Dreweatts 1759 | Dame Stephanie Shirley CH: A Legacy shaped by Technology, Philanthropy and Art

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WATCH THE VIDEO | Martha Lane Fox reflects on the remarkable legacy of Dame Stephanie Shirley CH

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Auction date(s): Mar 10

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λ HELEN RIDEHALGH (BRITISH, B.1943), MALE TORSO

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ARNE JACOBSEN (DANISH, 1902-1971), 'EGG' CHAIR AND OTTOMAN, DESIGNED IN 1958; 2014

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PIER GIACOMO AND ACHILLE CASTIGLIONI (ITALIAN, 1913-1968, 1918-2002), 'ARCO' FLOOR LAMP

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λ SARAH ALLEN (BRITISH, B.1975), AN 'ECLIPSE' WALL MIRROR

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240 GBP

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λ SHONA KINLOCH (SCOTTISH, B.1962), MAN WITH FISH

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600 GBP

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1,000 - 1,500 GBP

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λ NICK ALLEN (BRITISH, B.1952), A 'WAVE' SIDE CABINET, EARLY 21ST CENTURY

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1,800 GBP

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2,000 - 4,000 GBP

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λ STEVE FOLLEN (BRITISH, B.1967), THREE VESSELS, CIRCA 1996

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120 GBP

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200 - 300 GBP

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λ NICK ALLEN (BRITISH, B.1952), AN ASYMMETRIC CORNER CHAIR

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180 GBP

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300 - 500 GBP

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λ CARYN MOBERLY (BRITISH, 20TH/21ST CENTURY), A PAIR OF LEAF-SHAPED CANTERBURIES, 1999

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240 GBP

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400 - 600 GBP

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λ JEREMY ANNEAR (BRITISH, B.1949), METRO BEAT II (PARIS)

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1,800 GBP

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2,000 - 4,000 GBP

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λ LAURENCE EDWARDS (BRITISH, B.1967), CROUCHING MAN MAQUETTE

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420 GBP

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700 - 1,000 GBP

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λ LAURENCE EDWARDS (BRITISH, B.1967), STANDING FIGURE

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600 GBP

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1,000 - 1,500 GBP

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Auction date(s): Mar 10

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λ WILLIAM TUCKER (BRITISH, B.1935), AFTER MATISSE I

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1,000 GBP

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1,200 - 1,800 GBP

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Auction date(s): Mar 10

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λ PABLO PICASSO (SPANISH, 1881-1973), PICHET ESPAGNOLE

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9,000 GBP

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10,000 - 15,000 GBP

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Auction date(s): Mar 10

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λ JOHN PIPER (BRITISH, 1903-1992), FOLIATE HEAD

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350 GBP

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600 - 800 GBP

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Auction date(s): Mar 10

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λ JOHN PIPER (BRITISH, 1903-1992), FLOIRAC

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350 GBP

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600 - 800 GBP

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Auction date(s): Mar 10

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1,300 GBP

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1,500 - 2,500 GBP

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Auction date(s): Mar 10

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λ KIM LIM (SINGAPOREAN/BRITISH, 1936-1997), PADMA III

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13,000 GBP

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15,000 - 25,000 GBP

λ KIM LIM (SINGAPOREAN/BRITISH 1936-1997) PADMA III Portland stone Signed with monogram and dated '85 (to top of base); further signed with monogram (to underside of upper section) 45 x 22cm (17½ x 8½ in.) This work is unique. Provenance: Bohun Gallery, Henley-on-Thames Acquired from the above in 2001 Exhibited: London, Camden Arts Centre, Kim Lim , September-November 1999 Coventry, Mead Gallery, Warwick Arts Centre, November-December 1999 In 1953, Kim Lim travelled from Singapore to London to study wood carving at Central Saint Martins under the tutelage of Sir Anthony Caro. By 1956, Lim had enrolled at the Slade School of Fine Art, where she studied sculpture and printmaking. Her body of work explores two-dimensional design and its relationship to three-dimensional form, often beginning with etchings that later inspired sculptural works executed in a range of materials, including wood and metal. Lim held her first solo exhibition in 1966 at Axiom Gallery in London, showcasing a breadth of works that explored form, space, and tactility. Her working process allowed her to develop ideas on a small scale before translating them into large-scale installations. In 1972, Lim released her Ladder series, which comprised etchings of repeated patterns alongside large-scale wooden ladder sculptures. These works encouraged viewers to explore the negative space created through repetition in both printmaking and sculpture. "I would like my work to be able to infer experiences beyond the piece itself. Infer rather than refer to something specific and particular." Kim Lim Rather than presenting immediately recognisable objects or forms, Lim invited viewers to find their own interpretations by projecting their emotions and personal responses onto the work. This approach to artistic practice is comparable to that of her husband, William Turnbull, whom she married in 1960. The work of which is also included in Dame Stephanie Shirley's collection. Turnbull and Lim travelled extensively together, sharing encounters with diverse cultures that ultimately influenced both of their artistic practices. Despite these shared experiences, the couple maintained separate studios at their family home in London and worked independently. Lim was a female sculptor working within an male-dominated artistic environment. Against this backdrop, her inclusion in the 1977 Hayward Annual exhibition, organised by the Arts Council of Great Britain, is particularly significant. Lim was the only female artist represented, exhibiting alongside male contemporaries such as William Turnbull, Anthony Caro, Frank Auerbach, Patrick Caulfield, and John Hoyland. However, the exhibition's selection committee included Lim's husband, Turnbull. " Being female and foreign was never a problem as a student. Later, I realised that there was a difference, but what was important in the end was what I did and not where I came from. Race and gender were givens I worked from. Perhaps the work does reflect this- which is fine-but I did not want to make them an issue. The sense of not belonging felt a little isolating at times, but it had the compensating element of freedom, a certain feeling of detachment from which one could view both East and West ." Kim Lim Lim actively resisted categorisation, particularly in relation to her heritage, and did not wish for her work to be interpreted primarily through the lens of foreignness or gender. In 1989, she declined an invitation to participate in The Other Story: Afro-Asian Artists in Post-War Britain at the Hayward Gallery, an exhibition intended to highlight artists overlooked due to Britain's colonial legacy. The exhibition featured artists such as Francis Newton Souza, Balraj Khanna, Anwar Shemza, and Aubrey Williams. Lim's refusal stemmed from her desire not to be "othered." In 1979, the Roundhouse Gallery staged a retrospective exhibition of Lim's extensive body of work. Following this exhibition, Lim turned her attention exclusively to stone carving, inspired by the Taoist concept of Wu Wei , which simply encourages one to let nature to take its course without interruption. This philosophy became increasingly evident in her practice through references to the natural world and a celebration of elemental forces and their role in shaping society and culture. The present work titled Padma III sculpted from Portland stone was produced during this period in 1985. Lim carved each sculpture by hand using manual tools and without studio assistants. The stone has been gradually carved away to reveal every layer of its organic matter including the natural imperfections. Lim's emphasis on simplicity of form serves to highlight the power of the material itself, allowing viewers to reflect on their own responses. ' There was nothing but her and her conviction ' Bianca Chu, Sculpting Lives Podcast, 2020 Lim frequently drew upon mythological and cultural references when titling her works providing an abstract narrative to each work of art, such as Pegasus (1962) and Kudah (1989). In this case Padma means lotus flower in Sanskrit and symbolises purity and enlightenment in Hinduism. The lotus is also associated with Hindu deities such as the goddess Lakshmi, who is often depicted standing on a lotus flower and symbolises wealth and purity. Following the 1979 retrospective at the Roundhouse Gallery, the next major exhibition of Lim's work did not take place until after her death, at Camden Art Centre in 1999. Although Lim's work entered national collections during her lifetime, following her death in 1997 her reputation required renewed recognition. Recent solo exhibitions at Tate Britain in 2020 and the Hepworth Wakefield in 2024 have helped to reignite critical discussion of Lim's work and reaffirm her significant position within the post-war British artistic canon. Additional Quote " Rhythm is another preoccupation of mine - the physicality of the feeling of rhythm makes it very sculptural for me. Using it by repeating a form, a rhythm is built up which adds to the resonance of a piece... using rhythm as a pulse - like a bridge in space ." Kim Lim Condition Report: The sculpture has a repaired corner to the lower section of the work, this is the right hand corner of the face with two incised lines. There is a further very small repaired chip to the base of the lower section (visible in the catalogue illustration as a small white mark). There is some slight overall surface dirt, especially to the edges. Otherwise the work appears to be in good overall condition. A conservation report is available for this work, please contact the department. Condition Report Disclaimer

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

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λ WILLIAM TURNBULL (BRITISH, 1922-2012), SMALL FEMALE FIGURE

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90,000 GBP

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100,000 - 150,000 GBP

λ WILLIAM TURNBULL (BRITISH 1922-2012) SMALL FEMALE FIGURE Bronze Signed with monogram and numbered 1/6 (to base) Height (including base): 144cm (56¾ in.) Conceived in 1993. Provenance: Bohun Gallery, Henley-on-Thames Acquired from the above in 1998 Literature: Amanda Davidson, The Sculpture of William Turnbull , Henry Moore Foundation and Lund Humphries, 2005, p. 186, no. 290 Small Female Figure encompasses William Turnbull's exploration of abstraction through the medium of bronze. The tall, slender figure is reduced to its essential components: a small circular disc representing the head sits upon an elongated rectangular torso with arms protruding laterally like handles. The base of the sculpture anchors the form and grounds the figure. The pared-back features eliminate any specific identity or narrative, encouraging the viewer's attention to the richly worked surface inviting close engagement and exploration of texture and tactility as intended by the artist. The work builds on imagery initially explored in Turnbull's Idol series in the 1950s which explored Cycladic motifs and Ancient totemic forms driven by his interest in anthropology, in particular Ancient civilisations. Turnbull frequently visited the British Museum for inspiration and a genuine eagerness to learn. " I just thought it was the most extraordinary place, the further back the exhibits were, the more modern they looked ." William Turnbull in conversation with Colin Renfrew, Waddington Galleries, 6 May 1998 Following enrolment and active service as a pilot in the RAF during the Second World War Turnbull went on to study sculpture at the Slade School of Fine Art in 1946 initially to study painting before transferring to sculpture under the tutelage of Eduardo Paolozzi. These early years serving in the RAF were to influence his approach to art. He had seen the world from a unique perspective and encouraged him to explore how meaning is applied to objects, spatial awareness and a viewer's experience. " the world didn't any longer look like a Dutch landscape: it looked like an abstract painting. You looked down and you realised that so much of what one felt was true depended upon where you were standing to look at it. " William Turnbull in conversation with Colin Renfrew, Waddington Galleries, 6 May 1998 In 1947, Turnbull moved to Paris where he encountered some of the most influential artists of the twentieth century, including Constantin Brancusi and Alberto Giacometti, whose work would remain a significant source of inspiration throughout his career. However, William Turnbull remained fiercely independent throughout his career, resisting alignment with any single artistic movement. Rather than subscribing to a fixed aesthetic, he drew selectively from diverse cultural sources, ancient traditions, and contemporary artistic circles to forge a distinctive approach to sculpture and painting, rejecting the narrative constraints of Greco-Roman classicism and resisting pure abstraction. "I have always been very interested in this idea of metamorphosis. Ambiguity can give the image a wide frame of reference [which] creates cross-reference between something that looks like an object and that looks like an image. For me in making sculpture there is always that tension." William Turnbull in conversation with Colin Renfrew, Waddington Galleries, 6 May 1998 Turnbull viewed art as a universal language, capable of communicating meaning beyond social or cultural boundaries. Through simplified forms and symbolic abstraction, his work invites individual interpretation in which the viewer must play an active part, allowing each object to convey multiple readings while retaining a shared sense of human connection. In 1960, Turnbull married Singaporean-born artist Kim Lim, the couple travelled extensively across Asia and the Americas. This active engagement in ranging cultures, religious sites, experiences and ideas can be seen through Turnbull's ranging subject matter and experimentation with materials such as steel, Perspex and fibreglass. Following his retrospective exhibition at the Tate Gallery in 1973 Turnbull made the decision to reignite his fascination with the process of bronze casting and return to previously explored subject matter, such as Idols that he wished to explore further. Small Female Figure by William Turnbull was purchased by Dame Stephanie Shirley in 1998 from the Bohun Gallery in Henley-on-Thames. Executed in 1993, the work was intended to be viewed frontally to dominate and radiate across the space. In Dame Shirley's residence, the work was displayed against the wall at the far end of the upper landing, a placement that emphasised its intended visual dominance. Beside the sculpture was Kim Lim's Padma III , purchased a few years later in 2001, also from the Bohun Gallery. Padma III was poised on a bureau overlooking Turnbull's Small Female Figure . While Dame Shirley's precise intentions in arranging these works remain unknown, the placement invites a compelling dialogue between the two sculptures, created by husband and wife. Both sculptures were completed during latter half of each artist's career, the works are self-assured and reflect the culmination of many years of experimentation with materials and techniques, as well as extensive shared travel in search of inspiration and guidance. A shared sense of confidence and resilience, strengthened by their proximity. Condition Report: The sculpture appears to be in very good condition. Please note that the illustration in the catalogue, shows the back of the work. For further images please contact the department. Condition Report Disclaimer

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

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λ GEOFFREY EASTOP (BRITISH, 1921-2014), FIGURAL VASE

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120 GBP

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200 - 300 GBP

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λ BETTY BLANDINO (BRITISH, 1927-2011), OVOID VASE

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240 GBP

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400 - 600 GBP

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λ KEN EASTMAN (BRITISH, B.1960), VESSEL, 1998

22

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350 GBP

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600 - 800 GBP

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λ JOANNA CONSTANTINIDIS (BRITISH, B.1927), VASE

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120 GBP

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200 - 300 GBP

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λ JESSIE HIGGINSON (BRITISH, 20TH/21ST CENTURY), VESSEL

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90 GBP

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150 - 200 GBP

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λ KEN EASTMAN (BRITISH, B.1960), VESSEL, 1996

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350 GBP

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600 - 800 GBP

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GIO PONTI (ITALIAN, 1891-1979), A 'PIRELLONE' FLOOR LAMP, DESIGNED IN 1967, EARLY 21ST CENTURY

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240 GBP

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400 - 600 GBP

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λ JIM RATTENBURY (BRITISH, B.1947), MEDALLION

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150 GBP

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250 - 350 GBP

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λ NICK ALLEN (BRITISH, B.1952), A KIDNEY-SHAPED OTTOMAN, 2002

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240 GBP

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400 - 600 GBP

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λ NICK ALLEN (BRITISH, B.1952), 'POM POM' FLOOR LIGHT, 1999

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350 GBP

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600 - 900 GBP

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Auction date(s): Mar 10

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λ NICK ALLEN (BRITISH, B.1952), A PAIR OF PEDESTAL BEDSIDE CABINETS, 2001

30

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240 GBP

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400 - 600 GBP

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Auction date(s): Mar 10

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VICO MAGISTRETTI (ITALIAN, 1920-2006), 'MARALUNGA' TWO-SEATER SOFA

31

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480 GBP

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800 - 1,200 GBP

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Auction date(s): Mar 10

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λ IVON HITCHENS (BRITISH, 1893-1979), DARK AND LIGHT POPPIES

32

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60,000 GBP

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70,000 - 100,000 GBP

λ IVON HITCHENS (BRITISH 1893-1979) DARK AND LIGHT POPPIES Oil on canvas Signed (lower right); further signed, titled, dated 1960 and inscribed Greenleaves/Petworth Sussex (to artist's label verso) 51.5 x 105.5cm (20¼ x 41½ in.) Painted in 1960. Provenance: Theo Waddington Fine Art Ltd., London, stock no. 20 Bohun Gallery, Henley-on-Thames Acquired from the above in 1997 Exhibited: London, Arts Council, Ivon Hitchens, A Retrospective Exhibition , at Tate Gallery, London and travelling to Bradford City Art Gallery and Birmingham City Museum & Art Gallery, 1963, no. 137 Henley-on-Thames, Bohun Gallery, Ivon Hitchens, Paintings , 13 September to 9 October 1980 Ivon Hitchens distinctive elongated canvasses have proved enduringly popular with critics and collectors of twentieth century British art. His vibrantly coloured compositions have their roots in European modernism with clear influences from the likes of Cezanne and Matisse but they are also quintessentially British, drawing inspiration from the Sussex landscape in which he lived. Poppies are a recurring component of numerous Hitchens' paintings particularly in the late 1950s and throughout the 1960s, either with other flowers or part of a broader still life. The dazzling, jewel-like splashes of red perfectly fit Hitchens' playful exploration of the interaction between light and dark and demonstrate his expert mastery of colour. As in the current work, the flowers are frequently set against greens, blues, and ochres, creating strong contrasts that energize the surface. These reds are not merely descriptive; they function emotionally, suggesting vitality, warmth, and transience. The poppies appear to vibrate or float, their forms softened and elongated, as if seen through memory or motion rather than direct observation. This approach aligns Hitchens with modernist concerns, particularly the move away from realism toward a more subjective vision of nature. Of all his still life subjects, his poppy paintings are the perfect vehicle for exploring abstraction, movement, and the emotional resonance of landscape. Hitchens began his career in London, graduating from the RA Schools in 1919. He moved to Hampstead and was one of the earliest members of the Seven and Five Group which, belying its conservative roots, went on to become a force for modernism in the 1920s. Members included Ben Nicholson, Barbara Hepworth, Henry Moore and Christopher Wood. Hitchens early work was predominately representational, but as the 1930s progressed, he became increasingly drawn to abstraction. He became interested in Kandinsky's theories on the relationship between music and painting and from 1937 adopted his signature elongated canvasses. "My pictures are painted to be 'listened' to... I should like things to fall into place with so clear a notion that the spectator's eye and 'aesthetic ear' shall receive a clear message, a clear tune. I seek to recreate the truth of nature by making my own song about it (in paint)... this creation must satisfy me as being true to life, though not naturalistically accurate." Ivon Hitchens, Notes on Painting , 1940s (reproduced in Ark, Royal College of Art, 1956) quoted in full in Peter Khoroche, Ivon Hitchens , Andre Deutsch, London, 1990, pp.54-56). Condition Report: The work is framed and was not examined out of the frame. There is some slight cracking to the purple paint and one small loss to the lower centre right. Otherwise the work appears to be in condition with no evidence of any restoration under UV light. Condition Report Disclaimer

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λ JOHN HOYLAND (BRITISH, 1934-2011), FIRE ISLAND

33

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3,500 GBP

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4,000 - 6,000 GBP

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Auction date(s): Mar 10

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λ MAGGI HAMBLING (BRITISH, B.1945), SUNRISE

34

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2,600 GBP

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3,000 - 5,000 GBP

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Auction date(s): Mar 10

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λ ALAN DAVIE (BRITISH, 1920-2014), RAPTURE CAPTURE

35

Quantity

1

0 GBP

Opening bid

600 GBP

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0 GBP

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GBP

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1,000 - 2,000 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

λ SALLY HEYWOOD (BRITISH, B.1964), UNTITLED

36

Quantity

1

0 GBP

Opening bid

180 GBP

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0 GBP

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GBP

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300 - 500 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

λ SHONA BARR (BRITISH, B.1965), LOCHSIDE

37

Quantity

1

0 GBP

Opening bid

480 GBP

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0 GBP

Max bid

GBP

Estimate

800 - 1,200 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

λ JOAN MIRO (SPANISH, 1893-1983), FROM CAHIER D'OMBRES

38

Quantity

1

0 GBP

Opening bid

480 GBP

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0 GBP

Max bid

GBP

Estimate

800 - 1,000 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

λ JOAN MIRO (SPANISH, 1893-1983), SUR QUATRE MURS (PEINTURE MURALE)

39

Quantity

1

0 GBP

Opening bid

30 GBP

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0 GBP

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GBP

Estimate

50 - 80 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

λ CATHERINE ARMITAGE (BRITISH, 1944-2020), KERRIS, SUMMER, 2007

40

Quantity

1

0 GBP

Opening bid

180 GBP

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0 GBP

Max bid

GBP

Estimate

300 - 500 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

41

Quantity

1

0 GBP

Opening bid

240 GBP

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0 GBP

Max bid

GBP

Estimate

400 - 600 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

λ NICK ALLEN (BRITISH, B.1952), A COMPANION DESK AND MEETING TABLE, 2007

42

Quantity

1

0 GBP

Opening bid

3,500 GBP

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0 GBP

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GBP

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4,000 - 6,000 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

SOL LEWITT (AMERICAN, 1928-2007), THREE TUMBLERS

43

Quantity

1

0 GBP

Opening bid

120 GBP

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0 GBP

Max bid

GBP

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200 - 300 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

λ NICK ALLEN (BRITISH, B.1952), AN OVAL DRESSING TABLE AND 'DIABOLO' STOOL, 2001/2

44

Quantity

1

0 GBP

Opening bid

600 GBP

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0 GBP

Max bid

GBP

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1,000 - 1,500 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

45

Quantity

1

0 GBP

Opening bid

180 GBP

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0 GBP

Max bid

GBP

Estimate

300 - 500 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

λ RALPH BROWN (BRITISH, 1928-2013), LEGS:RELIEF

46

Quantity

1

0 GBP

Opening bid

1,800 GBP

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0 GBP

Max bid

GBP

Estimate

2,000 - 4,000 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

λ SIR ANTHONY CARO (BRITISH, 1924-2013), BRONZE BOOK SORCERER

47

Quantity

1

0 GBP

Opening bid

5,000 GBP

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0 GBP

Max bid

GBP

Estimate

6,000 - 10,000 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

λ DAME LUCIE RIE (AUSTRIAN/BRITISH, 1902-1995), BOTTLE VASE WITH FLARED LIP

48

Quantity

1

0 GBP

Opening bid

5,000 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

6,000 - 10,000 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

λ SARAH ALLEN (BRITISH, B.1975), A WALL MIRROR

49

Quantity

1

0 GBP

Opening bid

350 GBP

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0 GBP

Max bid

GBP

Estimate

600 - 800 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

50

Quantity

1

0 GBP

Opening bid

90 GBP

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0 GBP

Max bid

GBP

Estimate

150 - 250 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

λ NICK ALLEN (BRITISH, B.1952), A LOW 'WAVE' SIDE CABINET, 2007

51

Quantity

1

0 GBP

Opening bid

1,300 GBP

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0 GBP

Max bid

GBP

Estimate

1,500 - 2,500 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

λ NICK ALLEN (BRITISH, B.1952), 'TREE' HAT STAND, EARLY 21ST CENTURY

52

Quantity

1

0 GBP

Opening bid

240 GBP

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0 GBP

Max bid

GBP

Estimate

400 - 600 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

HOLLY HUNT (STUDIO), 'SUMO' SOFA AND LOUNGE CHAIR

53

Quantity

1

0 GBP

Opening bid

1,000 GBP

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0 GBP

Max bid

GBP

Estimate

1,200 - 1,800 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A LARGE MODERN WOOL RUG DESIGNED BY ROBERT GILLAN

54

Quantity

1

0 GBP

Opening bid

420 GBP

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0 GBP

Max bid

GBP

Estimate

700 - 900 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

FOLLOWER OF BRYAN INGHAM (BRITISH, 1936-1997), UNTITLED (FACE)

55

Quantity

1

0 GBP

Opening bid

350 GBP

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Max bid

GBP

Estimate

600 - 1,000 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

λ NICK ALLEN (BRITISH, B.1952), AN OVAL BOOKCASE

56

Quantity

1

0 GBP

Opening bid

240 GBP

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0 GBP

Max bid

GBP

Estimate

400 - 600 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

57

Quantity

1

0 GBP

Opening bid

90 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

150 - 250 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

λ GORDON BALDWIN (BRITISH, 1932-2025), TALL VESSEL, 1992

58

Quantity

1

0 GBP

Opening bid

1,800 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

2,000 - 3,000 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

λ GORDON BALDWIN (BRITISH, 1932-2025), VESSEL, 1994

59

Quantity

1

0 GBP

Opening bid

1,800 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

2,000 - 3,000 GBP

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Auction date(s): Mar 10

Lot location: Newbury, Berkshire

Auction currency	GBP
Buyer's premium	27 % (exc. Sales tax)
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