LONDON
URBAN CONTEMPORARY
当代都市艺术
Tuesday 11th December 2012
IMPORTANT NOTICES
Please see Conditions of Business and Conditions of Sale at the back of this catalogue
Dreweatts & Dreweatts 1759 are trading names of
The Fine Art Auction Group Limited. The Fine Art Auction
Group Limited is registered in England, company number:
03839469, registered office: 10A Mount Ephraim,
Tunbridge Wells, Kent TN4 8AS.
Buying at Dreweatts
There are several ways you can bid at a Dreweatts auction;
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cheaply as allowed by other bids and reserves.
Dreweatts does not accept liability for failing to execute
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Condition
Bidders must satisfy themselves as to the condition of each
lot. Condition reports are available on request – see the
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more information regarding condition reports. Requests for
condition reports must be submitted by 4pm on the day
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Commission Charges
All purchases are subject to a buyer’s premium, which is
24% of the hammer price plus VAT on this 24% (28.8%
including VAT), for items up to £150,000. The commission
reduces to 12% (14.40% including VAT) on the balance of
items with a hammer price of £150,001 and over.
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account, Bank Details: Natwest, Blackboys Hill, Bristol.
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A/C: 96633778 Sort Code: 60-17-24 BIC: NWBK GB 2L
IBAN: GB25 NWBK6017 2496 6337 78; in cash up to £12,000
(subject to relevant money laundering regulations), or by all
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Club. A surcharge of 3% is payable on all payments made
by credit card. This surcharge does not apply to debit card
payments. Payment may also be made by Sterling personal
cheques drawn on a UK bank account but Dreweatts
regrets that purchases paid for by this method can not be
collected until your cheque has cleared.
Bidding Increments
The Auctioneer will advance bids in the following preset
increments, and is under no obligation to accept bids
between these increments.
£200
£320
£550
£1100
£2200
£3200
£5500
£11000
£22000
£32000
£55000
£110000
£220000
£320000
£220
£350
£600
£1200
£2400
£3500
£6000
£12000
£24000
£35000
£60000
£120000
£240000
£350000
£240
£380
£650
£1300
£2600
£3800
£6500
£13000
£26000
£38000
£65000
£130000
£260000
£380000
£260...
£400...
£700...
£1400...
£2800...
£4000...
£7000...
£14000...
£28000...
£40000...
£70000...
£140000...
£280000...
£400000...
£300
£500
£1000
£2000
£3000
£5000
£10000
£20000
£30000
£50000
£100000
£200000
£300000
£500000
Collection or Delivery
Before being able to collect your purchases you are required
to pay the hammer price, plus the applicable commissions,
and obtain a receipt acknowledging payment. Collection of
the purchased lots is at the purchaser’s risk and expense
and whilst Dreweatts do not provide packing and despatch
service we can suggest some carriers.
In the event that a lot has an asterisk (*) beside the lot
number in the catalogue, this indicates that the item is
owned by an entity or company required to pay VAT
(generally not an Antique Dealer, as they operate under a
dealer’s margin scheme). VAT is payable at 20% on the
hammer price.
Dreweatts also require that all purchased items are
collected within three days of the sale to avoid a storage
charge being applied.
Live Internet Bidding
To register to bid live via the internet or to follow the sale
go to: artfact.com, epailive.com, liveauctioneers.com or
the-saleroom.com. Dreweatts does not accept liability for
any failure of these services
All weights and measures given in the catalogue should be
regarded as approximate.
Further Information
The colours printed in this catalogue are not necessarily a
true reflection of the actual item.
Valuation Services
Dreweatts provides a range of confidential and professional
valuation services to private clients, solicitors, executors,
estate managers, trustees and other professional partners.
These services include auction valuations, insurance
valuations, probate valuations, private treaty valuations,
valuations for family division or for tax purposes. For more
information, please see our website: www.dnfa.com.
LONDON
URBAN
CONTEMPORARY
Tuesday 11th December 2012,
at 4.00pm
Sale No. 20556
Specialists
Mary McCarthy
mmccarthy@dnfa.com
Buyer’s premium is charged per lot at 24% of the
hammer price (28.8% including VAT) up to £150,000,
and 12% on the hammer price (14.4% including VAT)
in excess of £150,000
Alexander Hayter
ahayter@bloomsburyauctions.com
www.dnfa.com
Viewing
Sunday 9th December 2012
11.00 a.m. - 4.00 p.m.
Monday 10th December 2012
9.30 a.m. - 8.00 p.m.
Visit our website for current catalogues,
colour illustrations of major lots and a word
search service: www.dnfa.com
Free online bidding for this sale:
www.artfact.com
www.epailive.com
www.liveauctioneers.com
www.the-saleroom.com
Tuesday 11th December 2012
9.30 a.m. - 4.00 p.m.
Preview hosted by Temwa
Monday 10th December
6.00 p.m. - 8.00 p.m.
There is no surcharge for using these services
Visit our website for current catalogues, colour
illustrations of major lots and a word search
service: www.dnfa.com
Front cover image: Lot 45
Banksy (British, b.1975)
Everytime I Make Love To You
I Think Of Someone Else, 2006
Back cover image: Lot 81
Shepard Fairey (American, b.1970)
Mandala (Dark), 2011
Catalogues £15 (£18 by post)
Sale catalogue only, resale or reproduction prohibited
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Dreweatts London
24 Maddox Street
London
W1S 1PP
Tel: +44 (0)207 495 9494
Fax: +44 (0)207 495 9499
urbanart@dnfa.com
URBAN
CONTEMPORARY
LONDON
1δ
Charming Baker (British, b.1964)
Half Pint (The Panda Boy),
silkscreen printed in colours, 2008, signed in pencil lower left, numbered 5/85, published by
Charming Baker, with blindstamp, on Somerset Velvet paper, with full margins,
700 x 500 mm (27 1/2 x 19 3/4 in)
£1,000-1,500
3
LONDON
2
Jeremy Geddes (Australian)
Adrift,
giclee printed in colours, 2011, signed in pencil lower right, numbered 9/10, on wove paper, with full
margins,
1110 x 1110 mm (43 1/4 x 43 1/4 in)
Provenance: Jeremy Geddes Website
£600-800
4
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
3
Schoony (British, b.1974)
Boy Soldier - Union Jack 3D, 2009
Fibre glass fibre life cast with spray paint and acrylic,
Signed in black ink verso,
1100 x 57 x 57mm (43 1/4 x 22 1/2 x 22 1/2 in)
Provenance: Graffik Gallery, London
Accompanied by a certificate of authenticity from Graffik Gallery, London
£1,500-2,000
5
LONDON
4δ
Banksy (British, b.1975)
Happy Choppers,
silkscreen printed in colours, 2003, numbered 382/750 in pencil, published by Pictures
On Walls, London, on wove paper, with full margins,
700 x 500 mm (27 1/2 x 19 3/4 in)
Accompanied by a certificate of authenticity from Pest Control Office
£2,000-3,000
6
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
5δ
Banksy (British, b.1975)
Because I’m Worthless,
silkscreen printed in colours, 2004, numbered 153/175, published by Pictures On
Walls, London, with their blindstamp, on wove paper, with full margins,
500 x 350 mm (19 3/4 x 13 3/4 in)
Accompanied by a certificate of authenticity from Pest Control Office
£1,500-2,000
7
LONDON
6δ
Joe Black (British, b.1973)
Sexual Verkaufe, 2010
Oil, acrylic, spray paint and badges on board,
Signed and dated in pencil lower right and signed, titled and dated in black ink verso,
1295 x 968 mm (51 x 37 3/4 in)
Provenance: Cosh, London
Accompanied by a certificate of authenticity from Cosh, London
£1,500-2,000
8
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LONDON
7δ
Nick Gentry (British, b.1980)
Model LC24, 2011
Mixed paint and used floppy disks on wood,
Signed in black marker pen lower right leading edge and verso,
1310 x 810 mm (51 1/2 x 32 in)
£2,000-3,000
9
LONDON
8
Swoon (American, b.1977)
Street Sweeper, 2008
Pencil and silkscreen on hand sewn paper,
Signed and dated in pencil lower right,
360 x 665 mm (13 x 26 1/4 in)
Provenance: Black Rat Press, London
£1,500-2,000
10
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
9
Retna (American, b. 1979)
Ashes To Dust, 2010
Inks on Arches Aquarelle paper,
762 x 559 mm (30 x 22in)
Provenance: New Image Art, Los Angeles
Accompanied by a certificate of authenticity from New Image Art
£2,000-3,000
11
LONDON
10 δ
Banksy (British, b.1975)
Choose Your Weapon (Khaki),
silkscreen printed in colours, 2010, signed in brown crayon, numbered 22/25, printed and published by
Pictures on Walls, with their blindstamp, on wove paper, with full margins,
700 x 700mm (27 1/2 x 27 1/2 in)
Accompanied by a certificate of authenticity from Pest Control Office
£5,000-7,000
12
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
11 δ
Various Artists, including Banksy (British, b.1975)
Pax Brittanica,
the complete portfolio, 2004, comprising 22 prints of
various media, each signed, the edition was 100,
published by Aquarium Gallery, London, on various
papers, in the original black portfolio, in good
condition,
overall size 235 x 325 mm (9 1/4 x 12 3/4 in)
Provenance: Aquarium Gallery, London
The portfolio includes prints by - Banksy, Steve Bell, James Boswell, Alexander de Cadenet, Sir Anthony
Caro, James Cauty, Billy Childish, David Gentleman, Richard Hamilton, Clifford Harper, Brian Jones, John
Keane, Peter Kennard, Alan Kitching, Jenny Matthews, Paul Mattsson, Antonio Pacitti, Jamie Reid,
Martin Rowson, Ralph Steadman, S.T.O.T, 21stC and Gee Vaucher.
This lot is also accompanied by 8 rare signed editioned anti war posters produced for the coalition by Peter
kennard, Martin Rawson, David Gentleman, Jamie Reid, Steve Bell, Ralph Steadman and Clifford Harper.
£4,000-6,000
13
LONDON
12
TRXTR (British, b.1954)
Desert Gold Digger, 2012,
Mixed media on canvas,
Signed, titled and dated in black charcoal verso,
920 x 665 mm (36 1/4 x 26 1/4 in)
Provenance: Red Propeller Gallery, Plymouth
Accompanied by a certificate of authenticity from Red Propeller Gallery, Plymouth
£800-1,200
14
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LONDON
13 δ
Conor Harrington (Irish)
Perch (Study), 2009
Oil and spraypaint on paper,
Signed and dated in pencil verso,
700 x 500 mm (27 1/2 x 19 3/4 in)
Provenance: Lazarides Gallery, London
£1,000-1,500
15
LONDON
14 δ
Invader (French, b.1969)
Warning Invader (Silver),
silkscreen printed in colours, 2011, signed in pencil, numbered 48/50, published by Pictures On Walls, with
their blindstamp, on wove paper, with full margins,
540 x 540 mm (21 1/4 x 21 1/4 in)
£600-800
16
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
15 δ
Mau Mau (British)
Ess-O-Bees, 2009
Spray paint on ESSO petrol metal sign,
Signed in black spray paint verso
558 x 558 mm (22 x 22 in)
Provenance: Art Republic, Brighton
£800-1,200
17
LONDON
16 δ
Eine (British, b.1970)
Famous Kids Over Happier Here, 2008
Spray paint and acrylic on canvas,
Signed, dated and titled in black ink verso,
763 x 763 mm (30 x 30 in)
Provenance: Art Republic, Brighton
£1,500-2,000
18
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
17
K-Guy (British, b.1968)
Anthroprodigy,
silkscreen printed in colours with spraypaint, 2012, signed in pencil by the artist and all members of
Prodigy, numbered 1/1, on wove paper, with full margins,
560 x 1060 mm (22 x 41 3/4 in)
Provenance: Eddie Lock
Accompanied by a certificate of authenticity from Eddie Lock
£600-800
19
LONDON
18
Speto (Brazilian)
O Mar Serenou, 2008
Acrylic on linen canvas,
Signed and dated in black acrylic lower right,
915 x 601 mm (36 x 23 3/4 in)
Provenance: O'Contemporary Gallery, London
£2,000-3,000
20
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
19 δ
Adam Neate (British, b. 1978)
Turquoise Portrait With Green, 2007
Mixed media on cardboard,
Signed in black acrylic paint lower left,
1100 x 980mm (43 1/4 x 38 1/2 in)
Provenance: Elms Lesters, London
£6,000-8,000
21
LONDON
20 δ
Banksy (British, b.1975)
No Ball Games,
silkscreen printed in colours, 2009, signed in
pencil, numbered 117/250, published by Pictures
On Walls, London, with their blindstamp, on wove paper,
with full margins,
670 x 700 mm (26 1/4 x 27 1/2 in)
Accompanied by a certificate of authenticity from Pest Control Office
£4,000-6,000
22
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
21 δ
Banksy (British, b.1975)
Monkey Queen,
silkscreen printed in colours, 2003, signed in
black ink, numbered 128/750, published by Pictures
On Walls, London, on wove paper, with full margins,
670 x 700 mm (26 1/4 x 27 1/2 in)
Accompanied by a certificate of authenticity from Pest Control Office
£3,000-5,000
23
LONDON
22
Manuel Marin (Spanish 1942 - 2007)
Untitled, 2005
Painted steel mobile,
Incised signature on lower steel foot
900 x 1200 x 700 mm (35 1/4 x 47 1/4 x 27 1/4 in)
Provenance: Mrs Monika Rabassa, the artist’s widow
£2,000-3,000
24
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
23 δ
Damien Hirst (British, b.1965) (designer) and
Mike Smith (constructor)
Commode Chair for 100% Weird
Welded steel chair with bedpan seat, 1994,
designed by Damien Hirst, constructed by Mike
Smith, as featured in Damien Hirst's short film
100% Weird,
overall size 1910 x 535 x 480 mm (75 1/4 x 21 x 19)
In 1994 Damien Hirst collaborated with the film
maker Tony Kaye to produce a short film entitled
100% Weird. Shot at the Slaughter House Gallery
in London, the film featured images such as dead
livestock, an industrial insectocutor and the
commode chair in the present lot. The chair with a
bedpan for a seat was designed by Hirst and built
by Mike Smith (the technician who builds many of
the artist's vitrines and other elements in his
sculptural works) it takes an integral role in the
film, and in one notorious scene shot from below
we see the artist's naked posterior seated on the
chair excrete what appears to be a baked bean.
The film was so provocative that it was never
screened by the company that commissioned it:
TNT Movies, and whilst Hirst has spoken about
the film publicly, it was not until his retrospective
at Tate Modern in 2012 that the film was shown to
a wider audience. A copy of the film on DVD
accompanies the present lot.
Provenance: A gift from Damien Hirst to the
present owner
£15,000-20,000
25
LONDON
24
Nick Rasmussen (British, b.1966)
Shark, 2012
Welded steel in two parts,
Body: 279 x 893 x 170 mm (11 x 35 1/4 x 6 3/4 in)
Fin: 750 x 387 x 25 mm (29 1/2 x 15 1/4 x 1 in)
Provenance: It’s All 2 Much Gallery, Bristol
£600-800
26
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
25
Tony D’Amico (DNTT) (British, b.1960)
Immaculate Deception, 2012
Galvanised carved steel and wood,
Signed and dated in black marker verso,
790 x 460 mm (31 x 18 in)
The artist describes the work as follows “this piece subverts the cultural branding that saturates our lives
- The Nike swoosh (which is of course a tick), Apple’s bitten apple, The Nazi swastika, Christ on the cross:
they are all potent symbols which have been ideologically hijacked to suit the agenda of their new
‘owners’. Jesus suffering on the cross conveys the agenda of the Papal Roman Empire - one of dominance,
repression and its ruthless pursuit of power- that has nothing to do with Christ’s original message of
peace and love. In this sculpture, Christ is seen with a bloodied cow’s head- a sacrificial offering. It
attempts to expose the way the image of Jesus has been misrepresented to become the corporate symbol
of religious control”.
Provenance: Mutate Britain, London
£2,000-3,000
27
LONDON
26
Judith Supine (American)
Untitled, 2007
Lacquer, collage and mixed media on wood,
Signed in black ink within image surface,
356 x 229 mm (14 x 9 in)
£2,000-3,000
28
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LONDON
27
Judith Supine (American)
Supine 4, 2007
Lacquer, collage and mixed media on wood,
Signed in black ink within image surface,
305 x 209 mm (12 x 9 in)
£2,000-3,000
29
LONDON
28 δ
Banksy (British, b.1975)
Golf Sale,
silkscreen printed in colours, 2003, numbered 62/750 in pencil, published by Pictures On Walls, London, on
wove paper, with full margins,
340 x 485 mm (13 1/4 x 19 1/4 in)
Accompanied by a certificate of authenticity from Pest Control Office
£1,800-2,200
30
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
29 δ
Banksy (British, b.1975)
Di-Faced Tenners,
double-sided silkscreen printed in colours, 2004, signed and dated in black ink,
numbered 26/32, printed and published by Pictures on Walls, London, with their
blindstamp, on wove paper, with full margins,
390 x 290mm (15 3/8 x 11 1/2 in)
Accompanied by a certificate of authenticity from Pest Control Office
£10,000-15,000
31
LONDON
30 δ
Matt Small (British, b.1975)
Karen, 2007
Mixed paint on cement, mesh and wood in perspex box,
560 x 460 mm (22 x 18 in)
Provenance: From the former Leonard St Gallery, ‘This is England solo show’ 2007, London
£2,000-3,000
32
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LONDON
31 δ
Matt Small (British, b.1975)
Untitled, 2008
Mixed media on heavy card,
450 x 320 mm (17 3/4 x 12 1/2 in)
Provenance: Black Rat Press, London
£800-1,200
33
LONDON
32
Jim Starr (British, b.1976)
Phoenix, 2012
Mixed media on canvas board,
Signed in black ink verso,
1222 x 813 mm (48 x 32 in)
Provenance: It’s All 2 Much Gallery, Bristol
£800-1,200
34
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
33
Wreckage (British, b.1965)
Lioness, 2012
Acrylic and gesso on board,
Signed and dated black ink verso,
1020 x 1525 mm (40 1/4 x 60 in)
Provenance: Mutate Britain, London
£1,000-1,500
35
LONDON
34 δ
Miranda Donovan (British, b.1979)
The Ritz, 2006
Oil and mixed media on board,
Signed, titled and dated in pencil verso,
305 x 405 x 45 mm (12 x 16 x 1 3/4 in)
Provenance: Lazarides Gallery, London
£2,000-3,000
36
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
35 δ
Miranda Donovan (British, b.1979)
Laugh At Yourself, 2006
Oil and mixed media on board,
Signed, titled and dated in pencil verso
305 x 405 x 45 mm (12 x 16 x 1 3/4 in)
Provenance: Lazarides Gallery, London
£2,000-3,000
37
LONDON
36 δ
Static (British, b.1983)
Luxury Vandals, 2010
Spray paint, stencil and silkscreen printed in colours on metal
Signed and dated in black ink lower right
655 x 655 mm (25 3/4 x 25 3/4 in)
Provenance: Acquired by the owner from the artists
£600-800
38
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LONDON
37 δ
Miss Bugs (British)
Bob, Jeff, Damien and Mark Talk About Sex, 2008
Spray paint and silkscreen printed in colours on metal,
Signed and dated in gold marker verso,
820 x 1092 mm (32 1/4 x 43 in)
Provenance: Art Republic, Brighton
£800-1,200
39
LONDON
38 δ
Banksy (British, b.1975)
Flag,
silkscreen printed in colours, 2006, numbered 229/1000, published by Pictures On Walls, London, with
blindstamp, on silver cromulux paper, with full margins
500 x 700 mm (19 3/4 x 27 1/2 in)
Accompanied by a certificate of authenticity from Pest Control Office, London
£600-800
40
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
39 δ
Banksy (British, b.1975)
Choose Your Weapon (Purple)
silkscreen printed in colours, 2010, signed in purple crayon, numbered 12/25, printed and published by
Pictures on Walls, London, with their blindstamp, on wove paper, with full margins,
700 x 700mm (27 1/2 x 27 1/2 in)
Accompanied by a certificate of authenticity by Pest Control Office
£5,000-7,000
41
LONDON
40
Elbow-Toe (American)
Untitled, 2008
Multilayered collage and paint on wood,
203 x 116 mm (8 x 4 1/2 in)
Provenance: Black Rat Press, London
£800-1,200
42
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
41
Kill Pixie (Australian)
Untitled, 2008
Collage, acrylics and mixed media on wood,
Signed in black ink verso,
291 x 229 mm (11 1/2 x 9 in)
Provenance: The Alternative Philosophy Exhibition, Leonard St Gallery, London
£600-800
43
LONDON
42 δ
Sweet Toof (British)
Daisy Daisy (Diptych), 2008
Oil and metal on acid boxes,
Signed, dated and titled in black ink verso
each. 762 x 520 mm (30 x 20.5 in)
Provenance: Sartorial Contemporary Art,
London
Accompanied by a certificate of authenticity
from Sartorial Contemporary Art, London
£2,000-3,000
44
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LONDON
43 δ
Nick Walker (British, b.1969)
Morning After (London),
silkscreen printed in colours, 2007, signed in pencil, numbered 6/12 AP lower right, on Somerset paper,
with full margins
500 x 700 mm (19 3/4 x 27 3/4 in)
Accompanied by a certificate of authenticity from Black Rat Press, London
£2,000-3,000
45
LONDON
44
Adam Koukoudakis (British, b.1976)
Arizona, 2012
Pencil, acrylic ink and spray paint on canvas,
Signed, dated and titled in black ink verso,
830 x 711 mm (32 3/4 x 28 in)
£1,000-1,500
46
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LONDON
45 δ
Banksy (British, b.1975)
Everytime I Make Love To You I Think Of Someone Else, 2006
Acrylic on canvas,
Signed in black ink verso and signed with artist tag in black on right hand side overlap,
500 x 500 mm (19 3/4 x 19 3/4 in)
Provenance: Acquired by the current owner from the artist
Accompanied by a certificate of authenticity from Pest Control Office
£40,000-60,000
47
LONDON
46
Faile (American) and Bast (American)
Golf Punk, 2004
Spray paint, acrylic, collage and paper on canvas wrapped around wood,
Signed by both artists, dated and numbered 12/16 in black ink verso, varied
edition of 16, each one unique,
1790 x 1220 mm (70 1/2 x 48 in)
Provenance: Lazarides Gallery, London
£4,000-6,000
48
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LONDON
47 **
Richard Pettibone (American, b.1938)
Andy Warhol (Mao),
synthetic Polymer paint and silkscreen inks on
canvas, 1975, signed in ball-point pen on the
reverse of the stretcher,
92 x 92 mm (3.6 x 3.6 in)
£10,000-15,000
49
LONDON
48
Seen (American, b.1961)
Subway Map,
Acrylic and spray paint on MTA New York city subway map,
Signed in black marker pen top right,
820 x 580 mm (32 1/4 x 22 3/4 in)
Provenance: Planet 6 Gallery, New York
£1,000-1,500
50
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
49
LA II (Angel Oritz) (American, b.1967) and Keith Haring (American, 1958-1990) attributed
Untitled,
Acrylic and marker pen on board, signed in black ink by LA II verso,
970 x 1285 mm (38 x 50 1/2 in)
Provenance: Private European Collection
£10,000-15,000
51
LONDON
50
Bast (American)
Radio Television, 2010
Acrylic, silkscreen and collage on wood,
Signed, dated and titled in black ink verso,
810 x 740 mm (31 3/4 x 29 in)
Provenance: Lazarides Gallery, London
£1,000-1,500
52
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
51
Bast (American)
Chanel Girl, 2008
Collage and mixed media on canvas,
Signed and dated in black ink verso,
920 x 701 mm (36 x 28 in)
Provenance: Hang Up Pictures
£1,000-1,500
53
LONDON
52 δ
James Cauty (British, b.1956)
Believe The Magic - Final Solution, 2007
Oil and acrylic on linen
Signed in black marker pen verso
520 x 840mm (20.07 x 33.47 in)
Provenance: The Aquarium L-13, London
Accompanied by a certificate of authenticity from The Aquarium L-13, London
£3,000-5,000
54
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
53 δ
Nick Walker (British, b.1969)
Morning After - New York,
silkscreen printed in colours, 2011, signed in pencil, numbered 3/18 AP, on wove paper, with full margins
813 x 914 mm (32 x 36 in)
£1,500-2,000
55
LONDON
54
Ryan Callanan (Ryca) (British, b.1981) and Ben Eine (British, b.1970)
LOVE/HATE, 2012
Silkscreen printed in colours on glass, 23ct gold leaf on composite board within a timber frame,
Signed by both artists, Eine in white ink and Ryca in blue ink verso
625 x 330 x 50 mm (24 1/2 x 13 1/4 x 2 in)
Provenance: Squarity Online Gallery
£1,000-1,500
56
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
55 δ
Blek Le Rat (French, b.1951)
His Masters Voiceless, 2007
Spray paint on canvas,
Signed and dated in black ink lower right and numbered 7/10 verso
800 x 800 mm (31 1/2 x 31 1/2 in)
Provenance: Leonard St Gallery, London
The artist describes in black ink verso the reason why this work was called His Masters Voiceless…
”actually this dog does not belong to me but it comes everyday to my place. Her name is ‘voice’ that is the
reason the painting is called ‘her master is voiceless’. She’s also the nicest dog I have ever met”.
£3,000-5,000
57
LONDON
56 δ
D*Face (British)
Who’s Bad (Green), 2011
Silkscreen printed in colours and enamel on canvas,
Signed and dated in black ink verso,
560 x 560 mm (22 x 22 in)
Provenance: Stolen Space, London
£1,500-2,000
58
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
57 δ
D*Face (British)
Untitled (Pope), 2005
Acrylic, spray paint and gold leaf on canvas
Signed in black ink lower right by the artist and signed in black marker by Seen top leading edge
1220 x 1525 mm (48 x 60 in)
First exhibited at the Outside Institute, London
This unique iconic work by D*Face was painted the year that Benedict XVI was elected Pope and
represents him with his arms raised in a classic pose of benediction. The artist has subverted this image
of traditional religious authority by placing comic hands to the figure and adding his iconic flying wings to
the Pope’s mitre which is seen flying away.
£3,000-5,000
59
LONDON
58
Robert Silvers (American, b.1968)
Alien,
Ilfochrome print mounted on aluminium,
1610 x 1210 mm (63 1/4 x 47 2/3 in)
£4,000-6,000
60
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
59
Robert Silvers (American, b.1968)
Washington Money,
Ilfochrome print mounted on aluminium,
1420 x 1210 mm (55 7/8 x 47 5/8 in)
£2,000-3,000
61
LONDON
60 δ
Damien Hirst (British, b.1965)
Last Supper (Beans and Chips),
silkscreen printed in colours, 1999, signed in pencil, the edition was 150, printed by
Coriander Studio, London, published by Charles Booth-Clibborn under his imprint
the Paragon Press, London, on wove paper, with full margins,
1524 x 1016 mm (60 x 40 in)
£4,000-6,000
62
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
61 δ
Klaus Geigle (German, b.1969)
Szene aus “Die Vogel” (Scene from “The Birds”)
Oil on canvas, 2006, signed, titled and dated on the reverse of the circular wooden mount, diameter 68cm.
Geigle lives and works in Münster, Germany, his work focuses on the destructive interplay between the
urban landscape and nature, often creating an image as if taken from the perspective of a bird or small
animal. His works have a washed-out, ghostly presence, almost as if one were looking at a faded
photograph or a piece of antique cinema reel. The present work perfectly captures his artistic viewpoint.
By focusing on a particularly ominous scene from Alfred Hitchcock's seminal film of 1963 The Birds,
Geigle, in one painting succinctly melds both his vision of a dark interplay between urban life and Nature,
with that of Hitchcock's vision of nature fighting back against urban encroachment.
Exhibited: Project Gallery montanaberlin, Berlin
Provenance: Acquired directly from the artist by the present owner
£4,000-6,000
63
LONDON
62 δ
Ian Francis (British, b.1979)
Adrianna Lima Searches For A New Home With Her Friend, 2006
Acrylic, inks, pencil and watercolour on canvas,
Signed and dated in black ink verso,
400 x 800 mm (15 3/4 x 31 1/2 in)
Provenance: BLK/MRK Gallery, Los Angeles
Accompanied by a certificate of authenticity from BLK/MRK Gallery, Los Angeles
£4,000-6,000
64
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
63 δ
Ian Francis (British, b.1979)
Alice Joins The Army In Wonderland, 2007
Mixed media on canvas,
Signed and dated in black ink verso,
902 x 602 mm (35 1/2 x 23 3/4 in)
£4,000-6,000
65
LONDON
64 δ
Adam Neate (British, b.1977)
Untitled, 2004
Double sided spray paint and acrylic on cardboard,
Each side is signed lower left in black acrylic paint,
565 x 358 mm (22 1/4 x 14 in)
Provenance: Bonhams 'Urban Art' sale february 2008
£1,500-2,000
66
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
65 δ
Adam Neate (British, b.1978)
Untitled, 2007
Double sided mixed media on
foam core,
Each side is signed lower left
680 x 157 mm (26 3/4 x 6 in)
Provenance: Campbarbossa,
London
£2,000-3,000
67
LONDON
66 δ
Banksy (British, b.1975)
Napalm,
silkscreen printed in colours, 2004, signed in pencil, numbered 12/500, published by Pictures On Walls,
London, on wove paper, with full margins
500 x 700 mm (19 3/4 x 27 3/4 in)
Accompanied by a certificate of authenticity from Pest Control Office, London
£3,000-5,000
68
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
67 δ
Banksy (British, b.1975)
Grin Reaper,
silkscreen printed in colours, 2005, signed in pencil, numbered 145/300,
published by Pictures On Walls, London, with blindstamp, on wove paper, with
full margins
700 x 440 mm (27 1/2 x 17 1/4 in)
Accompanied by a certificate of authenticity from Pest Control Office, London
£4,000-6,000
69
LONDON
68
Indie 184 (American)
Be Wild, 2012
Mixed media on canvas,
Signed, dated and titled in black ink verso,
500 x 500 mm (19 3/4 x 19 3/4 in)
£600-800
70
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
69
Cope 2 (American, b.1968)
Red Stain, 2012
Mixed media on canvas,
Signed and dated in black ink verso,
600 x 650 mm (23 3/4 x 25 1/4 in)
£800-1,200
71
LONDON
70 δ
Guy Denning (British, b.1969)
Untitled, 2000
Charcoal and mixed media on heavy card
Signed and dated in black ink lower right
520 x 550 mm (20 1/2 x 21 3/4 in)
Provenance: Tunnadine Fine Art Gallery, Bristol
£800-1,200
72
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
71 δ
Lucy Mclauchlan (British, b.1978)
Untitled, 2010
Acrylic paint on wood,
330 x 360mm (13 x 14 in)
Provenance: Cure Leukaemia Charity auction, Birmingham, 2010
£1,000-1,500
73
LONDON
72 δ
Goldie (British, b.1969)
Pump Doll, 2007
Acrylic and silkscreen printed in colours, 2007, signed and numbered 15 in black ink lower right, from an
edition of 40 with 8 artist proofs, all uniquely rendered, on aluminium metal,
700 x 500 mm (27 1/2 x 19 3/4 in)
Provenance: Eddie Lock
Accompanied by a certificate of authenticity from Eddie Lock
£600-800
74
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
73 δ
Dan Baldwin (British)
Decay, 2008
Mixed media on canvas,
Signed in black ink verso,
1000 x 1000 mm (39 1/4 x 39 1/4 in)
Provenance: Forster Gallery, London
£3,000-5,000
75
LONDON
74
James Holdsworth (British, b.1954)
The Buck Stops Here, 2012
Acrylics, collage and mixed media on canvas,
Signed and dated in black ink lower left,
1170 x 1170 mm (43 x 43 in)
Provenance: Private Collection, UK
£1,000-1,500
76
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
75
Jules Quaye (British, b.1966)
The Contender, 2012
Mixed media on canvas,
Signed and dated in yellow paint lower right,
1000 x 698 mm (39 1/4 x 27 1/2 in)
Provenance: It’s All 2 Much Gallery, Bristol
Accompanied by a certificate of authenticity from It’s All 2 Much Gallery, Bristol
£800-1,200
77
LONDON
76 δ
Mr Jago (British)
Fifth, 2007
Mixed media on canvas,
Signed and dated verso in black ink,
765 x 765 mm (30 x 30 in)
Provenance: Private Collection, UK
£800-1,200
78
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
77
Futura 2000 (Lenny McGurr) (American, b.1955)
Popsicle Orange, 2008
Spray paint and silver ink on canvas,
Signed in black ink lower right,
1350 x 1350 mm (53 1/4 x 53 1/4 in)
Provenance: DPMHI Gallery, London
£6,000-8,000
79
LONDON
78
Judith Supine (American)
Untitled 3, 2007
Lacquer, oil, marker and collage on wood,
Signed in black ink on image surface,
280 x 203 mm (11 x 9 in)
£800-1,200
80
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
79
TitiFreak (Brazilian, b.1974)
Untitled, 2008
Mixed media on card,
Signed in pencil lower right
456 x 318 mm (17 3/4 x 12 1/2 in)
Provenance: Choque Cultural
£800-1,200
81
LONDON
80
Phil Frost (American, b.1973)
Untitled, 2005
Mixed media on paper,
165 x 121 mm (6 1/2 x 4 1/2 in)
Provenance: Elms Lesters Gallery, London
£600-800
82
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
81
Shepard Fairey (American, b.1970)
Mandala (Dark), 2011
Mixed media and collage on heavy art paper,
Signed in pencil lower right, numbered 3/5 HPM lower left,
1321 x 965 mm (52 x 38 in)
Provenance: Stolen Space, London
£8,000-12,000
83
LONDON
82
Dan Witz (American, b.1957)
John, Dead Christ, (Diptych)
digital c-print and mixed media, 2010, each signed and dated in black ink verso, numbered 5/6, on foam core,
Each. 499 x 775 mm (19 1/2 x 30 1/2 in)
Provenance: Carmichael Gallery, Los Angeles
£800-1,200
84
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
83 δ
Banksy (British, b.1975)
LA Set,
silkscreen printed in colours, 2006, each numbered 60/500, published by Modern Multiples, LA, on Arches
88 paper, with full margins,
each sheet 570 x 770 mm (22 1/2 x 30 1/4 in)
Applause sheet size; 830mm x 1230mm (32 3/4 x 48 1/2 in)
Provenance: Barely Legal Show, LA, 2006
Each print is accompanied by a certificate of authenticity from Pest Control Office
£10,000-15,000
85
LONDON
84 δ
Banksy (British, b.1975)
Love Is In The Air,
silkscreen printed in colours, 2003, numbered 135/500 in pencil, published by Pictures On Walls, London,
on wove paper, with full margins,
500 x 700 mm (19 3/4 x 27 1/2 in)
Accompanied by a certificate of authenticity from Pest Control Office
£2,000-3,000
86
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
85 δ
Alan Baker (now known as Charming Baker) (British, b.1964)
Untitled, 2005
Mixed media and staples on wood
Signed in pencil verso
660 x 813 mm (26 x 32 in)
Provenance: Acquired by the owner from the artist
£6,000-8,000
87
LONDON
86
Andy Warhol (1928-1987)
Self-Portrait (f.&s.IIIC.30b)
unique silkscreen, ca.1977, with the Andy Warhol Art Authentication Board rubber stamp verso, inscribed
VF UP.50.40, printed by Rupert Jasen Smith, New York, on Curtis rag paper, the full sheet
sheet 1143 x 890 mm (45 x 35 in)
£50,000-70,000
88
www.dnfa.com tel. +44 (0) 207 495 9494
This year Dreweatts charity collection is for Temwa - an organisation working to support the
rural communities of northern Malawi, Africa. This area is one of the most disadvantaged
and remote regions in the world. These isolated communities live with inadequate food
supplies, high levels of HIV & AIDS, poor health & education infrastructure and the
Malawian government has admitted that it is neglecting these people’s basic needs.
Temwa aims to fight poverty, hunger and disease. They currently run projects in number
of key areas: agriculture, forestry, micro-finance, HIV & AIDS education and schools
support. They aim to provide the resources to enable these people to lift themselves out
of poverty and create lasting change for their own future.
Temwa has strong links with the urban art scene and been supported by a wealth of talented
artists since its conception in Bristol in 2003, annual art events called ‘Art for Africa’ are held
in aid of Temwa in Bristol and in London. Over the last 10 years Temwa has grown and
developed alongside the urban art scene, artists have become established on a world wide
scale, andTemwa’s projects have expanded and they are now helping thousands & thousands
of people to dramatically change their lives.The kindness, generosity and dedication of these
artists has enabledTemwa to go from strength to strength.
This year’s ‘Art for Africa’ collection is one of their strongest yet, boasting exceptional
pieces from the following artists:
TRXTR, Robert Sample, Dicy, The Toasters, Mr Jago, Andy Council, Mau Mau, 3rdeye, Man
One, WERC, Vyal, Jim Starr, Wreckage, Ryca, K-Guy, Adam Koukoudakis, Schoony, Snug,
Cole Sternberg.
Each piece has been uniquely created and donated to this event, meaning all the money
goes directly to Temwa. Everyone at Temwa is extremely grateful to all of the generous
artists and everyone at Dreweatts, in particular Mary McCarthy, for making this collection
possible. The hard work and dedication that all involved have put in to support its success
is greatly appreciated.
The launch party for the Dreweatts Contemporary and Urban Art Auction will be hosted
on Monday the 10th of December. A raffle will be held at this event - all proceeds will go
to supporting Temwa’s sustainable community development projects in Malawi. Raffle
tickets cost £5.00 and will be available on the night or direct from Temwa’s website
www.temwa.org.uk. Temwa would like to thank both Staropramen and Averys Wine
Merchants for supporting the launch event.
Follow us on Twitter @temwauk
www.temwa.org
89
LONDON
87
Schoony (British, b.1974)
and Snug (British, b.1970),
Coming Home, 2010
Fibre glass live cast resin
with bullets, spray paint
and mixed media,
Signed and dated in purple
ink lower right and signed,
dated in purple ink verso,
1402 x 694 mm
(55 1/4 x 27 1/4 in)
Provenance: Donated by
the artists for Temwa
£1,500-2,000
90
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
88
Mau Mau (British)
Who Lols Last Lols Longest, 2012
Spray paint on canvas,
Signed in black ink lower right,
700 x 498 mm (27 1/2 x 19 1/2 in)
Provenance: Donated by the artist for Temwa
£600-800
91
LONDON
89
Jim Starr (British, b.1976)
Strike By Lightening, 2012
Mixed media on wood,
Signed, titled and dated in black ink verso,
48 x 32 in (1220 x 814mm)
Provenance: Donated by the artist for Temwa
£800-1,200
92
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
90
Ryan Callanan (Ryca) (British, b.1981)
Insane In the Membrane, 2012,
silkscreen, enamels, glass and 23ct gold leaf on hand cast resin with timber frame, 2012, signed in black
ink verso, numbered 12/12 on hand cast resin with timber frame,
560 x 760 x 50mm (22 x 29 3/4 x 19 3/4 in)
Provenance: Donated by the artist for Temwa
£800-1,200
93
LONDON
91
Adam Koukoudakis (British, b.1976)
Butterfly, 2012
Acrylic ink on canvas,
Signed, titled and dated in black ink verso,
500 x 500 mm (19 1/2 x 19 1/2 in)
Provenance: Donated by the artist to Temwa
£400-600
94
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
92
92
Wreckage (British, b.1965)
Study 1, 2012
Mixed media on board,
Signed, dated, titled in black ink verso,
610 x 998 mm (24 x 39 1/4 in)
93
3rd Eye (British, b.1974)
Puzzle, 2011
Acrylic and pens on canvas
407 x 407 mm (16 x 16 in)
Provenance: Donated by the artist for Temwa
£400-600
Provenance: Donated by the artist for Temwa
£400-600
93
95
LONDON
94
WERC (American)
Naturalteza, 2012
Spray paint on canvas,
Signed, dated and titled in black
ink verso,
500 x 500 mm (19 3/4 x 19 3/4 in)
Provenance: Donated by the
artist for Temwa
£400-600
94
95
Vyal (American)
Sky Dive, 2012
Spray paint on canvas,
Signed and dated in blue ink
on lower over flap,
500 x 500 mm (19 3/4 x 19 3/4 in)
Provenance: Donated by the
artist for Temwa
£400-600
95
96
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
96
Man One (American)
Defender Of The Lost Artform, 2012
Spray paint and black marker on canvas,
Signed, titled and dated in black ink verso and signed and dated black ink lower right,
500 x 500 mm (19 3/4 x 19 3/4 in)
Provenance: Donated by the artist for Temwa
£400-600
97
LONDON
97
TRXTR (British, b.1954)
Orchid Killer, 2012
Mixed media and spray paint on canvas,
Signed and dated in black ink verso,
559 x 458 mm (22 x 18 in)
Provenance: Donated by the artist for Temwa
Accompanied by a certificate of authenticity from Red Propeller Gallery, Plymouth
£600-800
98
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
98
Robert Sample (British, b.1979)
Birth Of An Idea, 2012
Oil and mixed media on board
Signed in black ink verso
560 x 460 mm (22 x 18 1/2 in)
Provenance: Donated by the artist for Temwa
Accompanied by a certificate of authenticity from Red Propeller Gallery, Plymouth
£600-800
99
LONDON
99
Toasters (British)
Toaster Brown Blast,
Spray paint on canvas,
Signed and dated in black ink
verso,
500 x 500 mm (19 3/4 x 19 3/4 in)
Provenance: Donated by the
artist for Temwa
£300-500
99
100
Dicy (British, b.1971)
1985,
Spray paint and acrylic on
canvas,
Signed and dated in black
ink verso,
400 x 400 mm (15 3/4 x 15 3/4 in)
Provenance: Donated by the
artist for Temwa
£300-500
100
100
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
101
Cole Sternberg (American, b.1979)
One day (two outcomes), 2011
Mixed media on linen,
Signed in black ink verso,
406 x 533 mm (16 x 21 in)
Provenance: Donated by the artist for Temwa
£1,200-1,800
101
LONDON
102
Andy Council (British)
Londinium Drakos (The London Dragon), 2012
Charcoal, acrylic, paint marker and spray paint on canvas,
Signed and dated in pencil verso,
457 x 608 mm (18 x 24 in)
Provenance: Donated by the artist for Temwa
£600-800
102
www.dnfa.com tel. +44 (0) 207 495 9494
LONDON
103
Mr Jago (British)
Abbey Paradise, 2011
Spray paint and acrylic on canvas,
Signed and dated in black ink verso,
655 x 655 mm (23 3/4 x 23 3/4 in)
Provenance: Donated by the artist for Temwa
£800-1,200
103
LONDON
104
K-Guy (British, b.1968)
A New Dawn, A New Day, A New Life, Portrait of Nina Simone, 2012
Spray paint, silkscreen ink, wood dye on distressed wood panel,
Signed and numbered 1/1 in black ink verso
817 x 580 mm (32 1/4 x 22 3/4 in)
Provenance: Donated by the artist for Temwa
Accompanied by a certificate of authenticity from the artist
£800-1,200
104
www.dnfa.com tel. +44 (0) 207 495 9494
INDEX
B
Baker, Charming
Baldwin, Dan
1, 85
73
Banksy 4, 5 ,10, 11, 20, 21, 28, 29, 38,
39, 45, 66, 67, 83, 84
Bast
46, 50, 51
Black, Joe
6
Blek Le Rat
55
Bugs, Miss
37
Geigle, Klaus
61
Gentry, Nick
7
Goldie
Q
Quaye, Jules
72
R
Rasmussen, Nick
H
Haring, Keith
49
Harrington, Conor
13
Hirst, Damien
23, 60
Retna
Schoony
Seen
I
54, 90
52
Cope 2
69
Council, Andy
102
D*Face
D'Amico, Tony (DNTT)
Denning, Guy
Dicy
Donovan, Miranda
56,57
68
Invader
14
K
Koukoudakis, Adam
44,91
70
100
34, 35
LA II
16, 54
Mau Mau
40
Mclauchlan, Lucy 7
Eye, 3rd
93
Mr Jago
Faile
46
Fairey, Shepard
81
62, 63
Frost, Phil
80
Futura 2000
77
Neate, Adam
Geddes, Jeremy
2
30, 31
Snug
87
Speto
18
Starr, Jim
Static
32, 89
36
101
26, 27, 78
Swoon 8
Titifreak
79
15, 88
Toasters
99
Toof, Sweet
42
1
76, 103
Trxtr
12,97
V
19, 64, 65
Vyal
95
W
96
P
G
Small, Matt
22
O
One, Man
48
T
N
F
3, 87
58, 59
Supine, Judith
49
M
Marin, Manuel
98
Silvers, Robert
Sternberg, Cole
L
Elbow-Toe
Francis, Ian
17, 104
25
E
Eine
Indie 184
K-Guy
D
9
74
C
Cauty, James
24
S
Sample, Robert
Holdsworth, James
Callanan, Ryan (RYCA)
75
Walker, Nick
43, 53
Warhol, Andy
86
Werk
94
Pettibone, Richard
47
Witz, Dan
82
Pixie, Kill
41
Wreckage
33, 92
105
Urban Art Raffle in Aid of Temwa
First Prize:
Will Barras
limited edition
dry point
etching:
‘Storm’, Artist
Proof 5, only 10
of these have
been produced.
On 300 gsm
Somerset papersigned and
numbered by
the artist.
Third Prize: Limited edition Paris design
Second Prize: Rowdy print: ‘Neon Nightlife’,
a digital screen print. 50cmx70cm.
Temwa t-shirt. Light blue t-shirt with black print
on the front in a medium size, created especially
by Paris for Temwa.
Temwa was founded in 2003 and its mission is to help build a sustainable future for the people of Malawi.
Our aim is to provide an infrastructure to support Malawian families facing financial and humanitarian
hardship in a number of key areas: health education, agriculture and forestry, schools support, micro-finance
and skills development. Each area aims to build the capacity for change and through guidance and support,
stimulate the necessary action for community-led sustainable development. We work in the North of the
Nkhata Bay District and support 89 villages, a community of 39,000 people.
The raffle will be held at the Temwa Preview of the Urban Contemporary Auction on 10th December 2012
6pm-8pm at Dreweatts London, 24 Maddox Street, London W1S 1PP
All proceeds will go to support Temwa’s Community Development projects in Malawi.
Tickets will be available at the launch event or directly
from the Temwa website www.temwa.org.uk
Tickets cost: £5.00
106
GLOSSARY OF PRINTMAKING TERMS
AQUATINT
At etching process in which tone is created
by treating a plate with fine particles of acidresistant material (like powdered resin) and then
placing the plate in an acid bath. The acid bites
into the plate between the grains of resin and,
when printed, the mass of tine spots produces a
textured area with tonal effects similar to
watercolour wash.
ARTIST PROOF/ EPREUVE D'ARTISTE/
PROVA D’ARTISTA
Impressions printed especially for the artist and
excluded from the numbering of an edition, but
exactly like the editioned prints in every other
respect. Usually appears as “A.P.” “E.A.” or “P.A.”
BLINDSTAMP
The embossed, inked, or stamped symbol used by
printers and print workshops, usually in the
margin of the paper as a mark of identification.
Bon à Tirer/ Right to Print
The proof approved by the artist which establishes
the standard for all of the other prints in the
edition.
BURR
When using a drypoint needle or other engraving
tool to draw directly into a metal plate, small, fine
pieces of metal are raised up on both sides of the
scored line. This burr holds additional ink during the
printing process and gives the lines a valvety or
fuzzy texture. Burr is very delicate and consequently
is easily worn down during the pressures of the
printing process. Early pulls or impressions taken
from such plates are characterized by rich burr
CANCELLATION PROOF
When the edition is complete, the matrix – a block,
plate, stone, mylar or other – is effaced, crossed
out or otherwise “cancelled”. An impression is
then taken from this matrix, showing that the plate
has been “cancelled”. This ensures that no further
un-cancelled impressions can be pulled.
CARBORUNDUM
The trade name for silicon carbide, carborundum
began its use in printmaking as an abrasive which
was used in effacing lithographic stones. The
particles, when mixed together with glue can also
be used to draw on a plate – sometimes creating a
raised surface – which is then inked and printed
with the ink being held in the spaces between the
particles. The resulting prints are often textured due
to the raised areas of the printing surface.
CATALOGUE RAISONNÉ
A scholarly catalogue which should include all the
known works by an artist at the time of
publication. Essential information by which works
are identified is included.
CHINE APPLIQUÉ/ CHINE COLLÉ
A method of adhering a thin paper, sometimes of a
different colour or texture, onto a larger, heavier
sheet during the printing process using glue or
water to dampen and coat the papers.
COLOPHON/ JUSTIFICATION
A note, usually at the end of a book or portfplio of
prints, giving all or some of the following
information; name of work, author, printer, place of
printing, date, size of edition.
DECKLE EDGE
The natural, untrimmed edge of handmade paper
usually slightly uneven and sometimes slightly
thinker than the rest of the sheet.
DRYPOINT
An intaglio process in which a plate is marked or
incised directly with a needle. The drypoint line can
look very much like an etched line but is usually
lighter and characterized by the existence of burr.
EDITION
The total number of impressions pulled of a single
image or set of images from the same matrix. To
this number the artist usually authorizes the
addition of a small number of artist's printer's,
publisher's and other proofs.
107
EMBOSSING
A process used to create a raised surface or
raised element, but printed without ink.
ENGRAVING
An intaglio process in which a plate is marked
or incised directly with a burin or other metalmarking tool. No acid is used in this process since
the design is dug out by hand. An engraved line
can range from very deep and wide, to lighter
and thinner and is often characterized by a
pointed end signaling the exit of the “v” shaped
burin from the metal.
ETCHING
An intaglio process in which a plate is treated
with an acid-resistant ground. The artist then
draws through the ground. The artist then draws
through the ground with carious tools to expose
the metal. The plate is then immersed in an acid
bath where the acid “bites” or chemically
dissolves the exposed lines. The metal plate is
therefore “carved” or “etched” by the acid rather
than by a tool directly in the metal.
FOUL-BITING
When the acid-resistant ground on a metal plate
does not keep the acid entirely out, irregularities
can appear. These “bitten” areas will, when the
plate is printed, catch ink and appear as spots or
oddly inked areas.
LINOCUT/ LINOLEUM CUT
A relief process, like a woodcut, where the artist
carves the design out of the linoleum or linoleum
mounted onto wood. What remains is printed,
rather than what is cut away.
LITHOGRAPHY
A planographic printing process where a drawing
is made directly on a stone or other smooth matrix
with greasy materials such as lithographic crayon.
The surface is then dampened with water, which
is repelled by the greasy areas. The surface is then
rolled with greasy printing ink which adheres only
to the greasy areas and is itself repelled by the
areas which have water. The drawn image is
then printed.
MASTER PRINTER
A highly skilled printer who works very closely
with the artist to produce the edition.
MATRIX
The base from which the print is made. This can
be anything – a standard metal plate or
lithographic stone, a potato or vinyl record, a
stencil – anything from which you print.
FRONTISPIECE
Illustration in a book opposite the title page.
MEZZOTINT
An intaglio method in which the entire surface of
the plate is roughened by a spiked tool (“rocker”)
so that, if inked, the entire plate would print in
solid black. The artist then works from “black” to
“white” by scraping (or burnishing) out areas to
produce lighter tones.
HELIOGRAVURE
A method of making a photo-etched or
photogravure plate using an aquatint texture
directly on the plate to create tone.
MONOTYPE
A unique image printed from an unworked,
smooth, metal or glass surface painted in ink by
the artist.
HORS-COMMERCE/ “H.C.”
Meaning “outside of the commercial edition”,
these proofs, not originally intended for sale, are
excluded from the numbering of an edition, but are
otherwise exactly like the editioned prints in every
other respect.
MONOPRINT
A print which has as its base an etching,
lithography or woodcut and which is then uniquely
altered by monotype colouring, unique inking, or
choices in paper colour.
INTAGLIO
All matrices which have either been cut into or
“bitten” into. The resulting “dug out” lines are
printed. Intaglio processes include etching,
aquatint, engraving, mezzotint and metal
engravings, among others.
108
OFFSET PRINTING
Method of printing in which the inked image from a
lithographic stone, a metal plate or other matrix is
first transferred to an intermediary such as a rubber
cylinder or blanket and then to paper, thus creating
an image in the same direction as the original.
PHOTO-ETCHING / PHOTOGRAVURE
An intaglio process in which an image is produced
on an etching plate by photographic means. (See
also Heliogravure)
PHOTO-LITHOGRAPH
A process in which an image is produced on a
lithographic plate by photographic means.
PLANOGRAPHIC PRINT
Printing from a flat surface. Planographic
processes include lithography and some forms of
commercial printing.
PLATE MARK
The imprint in the paper resulting from the edge of
a metal plate being pushed into it during the
pressure of the printing process.
PLATE TONE
A veil of ink intentionally left on the surface of the
plate during printing which creates delicate areas
of tone or shading.
SOFT-GROUND ETCHING
An etching technique where a soft ground is laid
on the metal plate. The artist draws onto a piece of
paper which is laid down on top of the ground. The
ground adheres to the paper here the pencil or
other tool has pressed down into it through the
paper and pulls away when the paper is lifted. The
resulting “marked” plate is placed in an acid-bath
where the acid “bites” into the more exposed
areas where the ground has been “lifted”. The line
created is often soft and grainy.
STATE
An impression taken from the plate at a particular
moment or stage of development and
distinguished from impressions taken at other
times during that process. The final state is the
state from which editions are generally pulled,
although some artists pull several impressions in
each state.
POCHOIR
A printing process using stencils, originally used
to simulate hand-colouring.
STEEL FACING
When a metal intaglio plate is covered with a thin
deposit of steel using electrolysis creating a much
harder surface which can accommodate larger
numbers of printings before wear becomes
evident.
PRINTER'S PROOFS
Impressions printed especially for the printer(s)
and excluded from the numbering of an edition,
but exactly like the editioned prints in every other
respect. Usually appears as “P.P.”
TRIAL PROOF
An early poof, often incorporating artist's
revisions and changes and generally not identical
to the numbered, editioned prints. Also referred to
as Working Proof.
PROGRESSIVE PROOFS
Series of proofs taken to show each individual
colour plate and each combination of them
culminating in the final, complete version.
TUSCHE
Grease in stick or liquid form used principally for
drawing in lithography.
PUBLISHER
The person or entity who subsidizes and often
initiates the making of a print edition or portfolio and
who also disseminates the prints.
RELIEF PRINTING
When the image is printed from the raised or
uncarved portion of the matrix. Relief processes
include woodcuts and linocuts, among others.
SCREENPRINT / SILKSCREEN
A printing process using stencils to block out
areas which are then printed through silk, nylon or
metal mesh.
WATERMARK
Design in the paper seen when held against the
light. A manufacturer's mark, it is used to trace
the origin and date of the paper.
WAXTYPE
A process like screenprinting where pigmented
beeswax is used rather than traditional printer's ink.
WOODCUT
A relief technique where the image or design is left
raised above what is carved out of the wood. What
is not carved is printed.
109
These Conditions of Sale and Business constitute the contract between Dreweatts (the “Auctioneer”) and the seller,
on the one hand, and the buyer on the other. By bidding at the auction, you agree to be bound by these terms.
INFORMATION FOR BUYERS
1. Introduction. The following informative notes are intended to assist
Buyers, particularly those inexperienced or new to our salerooms. All
sales are conducted on our printed Conditions of Sale which are readily
available for inspection and normally accompany catalogues. Our staff
will be happy to help you if there is anything you do not fully understand.
2. Agency. As auctioneers we usually contract as agents for the seller
whose identity, for reasons of confidentiality, is not normally disclosed.
Accordingly if you buy your primary contract is with the seller.
3. Estimates. Estimates are designed to help buyers gauge what sort of sum
might be involved for the purchase of a particular lot. The lower estimate
may represent the reserve price and certainly will not be below it.
Estimates do not include the Buyer’s Premium or VAT (where chargeable).
Estimates are prepared some time before the sale and may be altered by
announcement before the sale. They are in no sense definitive.
4. Buyer’s Premium. The Buyer agrees to pay a buyer's premium on the
hammer price of each lot purchased. The buyer's premium is 24%
(28.8% including VAT) of the hammer price on each lot up to and
including £150,000, plus 12% (14.40% including VAT) for any amount in
excess of £150,000. VAT at the prevailing rate of 20% is added to all of
these premiums and additional charges as defined below.
5. VAT. (*) indicates that VAT is payable by the purchaser at the standard
rate (presently 20%) on the hammer price as well as being an element
in the buyer’s premium. This imposition of VAT is likely to be because
the seller is registered for VAT within the European Union and is not
operating the Dealers Margin Scheme or because VAT is due at 20% on
importation into the UK. The double symbol (**) indicates that the lot
has been imported from outside the European Union and the present
position is that these lots are liable to a reduced rate of VAT (5%) on the
gross lot price (i.e. both the hammer price and the buyer’s premium).
Lots which appear without either of the above symbols indicate that no
VAT is payable on the hammer price. This is because such lots are sold
using the Auctioneers’ Margin Scheme and it should be noted that the
VAT included within the Premium is not recoverable as input tax.
6. Descriptions and Conditions. Condition reports are provided on our
website or upon request. The absence of a report does not imply that a
lot is without imperfections. The detail in a report will reflect the
estimated value of the lot, and large numbers of such requests received
shortly before the sale may not receive a response to all lots. Members
of staff are not trained restorers or conservators and, particularly for
higher value lots, you should obtain an opinion from such a professional.
We recommend that you always view a lot in person.
We are, primarily, agents for the seller. We are dependent on information
provided by the seller and whilst we may inspect lots and act reasonably
in taking a general view about them we are normally unable to carry out
a detailed or any examination of lots in order to ascertain their condition
in the way in which it would be wise for a buyer to do. Intending buyers
have ample opportunity for inspection of goods and, therefore, accept
responsibility for inspecting and investigating lots in which they may
be interested. Please note carefully the exclusion of liability for the
condition of lots contained in the Conditions of Sale. Neither the seller
nor we, as the auctioneers, accept any responsibility for their condition.
In particular, mechanical objects of any age are not guaranteed to be
in working order. However, in so far as we have examined the goods and
make a representation about their condition, we shall be liable for any
defect which that examination ought to have revealed to the auctioneer
but which would not have been revealed to the buyer had the buyer
examined the goods. Additionally, in specified circumstances lots
misdescribed because they are ‘deliberate forgeries’ may be returned
and repayment made. There is a 3 week time limit. (The expression
‘deliberate forgery’ is defined in our Conditions of Sale).
7. Electrical goods.These are sold as ‘antiques’ only and if bought for use
must be checked over for compliance with safety regulations by a
qualified electrician first.
8. Export of goods. Buyers intending to export goods should ascertain (a)
whether an export licence is required and (b) whether there is any specific
prohibition on importing goods of that character because, e.g. they may
contain prohibited materials such as ivory. Ask us if you need help.
9. Bidding. Bidders may be required to register before the sale
commences and lots will be invoiced to the name and address on the
registration form. Some form of identification may be required if you
are unknown to us. Please enquire in advance about our arrangements
for telephone bidding.
10. Commission bidding. Commission bids may be left with the
auctioneers indicating the maximum amount to be bid excluding
buyers’ premium. They will be executed as cheaply as possible having
regard to the reserve (if any) and competing bids. If two buyers submit
110
identical commission bids the auctioneers may prefer the first bid
received. Please enquire in advance about our arrangements for the
leaving of commission bids by telephone or fax.
11. Methods of Payment. The following methods of payment are
acceptable: Debit Card drawn on a UK bank and registered to a UK
billing address. There is no additional charge for puchases made with
these cards.
Bank transfer direct into our bank account, all transfers must state the
relevant sale number, lot number and your bid / paddle number. If
transferring from a foreign currency, the amount we receive must be
the total due in pounds sterling (after currency conversion and the
deduction of any bank charges). Our bank details can be found on the
front or your invoice or in the sale catalogue under ‘Important Notices’.
Sterling cash payments of up to £12,000 (subject to money laundering
regulations).
All major UK issued credit cards registered to a UK billing address
with the exception of American Express and Diners Club. A surcharge
of 3% is payable on all payments made by credit cards.
Sterling personal cheques drawn on a UK bank account and made
payable to ‘Dreweatts 1759’. It will be necessary to allow at least six
working days for the cheque to clear before collecting your purchases.
12. Collection and storage. Please note what the Conditions of Sale state
about collection and storage. It is important that goods are paid for
and collected promptly. Any delay may involve the buyer in paying
storage charges.
13. Droit de suite royalty charges. From 1st January 2012 all UK art market
professionals (which includes but is not limited to; auctioneers, dealers,
galleries, agents and other intermediaries) are required to collect a
royalty payment for all works of art that have been produced by
qualifying artists each time a work is re-sold during the artist’s lifetime
and for a period up to 70 years following the artists death. This payment
is only calculated on qualifying works of art which are sold for a hammer
price more than the UK sterling equivalent of EURO 1,000 – the UK
sterling equivalent will fluctuate in line with prevailing exchange rates.
It is entirely the responsibility of the buyer to acquaint himself with the
precise EURO to UK Sterling exchange rate on the day of the sale in
this regard, and the auctioneer accepts no responsibility whatsoever
if the qualifying rate is different to the rate indicated.
All items in this catalogue that are marked with δ are potentially
qualifying items, and the royalty charge will be applied if the hammer
price achieved is more than the UK sterling equivalent of EURO
1,000.The royalty charge will be added to all relevant buyers’ invoices,
and must be paid before items can be cleared. All royalty charges are
passed on to the Design and Artists Copyright Society (‘DACS’), no
handling costs or additional fees with respect to these charges will be
retained by the auctioneers.
The royalty charge that will be applied to qualifying items which
achieve a hammer price of more than the UK sterling equivalent of
EURO 1,000, but less than the UK sterling equivalent of EURO 50,000
is 4%. For qualifying items that sell for more than the UK sterling
equivalent of EURO 50,000 a sliding scale of royalty charges will apply
– for a complete list of the royalty charges and threshold levels, please
see www.dacs.org.uk. There is no VAT payable on this royalty charge.
TERMS OF CONSIGNMENT FOR SELLERS
1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the
Seller and if the consignment of goods to us is made by an agent we
assume that the Seller has authorised the consignment and that the
consignor has the Seller’s authority to contract. Similarly the words
‘we’, ‘us’, etc. refer to the Auctioneers.
2. Commission is charged to sellers at the following rates:- please enquire
at our salerooms.
3. Removal costs. Items for sale must be consigned to the saleroom by
any stated deadline and at your expense. We may be able to assist you
with this process but any liability incurred to a carrier for haulage
charges is solely your responsibility.
4. Loss and damage of goods.
(a) Loss and Damage Warranty - Dreweatts is not authorised by the FSA
to provide insurance to its clients, and does not do so. However
Dreweatts for its own protection, assumes liability for property
consigned to it at the lower pre-sale estimate until the hammer falls.
To justify accepting liablilty, Dreweatts makes a charge of 1.5% of
the hammer price plus VAT, subject to a minimum charge of £1.50,
or if unsold 1.5% of our lower estimate. The liability assumed by
Dreweatts shall be limited to the lower pre-sale estimate or the
hammer price if the lot is sold.
(b) If the owner of the goods consigned instructs us in writng not to take
such action, the goods then remain entirely at the owners risk unless
and until the property in them passes to the Buyer or they are
collected by or on behalf of the owner, and clause 4 (a) is
inapplicable.
5. Illustrations.The cost of any illustrations is borne by you. If we consider
that the Lot should be illustrated your permission will be asked first.
The copyright in respect of such illustrations shall be the property of
us, the auctioneers, as is the text of the catalogue.
6. Minimum bids and our discretion. Goods will normally be offered
subject to a reserve agreed between us before the sale in accordance
with clause 7. We may sell Lots below the reserve provided we account
to you for the same sale proceeds as you would have received had the
reserve been the hammer price. If you specifically give us a “discretion”
we may accept a bid of up to 10% below the formal reserve.
7. Reserves.
(a) You are entitled to place prior to the auction a reserve on any lot
consigned, being the minimum hammer price at which that lot may
be sold. Reserves must be reasonable and we may decline to offer
goods which in our opinion would be subject to an unreasonably high
reserve (in which case goods carry the storage and insurance
charges stipulated in these Terms of Consignment).
(b) A reserve once set cannot be changed except with our consent.
(c) Where a reserve has been placed only we may bid on your behalf and
only up to the reserve (if any) and you may in no circumstances bid
personally.
8. Electrical items. These are subject to detailed statutory safety controls.
Where such items are accepted for sale you accept responsibility for
the cost of testing by external contractors. Goods not certified as safe
by an electrician (unless antiques) will not be accepted for sale. They
must be removed at your expense on your being notified. We reserve the
right to dispose of unsafe goods as refuse, at your expense.
9. Soft furnishings. The sale of soft furnishings is strictly regulated by
statute law in the interests of fire safety. Goods found to infringe safety
regulations will not be offered and must be removed at your expense. We
reserve the right to dispose of unsafe goods as refuse, at your expense.
The rights of disposal referred to in clause 8 and 9 are subject to the
provisions of The Torts (Interference with Goods) Act 1977, Schedule 1,
a copy of which is available for inspection on request
10. Descriptions. Please assist us with accurate information as to the
provenance etc. of goods where this is relevant. There is strict liability
for the accuracy of descriptions under modern consumer legislation
and in some circumstances responsibility lies with sellers if
inaccuracies occur. We will assume that you have approved the
catalogue description of your lots unless informed to the contrary.
Where we are obliged to return the price to the buyer when the lot is
a deliberate forgery under Condition 15 of the Conditions of Sale and
we have accounted to you for the proceeds of sale you agree to
reimburse us the sale proceeds.
11. Unsold and withdrawn items. If an item is unsold it may with your
consent be re-offered at a future sale. Where in our opinion an item is
unsaleable you must collect such items from the saleroom promptly
on being so informed. Otherwise, storage charges may be incurred.
We reserve the right to charge for storage in these circumstances at
a reasonable daily rate.
12. Withdrawn and bought in items. These are liable to incur a charge of
15% commission, 1.5 % Loss and Damage Warranty and any other
costs incurred including but not limited to illustration and restoration
fees all of these charges being subject to VAT on being bought in or
withdrawn after being catalogued.
13. Conditions of Sale. You agree that all goods will be sold on our
Conditions of Sale. In particular you undertake that you have the right
to sell the goods either as owner or agent for the owner. You undertake
to compensate us and any buyer or third party for all losses liabilities
and expenses incurred in respect of and as a result of any breach of this
undertaking. We will also, at our discretion, and as far as practicable,
confirm that an item consigned for sale does not appear on the Art Loss
register, which is administered by an independent third party.
14. Authority to deduct commission and expenses and retain premium
and interest.
(a) You authorise us to deduct commission at the stated rate and all
expenses incurred for your account from the hammer price and
consent to our right to retain beneficially the premium paid by the
buyer in accordance with our Conditions of Sale and any interest
earned on the sale proceeds until the date of settlement.
(b) You authorise us in our discretion to negotiate a sale by private treaty
not later than the close of business 48 hours after the day of sale in
the case of lots unsold at auction, in which case the same charges
will be payable as if such lots had been sold at auction and so far as
appropriate these Terms apply.
15. Warehousing. We disclaim all liability for goods delivered to our
saleroom without sufficient sale instructions and reserve the right to
make minimum warehousing charge of £10 per lot per day. Unsold lots
are subject to the same charges if you do not remove them within a
reasonable time of notification. If not removed within three weeks we
reserve the right to sell them and defray charges from any net
proceeds of sale or at your expense to consign them to the local
authority for disposal.
16. Settlement. After sale settlement of the net sum due to you normally
takes place within 28 days of the sale (by crossed cheque to the seller)
unless the buyer has not paid for the goods. In this case no settlement
will then be made but we will take your instructions in the light of our
Conditions of Sale. You authorise any sums owed by you to us on other
transactions to be deducted from the sale proceeds. You must note
the liability to reimburse the proceeds of sale to us as under the
circumstances provided for in Condition 10 above. You should therefore
bear this potential liability in mind before parting with the proceeds
of sale until the expiry of 28 days from the date of sale.
CONDITIONS OF SALE
Dreweatts 1759 Limited trading as Dreweatts carries on business with
bidders, buyers and all those present in the auction room prior to or
in connection with a sale on the following General Conditions and
on such other terms, conditions and notices as may be referred
to herein.
1. Definitions
In these Conditions:
(a) “auctioneer” means the firm of Dreweatts or its authorised
auctioneer, as appropriate;
(b) “deliberate forgery” means an imitation made with the intention of
deceiving as to authorship, origin, date, age, period, culture or
source but which is unequivocally described in the catalogue as
being the work of a particular creator and which at the date of the
sale had a value materially less than it would have had if it had been
in accordance with the description;
(c) “hammer price” means the level of bidding reached (at or above any
reserve) when the auctioneer brings down the hammer;
(d) “terms of consignment” means the stipulated terms and rates of
commission on which Dreweatts accepts instructions from sellers
or their agents;
(e) “total amount due” means the hammer price in respect of the lot
sold together with any premium, Value Added Tax chargeable and
any additional charges payable by a defaulting buyer under these
Conditions;
(f) “sale proceeds” means the net amount due to the seller, being the
hammer price of the lot sold less commission at the stated rate,
Value Added Tax chargeable and any other amounts due to us by the
seller in whatever capacity and however arising;
(g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2.
(h) The singular includes the plural and vice versa as appropriate.
2. Bidding procedures and the Buyer
(a) Bidders are required to register their particulars before bidding and
to satisfy any security arrangements before entering the auction
room to view or bid;
(b) the maker of the highest bid accepted by the auctioneer conducting
the sale shall be the buyer at the hammer price and any dispute
about a bid shall be settled at the auctioneer’s absolute discretion
by reoffering the Lot during the course of the auction or otherwise.
The auctioneer shall act reasonably in exercising this discretion.
(c) Bidders shall be deemed to act as principals.
(d) Our right to bid on behalf of the seller is expressly reserved up to the
amount of any reserve and the right to refuse any bid is also reserved.
3. Increments
Bidding increments shall be at the auctioneer’s sole discretion.
4. The purchase price
together with a premium thereon of 28.8% which shall include VAT on the
premium at the rate imposed by law. The buyer will also be liable for any
royalties payable under Droit de Suite as set out under Information for
Buyers.
111
5. Value Added Tax
Value Added Tax on the hammer price is imposed by law on all items
affixed with an asterisk or double asterisk. Value Added Tax is charged at
the appropriate rate prevailing by law at the date of sale and is payable
by buyers of relevant Lots. (Please refer to “Information for Buyers” for a
brief explanation of the VAT position).
6. Payment
(1) Immediately a Lot is sold you will:
(a) give to us, if requested, proof of identity, and
(b) pay to us the total amount due or in such other way as is agreed by us.
(2) Any payments by you to us may be applied by us towards any sums
owing from you to us on any account whatever without regard to any
directions of you or your agent, whether express or implied.
(3) Buyers who utilise the services of ATG Live Auctions or any other live
internet services are hereby informed that the payment method details
that are provided to ATG Live Auctions or any other live internet
services as part of the process of registration will, in the absence of
compliance with paragraph (1) of this clause, be utilised by us to settle
any amounts owing by such buyers to us.
7. Title and collection of purchases
(1) The ownership of any Lots purchased shall not pass to you until you
have made payment in full to us of the total amount due.
(2) You shall at your own risk and expense take away any lots that you have
purchased and paid for not later than 3 working days following the day
of the auction or upon the clearance of any cheque used for payment
after which you shall be responsible for any removal, storage and
insurance charges.
(3) No purchase can be claimed or removed until it has been paid for.
(4) Dreweatts is unable to arrange packaging or shipping of items.
Successful buyers must make these arrangements independently,
though the saleroom may be able to suggest specialist shipping
companies who can advise buyers, this advice is not a
recommendation and the saleroom is not liable for any aspect of the
packaging and shipping process. Please note that the cost of
packaging and shipping depends on the size/weight of the item(s)
purchased, insurance requirements, and the shipping destination, not
on the value of the item(s) purchased. Please note that any items not
collected within one week of the sale date may be automatically
removed to commercial storage and subject to a storage charge.
8. Remedies for non-payment or failure to collect purchases
(1) If any Lot is not paid for in full and taken away in accordance with
these Conditions or if there is any other breach of these Conditions,
we, as agent for the seller and on our own behalf, shall at our absolute
discretion and without prejudice to any other rights we may have, be
entitled to exercise one or more of the following rights and remedies:
(a) to proceed against you for damages for breach of contract;
(b) to rescind the sale of that Lot and/or any other Lots sold by us to you;
(c) to resell the Lot (by auction or private treaty) in which case you shall
be responsible for any resulting deficiency in the total amount due
(after crediting any part payment and adding any resale costs). Any
surplus so arising shall belong to the seller;
(d) to remove, store and insure the Lot at your expense and, in the case
of storage, either at our premises or elsewhere;
(e) to charge interest at a rate not exceeding 1.5% per month on the
total amount due to the extent it remains unpaid for more than 3
working days after the sale;
(g) to retain that or any other Lot sold to you until you pay the total
amount due;
(h) to reject or ignore bids from you or your agent at future auctions or
to impose conditions before any such bids shall be accepted;
(i) to apply any proceeds of sale of other Lots due or in future becoming
due to you towards the settlement of the total amount due and to
exercise a lien (that is a right to retain possession of) any of your
property in our possession for any purpose until the debt due is
satisfied.
(2) We shall, as agent for the seller and on our own behalf pursue these
rights and remedies only so far as is reasonable to make appropriate
recovery in respect of breach of these conditions
9. Third party liability
All members of the public on our premises are there at their own risk and
must note the lay-out of the accommodation and security arrangements.
Accordingly neither the auctioneer nor our employees or agents shall
incur liability for death or personal injury (except as required by law by
reason of our negligence) or similarly for the safety of the property of
persons visiting prior to or at a sale.
112
10. Commission bids
Whilst prospective buyers are strongly advised to attend the auction and
are always responsible for any decision to bid for a particular Lot and shall
be assumed to have carefully inspected and satisfied themselves as to its
condition we will if so instructed clearly and in writing execute bids on
their behalf. Neither the auctioneer nor our employees or agents shall be
responsible for any failure to do so save where such failure is unreasonable.
Where two or more commission bids at the same level are recorded we
reserve the right in our absolute discretion to prefer the first bid so made.
11. Warranty of title and availability
The seller warrants to the auctioneer and you that the seller is the true
owner of the property consigned or is properly authorised by the true
owner to consign it for sale and is able to transfer good and marketable
title to the property free from any third party claims.
12. Agency
The auctioneer normally acts as agent only and disclaims any
responsibility for default by sellers or buyers.
13. Terms of sale
The seller acknowledges that Lots are sold subject to the stipulations of
these Conditions in their entirety and on the Terms of Consignment as
notified to the consignor at the time of the entry of the Lot.
14. Descriptions and condition
(1) Whilst we seek to describe lots accurately, it may be impractical for
us to carry out exhaustive due diligence on each lot. Prospective
buyers are given ample opportunities to view and inspect before any
sale and they (and any independent experts on their behalf) must
satisfy themselves as to the accuracy of any description applied to a
lot. Prospective buyers also bid on the understanding that, inevitably,
representations or statements by us as to authorship, genuineness,
origin, date, age, provenance, condition or estimated selling price
involve matters of opinion. We undertake that any such opinion shall
be honestly and reasonably held and accept liability for opinions given
negligently or fraudulently. Subject to the foregoing neither we the
auctioneer nor our employees or agents nor the seller accept liability
for the correctness of such opinions and all conditions and warranties,
whether relating to description, condition or quality of lots, express,
implied or statutory, are hereby excluded. This Condition is subject to
the next following Condition concerning deliberate forgeries and
applies save as provided for in paragraph 6 “information to buyers”.
(2) Private treaty sales made under these Conditions are deemed to be
sales by auction for purposes of consumer legislation.
15. Forgeries
Notwithstanding the preceding Condition, any Lot which proves to be a
deliberate forgery (as defined) may be returned to us by you within 21
days of the auction provided it is in the same condition as when bought,
and is accompanied by particulars identifying it from the relevant
catalogue description and a written statement of defects. If we are
satisfied from the evidence presented that the Lot is a deliberate forgery
we shall refund the money paid by you for the Lot including any buyer’s
premium provided that (1) if the catalogue description reflected the
accepted view of scholars and experts as at the date of sale or (2) you
personally are not able to transfer a good and marketable title to us, you
shall have no rights under this condition.
The right of return provided by this Condition is additional to any right or
remedy provided by law or by these Conditions of Sale.
General
16. We shall have the right at our discretion, to refuse admission to our
premises or attendance at our auctions by any person.
17. (1) Any right to compensation for losses liabilities and expenses
incurred in respect of and as a result of any breach of these
Conditions and any exclusions provided by them shall be available
to the seller and/or the auctioneer as appropriate.
(2). Such rights and exclusions shall extend to and be deemed to be
for the benefit of employees and agents of the seller and/or the
auctioneer who may themselves enforce them.
18. Any notice to any buyer, seller, bidder or viewer may be given by first
class mail, email or Swiftmail in which case it shall be deemed to have
been received by the addressee 48 hours after posting.
19. Special terms may be used in catalogue descriptions of particular
classes of items in which case the descriptions must be interpreted
in accordance with any glossary appearing at the commencement of
the catalogue.
20. Any indulgence extended to bidders, buyers or sellers by us
notwithstanding the strict terms of these Conditions or of the Terms
of Consignment shall affect the position at the relevant time only and
in respect of that particular concession only; in all other respects
these Conditions shall be construed as having full force and effect.
21. English law applies to the interpretation of these Conditions.
INTERNATIONAL DEPARTMENTS
BLOOMSBURY AUCTIONS
LONDON
Bloomsbury House
24 Maddox Street
London, W1S 1PP
Tel: +44 (0) 20 7495 9494
Fax: +44 (0) 20 7495 9499
info@bloomsburyauctions.com
www.bloomsburyauctions.com
BOOKS & MANUSCRIPTS
Rupert Powell Deputy Chairman, Travel, Natural History & Science
Dido Arthur Art & Architecture, Private Press & Illustrated
Justin Phillips Continental & Early Printing
Simon Luterbacher Manuscripts & English Literature
Clive Moss Children’s Books
Max Hasler Modern First Editions
Hannah Usher Books
Emily Bradfield Books
Michael Heseltine Consultant
PICTURES AND MAPS
Robert Hall
Richard Carroll
MODERN & CONTEMPORARY ART & PRINTS
Alexander Hayter International Head of Contemporary Art
Ross Thomas
Shane Xu
Mary McCarthy Director, Urban & Contemporary Art
DREWEATTS
DONNINGTON PRIORY
Newbury, Berkshire, RG14 2JE
Tel: +44 (0) 1635 553 553
Fax: +44 (0) 1635 553 599
donnington@dnfa.com
www.dnfa.com/donnington
ASIAN CERAMICS & WORKS OF ART
Benedetta Mottino
CLOCKS & SCIENTIFIC INSTRUMENTS
Leighton Gillibrand Director
COUNTRY SPORTING
Geoffrey Stafford Charles Director
DECORATIVE ARTS
David Rees Director
ENGLISH & CONTINENTAL CERAMICS
Geoffrey Stafford Charles Director
FURNITURE
Will Richards Deputy Chairman
Cristian Beadman Associate Director
Ben Millerchip-Brown Associate Director
Emma Terry
Elaine Binning Consultant
JEWELLERY, SILVER, WATCHES
& OBJECTS OF VERTU
James Nicholson International Head of Department
David Rees Director, Silver & Objects of Vertu
Ian Pickford Silver Consultant
Nick Mann
DREWEATTS
BRISTOL
St. John’s Place, Apsley Road,
Clifton, Bristol BS8 2ST
Tel: +44 (0) 117 973 7201
Fax: +44 (0) 117 973 5671
bristol@dnfa.com
www.dnfa.com/bristol
ADMINISTRATION
Codrina Toderita Administrator
Helen Cragg Administrator
Domoni Mainstone Administrator
Julia Owen Accounts
Craig Millar IT
Scott Harvey Art Director
Elio Stolz Photographer
Poppy Walker Marketing Manager
Gary Shaw Facilities Manager
Graham Argue Saleroom & Shipping
Robert Cain Saleroom & Shipping
Steve Cain Saleroom & Shipping
Alec Shepherd Saleroom & Shipping
PICTURES
Archie Parker
International Head of Old Master & 19th Century Paintings
James James-Crook
Modern British & Irish Paintings & Sculpture
WINE
Bruce Cairnduff Consultant
ADMINISTRATION
Brenda Adams Associate Director, Client Accounts
Ruth Rackham Senior Administrator & Valuations Coordinator
Tori Billington Marketing
Helen Newton Administrator
Kathy James Administrator
Fiona Foote Administrator
Kate Colquhoun Administrator
Ruth Miles Administrator
Adam Martin Saleroom
James Percy Saleroom
Gyula Sirok Saleroom
Matthew Martin Photographer
Dave Pincott Photographer
STEAM MODEL ENGINEERING
Michael Matthews Consultant
FURNITURE & ORIENTAL CARPETS
Richard Madley Director
Kate Hannah
Tim Hazelgrove
TOYS, COLLECTABLES,
RAILWAYANA & BOOKS
Peter Rixon Associate Director
MEDALS & MILITARIA
Malcolm Claridge
SILVER & JEWELLERY
John Kelly
For further information, please contact:
Dott. Luciana Scarpa
Tel: +39 388 8813070
roma@bloomsburyauctions.com
POSTERS
Richard Barclay Consultant
CLOCKS & SCIENTIFIC INSTRUMENTS
Leighton Gillibrand Director
PICTURES
Mary McCarthy Director, Urban & Contemporary Art
BLOOMSBURY AUCTIONS
ROME / MILAN
PHOTOGRAPHS
Sarah Wheeler
John Cumming Consultant
Dreweatts & Bloomsbury Auctions is pleased to
announce a new joint venture in Italy. Together with
Philobiblon Auctions, a subsidiary of the highly
respected antiquarian books and manuscripts
dealership, we are able to offer a first class service
throughout Italy from premises in both Rome and Milan.
We have Italian speaking specialists in all major
departments and offer a regular calendar of both
valuation events and sales in Rome and Milan.
ADMINISTRATION
Samantha Taylor Administrator
Sara Lucas Administrator
Sarah Walker Administrator
Ewelina Karbowiak Photographer
Philip Maclean Photographer
Dreweatts
Bloomsbury House, 24 Maddox Street, London W1S 1PP
T +44 (0) 20 3291 2832
fineart@dnfa.com
www.dnfa.com