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Lot 309
Margaret Mellis (b. 1914). Red Oblong, 1994. signed, inscribed and dated on the reverse painted marine ply and salvaged wood construction. 69 x 42cm overall. Provenance: Acquired directly from the artist by Dudley Pollack, the South African interior designer. Margaret Mellis (b.1914, China). Painter, sculptor, relief and collage maker. Educated in Edinburgh and attended The Edinburgh College of Art, tutors included Hubert Wellington and S J Peploe. Moved to St Ives in Cornwall in 1939 and became part of the artists' colony where she was influenced by Nicholson and Gabo and adopted a Constructivist style. After the war, and a short period spent living in France, she returned to Southwold, Suffolk where she used driftwood and other objects in her work
Lot 117
DDS. Joe Tilson, RA (British, b.1928) Clip-o-matic Breast, signed upper left "Joe Tilson 1971" and numbered 16/120, colour screenprint with collage, 70 x 49cm. Joe Tilson initially worked as a carpenter and joiner from 1944 to 1946, before carrying out his National Service in the RAF until 1949. He went on to study at St Martin's School of Art, London from 1949 to 1952 and at the Royal College of Art, London from 1952 to 1955 where he received the Rome Prize, taking him to live in Italy in 1955. He returned to London in 1957, and from 1958 to 1963 he taught at St Martin's School of Art, and subsequently at the Slade School of Fine Art, University College London, Kings College, Newcastle upon Tyne, The School of Visual Arts, New York and the Hochschule fur Bildende Kunste, Hamburg
Lot 530
Richard Hamilton (b. 1921) Just what is it that makes today's homes so different, so appealing? Colour reproduction Signed in pencil lower right Inscribed 'John's proof' lower left, S. 26 x 25 cm The original collage for this image is remembered as the first work of Pop Art, as was originally conceived as both an illustration for the catalogue, and a poster for the exhibition 'This is Tomorrow'. Hamilton found the caption used for the title amongst magazine clippings used for the collage. The use of the word 'Pop' on the lollipop is concievebly the first use of an art movement's title on a corresponding embronic image.
Lot 613
Follower of Henri de Toulouse-Lautrec 1864-1901- Circus scene; hand-coloured lithograph, 25x18cm: After Andre Edouard Marty 1882-1974- La Marseillaise; pochoire in colours, signed, 19.7x19.7cm: Jean Auscher, French 20th century- "La Carojo Santo"; hand-coloured aquatint, signed within the plate, 20x19cm: Robert Farley, late 20th century- "The Players, 19 October 1981 Per palmam ad palmas"; gouache and collage, original design for menu card for a dinner held by the Real Tennis touring team of the Saville and the Jeu de Paume de Bordeaux at The Players, New York in October 1981, 29x20cm: 20th Century School- "Miss Leonard"; pencil and gouache and watercolour, inscribed: together with one other costume design by a different hand inscribed 'Mr Vincent' and 'SK-69', (a lot)
Lot 105
Francis Davison (British, 1919-1984) The Garden collage 99 x 102cm Exhibited: The Garden National Painting Competition (according to an old label on the reverse) Francis Davison started his career as a poet, after graduating from Cambridge University. In the late 1940s he went to stay with Patrick Heron, an old schoolfriend, who was living in St Ives in Cornwall, and Heron encouraged him to paint. Francis Davison's landscapes and collages of the Cornwall coast and later the Suffolk countryside, where he moved with his wife, the artist Margaret Mellis, show his strong sense of colour and line. Davison always used found and used paper for his collages. Francis Davison will place as one of the major British abstract colourists of the 20th Century.
Lot 460
Golf - Hutchison, Robert An original watercolour, ink and gilt collage for a presentation poster to Robert Hutchison. Glasgow: Maclure, Macdonald & Co, 10th Dec. 1907, 46cm by 58cm high, 17 lines of text with 14 signatures below, with watercolour vignettes of players on Prestiwick golf course; players at St. Andrews; female golfer on unnamed course, two photogravure insets of Robert Hutchison and the Hutchison, Main & Company factory premises, all within a decorative watercolour and gilt border, framed Note: In the late 19th century the popularity of golf was on the increase. The introduction of a new rubber-cored ball in 1898 by Coburn Haskell of Cleveland, Ohio - a tension-wound rubber thread around a solid rubber core that would fly and roll farther than a gutty that could be hit with ease and gave its striker a greater sense of power - would dramatically change the game. Allowing older players to strike balls with ease, even allowing women and children to enjoy the game, the rubber cored ball began to dominate the market. The Haskell Golf Ball Company held the patent for the new design and it was not until a House of Lord's judgement in 1907, after a 21 day court case between Haskell and the Glasgow rubber manufacturer Robert Hutchison, of Hutchison, Main & Company, struck down the patent and allowed all golf ball manufacturers to produce this cheaper more durable and aerodynamic golf ball, making them available to all from as little as 2/- each. This poster is a presentation from the staff of Hutchison, Main & Company congratulating Robert Hutchison on his victory over the American manufacturers, "we... do herby record our high appreiciation of the sterling business qualities which you have so consistently displayed, and the physical and moral aptitude requisite to defend the unreasonable demands made on you by the Haskell Golf Ball Company... and to bring to a successful issue the prosecution raised by them against you... judgement in your favour was confirmed in the House of Lords, their unanimous judgement being a final and fitting end to foreigners' persistent prosecution." This was not only a victory for Hutchison, Main & Co but for golf players in general as the market broadened and prices became more competitive, "the great body of golfers, on whom, by the verdict, you have conferred an everlasting benefit, will show their appreication of your good work by giving your manufactures that patronage they so justly deserve."
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