pubsketching, encouraging everyone to discover the benefits of exploring experimental mark-making with the simplest of materials. With her non-directive approach to teaching, Kitty regularly leads workshops for the Youth Programme and adults at St Ives School of Painting; these sessions often lean towards building confidence, slow looking and loosening up, as Kitty shares parts of her own process of abstraction and belief in the importance of play.Selected as one of three artists to work on researcher and filmmaker Rachael Jones’ project: Moving Landscapes, and the Doorstep Residency in 2021, Kitty has most recently exhibited work at Grays Wharf, Newlyn Art Gallery Picture Room, Exeter Phoenix 333 Gallery and with ALMA at Newquay Orchard.Kitty lives and works from a studio at Islington Wharf, Penryn. Her work is held in private and corporate collections internationally.
Lot 210
FUTURA (LEONARD HIILTON MCGURR) (FKA FUTURA 2000) (b. 1955) 'The 4 Elements', 2019, a complete set of 4 screen prints in colours on 300gsm Somerset Satin archival paper, all signed and numbered 37/100 in pencil to the margin, published by Urban Spree,sheets: 50 x 50cm each,Framed dimensions: 53cm x 53cm each (4)Note: Futura (American, b.1955), the pseudonym of Lenny McGurr, is a Graffiti Artist best known for his Abstract approach to Street Art. Born in New York, he began painting on the subway system as a teenager in the early 1970s, and over the course of his career was associated with the groups 3YB, CIA, FBI, Interpol, and KGB. While other Graffiti artists of the 1970s and 1980s focused on lettering, Futura 2000 was unique in his Abstract style. In the 1980s, he began to work on canvas, and exhibited along with American artists Keith Haring (1958–1990), Jean-Michel Basquiat (1960–1988), and Kenny Scharf (b.1958).In 1981, he painted the backdrops for The Clash’s European tour and designed the sleeve for their This Is Radio Clash single, and in 1982, hand wrote the sleeve notes and lyrics sheet for their Combat Rock album. He continued to tour with the band and spray paint backdrops during the performances. More recently, Futura has transitioned into working as a graphic and commercial artist. He has worked with companies such as Nike, Recon, and Medicom Toy, and designs clothing for his label Futura Laboratories. His work has been exhibited at MoMA PS1 in New York, the Grotinger Museum in the Netherlands, and the Gallery Du Jour in Paris. He lives and works in New York.
Lot 117
*JOHN HOUSTON (1930-2008) 'The Dance', 1984, figural study, signed lower left, further signed, dated and titled verso, oil on canvas, 45cm x 55cm, Framed dimensions: 56.5cm x 67cmProvenance: Purchased from Mercury Gallery, Cork Street, St James's, London, October 24th 1984, for £675, Note: Born in Fife, Houston studied and subsequently taught at Edinburgh College of Art. He retired in 1989, after having been departmental head of the painting school and director of the post-graduate department. The style of his early paintings was expressive and semi-abstract, but in the late 1960s his paintings became more atmospheric, influenced by Turner and American Abstract Expressionism. One of Houston's favourite subjects was the sea as he was captivated by its restless energy. He was married to the Scottish artist Dame Elizabeth Blackadder.
Lot 20
§ Jean-Claude Novaro (1943-2015), a large art glass vase, of baluster form and polychrome decorated and modelled in high relief with trailing abstract filament design, etched signature and dated 1989 to underside43cm highProvenance: Collection of the late Samuel Alper, OBE (1924-2002)In good condition, with no apparent damages or repairs.
Lot 50
Two artist designed ceramic plates, to include: Patrick Caulfield for Wedgwood, Ipanema, a bone china plate decorated with an abstract wave pattern in blue, yellow and black, commissioned by The National Art Collections Fund and Wedgwood, stamped marks to underside, 31cm diameter; and Norman Ackroyd, Buildwas Abbey, Shropshire, a bone china plate printed in monochrome with a design of a building, commissioned by the Royal Academy of Arts, stamped marks to underside, boxed, 27cm diameter
Lot 504
§ Patrick Heron CBE (1920-1999) FIVE REDS, FOUR DISCS : MAY 1965signed, titled and dated May 1965 to the reverseoil on canvas122 x 132cm Exhibited:Private Collection (via Waddington Galleries, London and Richard Demarco Gallery, Edinburgh), September 1966With Waddington Galleries, London August 1967Private collection, CambridgeExhibited:New York, Bertha Schaefer Gallery, Patrick Heron: New Oils, 4-23 October, 1965, cat. no.9Edinburgh, Richard Demarco Gallery, Inaugural Exhibition, August-September, 1966, cat. no.73We are grateful to Dr Andrew Wilson for his assistance in cataloguing this work and for compiling the catalogue note.The Patrick Heron Trust is in the process of researching the forthcoming catalogue raisonné of the artist’s work and would like to hear from owners of any works by Patrick Heron, so that these can be included in this comprehensive catalogue. Please write to the Patrick Heron Trust, c/o Cheffins, 1-2 Clifton Road, Cambridge CB1 7EA or email fine.art@cheffins.co.uk Patrick Heron was a pioneering British abstract painter of the second half of the 20th century, his aesthetic position was grounded firmly within European sensibilities through which he engaged with the achievements of French artists such as Henri Matisse, Georges Braque and Pierre Bonnard, yet also responded to the possibilities of new approaches to abstraction he recognised both in American abstract expressionism and in the work of British artists of his own generation.FIVE REDS, FOUR DISCS : MAY 1965 occupies a significant position in Heron’s oeuvre, and was included in his third solo exhibition in New York at the Bertha Schaefer Gallery. Each of his three exhibitions in New York – in 1960, 1962 and 1965 – offered both a response to the possibilities he at first recognised in new American abstract painting after 1956 and a challenge to what he saw increasingly as its shortcomings. The paintings that were included in his 1965 New York exhibition stand in high contrast to American ‘post-painterly’ abstract painting typified by the airbrushed open colour fields of Jules Olitski or the stained symmetrical compositions of Kenneth Noland, and reveal the degree to which Heron was expanding the possibilities of abstract painting.Limiting the composition of this painting to four disc shapes and the colour to five different reds underlines how Heron created compositional and spatial complexity out of comparatively simple means. These colours and shapes are arranged within planes parallel to the picture surface expressed through drawn lines that define the interacting colour areas. The ways in which these colour shapes interact is how an active pictorial illusion of space is created that contradicts the flatness of the canvas surface itself. Each colour shape for Heron is just that, interacting with each other shape as a fully realised compositional unity and not in the way the hierarchy of a traditional figure/ground relationship might work. The illusion of space is active because it changes along with the colour relationships, shifting and altering in character as the viewer’s eyes move over the canvas led by line, colour and shape. Brush marks offer visible traces of the act of painting rather than just mark down paint literally as colour – adding further spatial complication to the colour-relationships he has created. FIVE REDS, FOUR DISCS : MAY 1965 is a painting animated by the interaction of colour within a complex composition that creates space, playing equally on the eye and the emotions.The unlined canvas is attached to a wooden stretcher with two vertical cross bars. The canvas tension is adequate and the painting is generally in plane. Water staining is evident on the reverse of the picture and this has affected the paint layers. Flaking and loss has occurred at the top and bottom edges, where moisture has been retained by the stretcher bars behind. The flaking has been recently stabilised to prevent further loss to the original paint. There are other localised areas of cracked and raised paint in the main composition. Water drips are evident on the surface, in the lower circle, this has affected the paint layers, revealing the white ground below. There is also dark staining, possibly mould, which has formed along the brushstrokes of the lower circle and upper right orange section. There is a white, sparkly haze across the surface of the unvarnished painting, which is likely a bloom caused by damp conditions.
Lot 634
Jatin Das (1941-) Untitled abstract, 1968signed (lower left)oil on canvas103 x 75cmFurther signed and dated 68 to the reverse. The top edge with a small loss, lower left quadrant with a network of fine drying cracks and areas of raised and flaking paint which should be secured. Colours are bright and strong, canvas is in plane with good tension.
Lot 70
§ Derek Davis (1926-2008), a cylindrical vase, the stoneware body rising from a circular foot to an irregular rim, externally glazed with an abstract design in blue and copper, signed to underside, 17.5cm high; together with a smaller footed stoneware vessel, of similar form and glazed in shades of blue, purple and green, signed to underside, 7.5cm high (2)Provenance: The collection of Quentin StevensonThe larger vase with a very small nick to the rim and another to the undersid eof the footrim. The smaller vase in good condition noting some crazing.
Lot 373
An unusual contemporary wool carpet in the style of The Memphis Group, the thick pile of abstract design and irregular shape, the main field in black with white lines and speckles, and with borders to two sides, one grey the other teal bluereputedly originally commissioned for use on a film setapproximately 245 x 213cmSuper condition with no obvious signs of wearA few small stains in the teal border(probably tea/coffee)High quality and very densely woven with a deep pile which is soft under foot
Lot 61
§ Louis Hanssen (1934-1968), a stoneware bowl, of compressed circular form, decorated with two opposing sgraffito panels over a tenmoku and cream mottled glaze, 14cm high; together with a smaller bowl, reputed to be his first, of circular form, and glazed in metallic grey and painted with abstract floral forms, incised '01' to underside, 8cm high (2)Provenance: The collection of Quentin Stevenson
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