A selection a silver, silver coloured and base metal accessories, to include a novelty silver bookmark modelled as a swan, Peter Nicholas & Co Ltd, London 1993, 10.5cm long, a silver butterfly bookmark, Harrison Brothers & Howson Ltd, Birmingham 1991, 8.3cm long, a plain silver bookmark, Harrison Brothers & Howson Ltd, Birmingham 2000, two further silver bookmarks, largest 4cm long, a miniature silver pair of bellows, 3.2cm long, a silver mounted dressing table jar, 6.2cm high, a silver baby brooch, two further baby brooches, a mother brooch, a pair of greyhound knife rests, a silver coloured wirework spider brooch, a silver coloured wirework fan brooch and a ceramic thimble (16) (at fault)CR; Dressing table jar: Cover is heavily dented. Chipping to the highpoints of the glass. Heavy scratching and wear throughout.Bookmarks: Largely in good order. The rectangular and square examples show some light misshaping. All show moderate scratching and wear commensurate with age and use.Brooches: Heavy denting/misshaping to the web and legs of spider brooch. Brooch/Pendant mount on spider brooch is broken and will require replacement. Heavy scratching and wear throughout. Fan shaped example appears to be missing dropper. 'Mother' mount is loose, and wobbles on mother of pearl backing. All examples show light denting, general scratching and wear.Knife rests: Heavy loss to the plate, heavy scratching and wear throughout. Both wobble slightly on a level surface.Thimble and bellows are largely in good order.
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534297 Los(e)/Seite
A pair of Edwardian style topaz and cultured pearl drop earrings, each designed as an oval mixed cut blue topaz measuring 8mm x 6mm, suspended on a gold coloured foliate drop set with half-pearls, pierced ear post fittings, indistinctly stamped, each approximately 27mm long, weight 1.9gmsCR; Stones show general scratching and wear commensurate with age and use, and there are some nibbles to the facets on the reverse of the stones, but no cracks, chips or fractures. Settings in good order, stones are secure. Leaf droppers in good order, no thinning, splitting or repair. Pearls show light scratching and wear, but no cracks, chips or losses. Posts are in good order. Please note: There are no backs included with these earrings.
A French green stone and 18ct gold cocktail ring, the central green polished cabochon (possibly a tourmaline) measuring 13.5mm x 12.2mm x 8.7mm, set to a fluted surround, continuing to plain polished shoulders and shank, French horse's head lozenge mark, ring size N, weight 5.8gmsCR; There is a large surface reaching fracture running across the central stone, and a further internal fracture running across the stone perpendicular to the first fracture. There are several knicks, shallow chips, heavy scratching and general wear to the surface of the stone. This stone has not been tested for filling, coating or dyeing, but does not show any obvious indications of treatment. The setting shows a hairline split running across the side, covering about a quarter of the circumference of the setting. There is moderate scratching, wear and minor denting commensurate with age and use. No signs of repair. There is some beginning signs of splitting to one of the shoulders were in meets the shank. The shank and shoulders show general scratching, wear and light denting commensurate with age and use. No splitting, resizing or repair. Marks are worn.
A George V 22ct gold wedding band, marks for Birmingham 1923, ring size P, weight 3.9gmsCR; Light denting, heavy scratching and wear to the exterior and interior. Some signs of light thinning. No splitting or signs of resizing or repair. Heavy wear to maker's mark, however all other larks are legible.
An opal 9ct gold dress ring, the oval opal cabochon measuring 14mm x 10mm, set in 9ct gold to a rope twist border, split shoulders and plain polished shank, ring size N 1/2, together with an amethyst 9ct gold dress ring, the central amethyst measuring 14mm x 10mm, set in 9ct gold to a waved border, split shoulders and plain polished shank, size O 1/2, gross weight 7.0gms (2)CR; No cracks, chips or losses to amethyst - general scratching and wear only. Moderate scratching, wear and some denting to the setting, but no major thinning, splitting or repair. Shank in good order, no thinning, splitting or repair, general scratching and wear only.There are two hairline fractures running across the opal. There is general scratching and wear to the surface. No chips or losses. Setting shows moderate scratching and wear and some light denting, but no major splitting or repair. Shank in good order, no splitting, resizing or repair, general scratching and wear to exterior.
A Victorian and later horn and silver mounted beaker, Thomas Smily, London 1874, of tapering cylindrical form with silver border and shield shaped cartouche, 10.5cm high, together with four Arts & Crafts silver coloured teaspoons, each 9.2cm long, a pair of Victorian silver scalloped open salts with colourless glass liners (marks worn), each 24mm high, a George V silver vesta case, I S Greenberg & Co, Birmingham 1920, 5cm x 3.5cm, a silver matchbox sleeve with navel crest and inscription ‘With compliments of Naresh Math Mookerjee 6 Clive Row Calcutta’, 6cm x 3.5cm x 2cm approx., two further silver matchbox sleeves, a silver salt spoon, a silver coloured salt spoon and a silver chain, gross weight (excluding horn cup and unmarked examples) 3.39ozt (14) (at fault)CR: Arts & Crafts teaspoons are not hallmarked. One of mustard spoons appears to be plated. One of the matchbox holders and the spring ring to the chain are marked 'STERLING.' All of the other items are hallmarked.Matchbox holders: Calcutta example and Deakin & Francis example show heavy denting. Deakin & Francis example shows some splitting and loss. All examples show some misshaping and slanting. All examples show heavy scratching, general wear and tear commensurate with age and use.Horn cup: Heavy denting to the silver mount, some lifting, heavy scratching and wear throughout. Horn cup in good order, moderate scratching and wear throughout. Moderate scratching and wear to base.Vesta: Heavy denting throughout. No obvious splitting or signs of repair. Moderate scratching and wear throughout, moderate loss of engraved detail. Hinged cover opens smoothly and closes flush.Salts: Moderate denting throughout. Some thinning, minor splitting and misshaping around the border. Moderate scratching and wear throughout. Both salts sit flat on a level surface. Glass liners in good order, no cracks, chips or losses.Arts & Crafts spoons: Some thinning, light denting and minor misshaping to the edges of the spoons. Some denting and splitting to the floral finials. Moderate scratching and wear throughout.Chain clasp is broken, lacking spring. Links appear in good order.Both mustard spoons show heavy denting, scratching, wear and tear throughout.
An early 20th century silver gilt bracelet by Theodore Fahrner, designed as seven circular panels set with blue-green pastes and applied wirework decoration, tongue and box snap clasp fastening, 17.8cm long, weight 30.3gmsCR; The stones are in good order, no cracks, chips or losses. All show light-moderate scratching and general wear commensurate with and use. None show indication of repair, and all appear secure in setting. A few of the panels and connective links show splitting to the sides and underside. All links show light denting, some loss to the detail and general scratching and wear commensurate with age and use. Clasp in working order, though does appear slightly loose, however the safety catch is in working order.
A 9ct gold double albert chain, the graduated curb link chain with swivel terminations and central T bar, curb links stamped '9' and '375', T-bar stamped '9', '375' and 'B&S', lobster claws stamped '9', '375' and 'B&S', gross weight 60.7gms, 43cm longCR; Curb links show moderate scratching and wear throughout commensurate with age and use, with a few showing minor denting. There is minor to moderate thinning to the links between the contact points, but all appear to be secure. None show splitting or signs of repair. All show some degree of wear to the marks, varying from minor to heavy. T-bar in good order, showing general scratching and wear, but no thinning, splitting or repair, and swivels smoothly. One of the claws does not close flush and sits ajar - the other sits flush, opening and closing smoothly, though softly. All show moderate scratching and wear and some light denting but no splitting or repair. Hallmarks are heavily worn.
A Victorian cranberry glass, silver mounted scent bottle, the tapered cranberry glass body painted in gold hues with blossoms, with plain polished spherical screw cap (marks worn), colourless glass stopper, 21.5cm longCR; Body in good order, no cracks, chips or losses. General scratching and wear commensurate with age and use. There is heavy scratching, wear and areas of loss to the gold painted details (see pictures). Silver collar shows general scratching, wear and light denting. Glass stopper in good order, no cracks, chips or losses. There are several dents to the spherical cover, and moderate scratching and wear throughout. See pictures for illustration.
A late Victorian silver coffee pot, London 1899 (maker's marks worn), of tapering cylindrical form on raised circular foot, cast spout, ebonised handle and knop to hinged cover, 23cm high, weight 14.99oztCR: There is a moderate amount of small to mid-sized dents peppered throughout the body, mostly concentrated around the base. There is moderate scratching and wear throughout the pot commensurate with age and use. Hallmarks are heavily worn. Knop is loose and slightly askew - some light repair may be required. Heavy wear and loss to the ebonising on the handle and knop. Teapot wobbles slightly on a level surface.
A pair of George III silver candlesticks, hallmarked I.W (possibly John Weldring or James Wibird), London 1768, each upon weighted square stepped bases with gadroon borders, below knopped stems with urn shaped capitals and detachable square drip pans, inscription to base 'To Dr. Bowen-Davies, with gratitude from those at Llysdinam January 1894', each approximately 28cm high (2)CR; Both show heavy wear to the felt bases. Both show moderate small, shallow dents peppered throughout the stepped base. There is some splitting to the highpoints of the detail where the stem meets the base. There is some signs of solder repair where the stem meets the base. There are light, shallow dents peppered throughout the knopped stem, and some splits to the high points. There are some possible signs of solder repair to the knopped stems (see pictures). Sconces show some light dents peppered throughout, and some signs of light splitting. There is moderate denting/some misshaping around the edges of the sconces. Drip pans show some beginning signs of splitting to the high points and some denting peppered throughout the borders, with some larger dents to the collars. There is moderate and wear and loss of definition to the detail throughout. See pictures for illustration.
A frosted glass pendant light shade, early 20th century, of domed form, the shade suspended by three chains and eagle mask hooks applied to a gilt metal band, shade height 26cm Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
A George II silver coffee pot, London 1745 (maker's marks worn), of tapering cylindrical form on raised circular foot, urn finial to hinged cover, cast spout and scrolling wooden handle, engraved with a bird of prey crest to one side and coat of arms to the other, 23cm high, weight 29.27ozt CR; Moderate scratching and wear commensurate throughout commensurate with age and use. Light denting peppered throughout body. Some denting to the foot rim. Heavy wear to the hallmarks. Cover is wobbly at the hinge, but appear secure, opening smoothly and closing flush. Some splitting to the top side of the spout. Some chipping to the wooden handle around the base. Moderate wear to the engraved detail. See pictures for illustration.
Full title: A pair of light green natural stone fluted columns, 20th C.Description:H 109,3 cm - Dia.: 25,3 cm 39,5 x 39,5 cm (the base) The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: A pair of French Louis XV style gilt bronze four-light candelabra, 19th/20th C.Description:H 37 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: A pair of French gilt and patinated bronze six-light candelabra with floral design, 19th C.Description:H 71,8 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
A set of 9 flutes from the RITZ ParisFranceCrystal with colours from the Ritz by the Cristallerie de PortieuxFoliage scrolls, dragonflies and moon decoration with central rococo cartouche. 3 green, 3 blue, 2 amber e 1 light greenMarked RITZ Paris to base(in very good condition) The "Cristallerie de Portieux" is heir to one of the oldest French crystal manufactures, founded in 1690Alt.: 24 cm
A black Hermès two-piece suit with light pinstripe. Including original garment bag. The blazer is made with a reverse neckline and two exterior pockets.Fabric:72% wool, 27% viscose, 1% polyesterSize: 44 FR (Check dimensions)Dimensions blazer:Total length: 75 cmShoulder width: 43 cm.Armpit to armpit: 52 cm.Sleeve length: 55 cm.Dimensions Trousers:Total length: 107 cm.Waist: 40 cm. 44FR
Sam Pickett (British, B.1987)DANCR signed lower rightlayers of spray paint and acrylic80 x 60cm (31 1/2 x 23 5/8in).Footnotes:Sam Pickett (1987) is a self-taught British figurative studio/street artist operating largely in the London and Surrey area. 'Every time Sam makes a mark on a wall, canvas or in the dust it's an attempt to interact with God on a deeper level. Not your God, a God or The God, just God. Close to the entirety of the human body originates from a star. Are we the growing tendrils of a universe exploring itself? Pickett finds inspiration in watching graffiti and tags building up on walls then slowly sinking beneath each new wave like living organisms as they are born, live and die then are reclaimed by the matter they came from. Sam believes that we are all looking to create our own Cueva de las Manos somehow. Reaching out across time from cave walls. For a brief moment we were here. We loved and lost. Not a monument but an echo, another voice joining the choir of humanity.Pickett is hugely inspired by extreme light and darkness; what is considered beautiful and ugly; the haves and the have nots; the great saga of it all. The inspiration also manifests itself in his process. To breathe life into a painting he will under paint a piece with what comes to him in the moment like automatic writing– tags, runes and doodled life musings. Using acrylic combined with layers of spray paint, dirt and dust, he builds up his figures from disparate pieces layered on top of each other. He strives for them to be greater than the sum of their parts, to transcend from the poverty both materialistic and spiritually in which they wander. To dive deeper in to what it is to be human and to become more.' (Sam Pickett and Ingvild Hokstad, September 2022)For further information on this lot please visit Bonhams.com
Md Tokon (American-Bangladeshi, B.1980)Don't let the sun go down signed and dated versoacrylic on canvas, framed121 x 91cm (47 5/8 x 35 13/16in).Footnotes:'This work is predicated on colour, light, dark, and space. It shares similarities with the song of British singer Elton John, which is 'Don't Let the Sun Go Down on Me.' It is simple, pure, and organic. The work also influenced by my extensive travels to ocean and land. The results are highly emotional and sensational. It is closely connected to dreams and illusions.' (Md Tokon, September 2022.)Md Tokon spent the first half of his life in Bangladesh before relocating to the USA, where he completed his Bachelor of Fine Arts from the City University of New York (2002-2006) and simultaneously enrolled at the Art Students League of New York (2005-2010). Noted alumni from the latter include Cy Twombly and Mark Rothko. Rothko's and the New York abstract expressionist's influence is evident in Md Tokon's works however Tokon's works also incorporate elements of Impressionism and Romanticism, as his works are predicated on colour, space, dark and light. The colours and themes employed in his works are a tribute to both the to tonalities of Bangladesh and the long tradition of abstract art emanating from the country, specifically that of Mohammad Kibria.Tokon favours large canvasses, dramatic colour and loose brushwork. He has been part of numerous solo and group exhibitions in New York, Chicago and Dhaka, and he is the recipient of the 2010 Richard Lillis Memorial Scholarship.For further information on this lot please visit Bonhams.com
Seema Kohli (Indian, B.1960)Yogini signed 'Seema '14' in Devanagiri and edition 8/10 lower leftserigraph on archies paper, framed52 x 47cm (20 1/2 x 18 1/2in).Footnotes:Excerpt from Narrative Performance by Seema KohliI move in a circular motion, Like time As does life and death itselfEnergy passing from one space to another So is the idea of circumambulation across all faithsA gesture profound to the feminine Signifying the never-ending loop of creation The continuation of The life-rhythmThe drumming skies and roaming dakinisDragons splitting the skies with a wondering speedAnd behold, oozing fire crackling the path of lightLending a silver lining to that darkest cloudOh, you the rider of the skies and the controller of three roots l watch you O Sky-conqueror, in awe, gripping the soul beneath my feet.How gracefully you balance the stars, which left the palm of your hand.I wait for the darkest night to watch you Like an eager doe with earnest eyesFor further information on this lot please visit Bonhams.com
Mohammad Iqbal (Bangladeshi, B.1967)The Holy Circle-27 signed and dated 'M Iqbal 2022' lower right, further signed, dated with title and medium versoacrylic on canvas73 x 73cm (28 3/4 x 28 3/4in).Footnotes:'Wars and crimes, religious grudges and racial conflicts never seem to end in this 'civilised world.' The development of philosophy, science and technology has contributed enormously in progress of human civilisations and overall betterment of the mankind. Unfortunately, while at the peak of human advancement, certain acts against nation, society and environment have jeopardised the progress. These are consequences of world turning in to a corpus for mechanical states and host for anti-humanism and fanaticism. These self-inflicted harms have affected entire environment that accommodates all creatures.As an artist, I have tried to portray nature as well as the most candid but the most punished living beings – the helpless, tortured and conflict-stricken children as a subject of my dispute with the so-called modern civilisation. This is why children's faces have become subject of my painting. Pain, insecurity and fear are mirrored through their eyes and faces. The stories of my paintings derive from reality, media information and other sources. However, the faces in my paintings are imaginary and reflect my personal emotions and sentiment leading me to name the produced works Destruction of Civilization, Lost Civilization, Peace in the Time of Disquiet, The Holy Circle, Unknown Faces, Expression, Dreaming of a Safer world, Unfettered Lifeand Distant Skies. The subject and introductory thoughts on my paintings are sequentially illustrated in the thesis entitled 'Civilization and Destruction'. I believe the subject is very important in my painting and thus, the hints and introduction in the subject selection are divided into three parts with relevant information and sketches. The focus on the subjects include mentally shattered children in the war and conflict; environmental pollution and the children affected by the environmental imbalance; and child labour, slavery and children troubled by the acts of anti-humanism.Some childhood memories stay forever. Some of my childhood memories are horrific and still fresh. I was four years old in 1971 during the Bangladesh war of independence. The fear and suffering of that war come back to my mind whenever I learn about any new conflict. The dead bodies of the innocent children and the faces of those who survived —handicapped or orphaned make regular headlines in the mass media. These invoke my childhood memories of the frightening 1971 war. Losing their parents and family, many orphan or street children are growing up in conflict-ridden surroundings. In some region, war and conflict have been a common phenomenon. Children in these parts of the world have spontaneously adapted with the consequences of the war.Violent disruptions in a child's life unnerve me with deep empathy and sorrow. Their oppressed and shattered conditions have been the focus of my paintings. Employing different styles and techniques in figuration, I have tried to recreate their faces. I concentrated on children's facial moods and expressions using subtle lines and deep shades. In doing so, I created paintings with a chiaroscuro-like effect — distributing light and shade while constructing two-dimensionality with grey and transparent background. Facial expression of the human being is my prime interest. I tried to express the emotions of human nature —sorrow, happiness, melancholy, illness and laughter through face. My paintings do not expose any particular child's face. In fact, I have tried to make them universal and impersonal. Usually the faces are drawn from my imagination and recollection of the past. From top to bottom, the backgrounds in my paintings are created with ten to twelve layers of oil colour.Round and curvy dot-like background shapes in almost all my paintings are my unique trait and style. These dot-like shapes symbolize the air and environmental pollution. These round-dotted shapes or bubble-like forms spread all over the background, parts of my aesthetic style, project the man-made imbalances in nature. Again, this symbol is a reflection of the urge to create a secured livelihood, a good future, a beautiful habitat and a war-free and pollution-free environment for the children. Furthermore, the dotted shapes in my paintings have become the symbol of my dispute.' (Mohammad Iqbal, September 2022)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Paul Feiler (British, 1918-2013)Supported Ovals, Brown signed, titled and dated 'PAUL FEILER/SUPPORTED OVALS, BROWN/1963/64' (verso)oil on canvas92 x 92 cm. (36 3/16 x 36 3/16 in.)Footnotes:ProvenanceWith The Redfern Gallery, London, where acquired by the family of the present ownersPrivate Collection, U.K.Following the success of his 1953 solo exhibition at The Redfern Gallery, Paul Feiler purchased a chapel at Kerris near Penzance, which would become both his studio and centre of family life. Despite splitting his time between Cornwall and Bristol for the next twenty years, it was the Cornish coast with its dramatic light and rugged geography that drew his attention and provided a seemingly endless source of inspiration. Feiler became a central figure in the 'St Ives School', alongside other British pioneers of post-war abstraction such as Patrick Heron, Peter Lanyon and Roger Hilton, outstanding examples by whom are included in the present collection. Supported Ovals, Brown dates to 1963/4 and demonstrates Feiler's interest in the interplay of shape and form at this time. Many of the compositions from this period were originally explored through a number of drawings, in turn informing the oil paintings, which often went through several stages before completion. In the present work, a complex layering has been undertaken to ground the oval shapes which appear like cells, overlapping one another in motion. The horizontal lines of black and darker brown provide both structure and stability within the pictorial space, which is square to enhance the sense of balance. As is the case here, the titles of the paintings from this period tend to consist of two or three parts with a defining adjective (in this case 'supported') alongside a colour description. Whilst this marks a change from the references to specific Cornish locations that proliferated in the titles of works from the previous decade, the influence of the landscape in Supported Ovals, Brown is still potent.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Gerald Leslie Brockhurst R.A., R.P., R.E. (British, 1890-1978)Pool of Bethesda oil on canvas103 x 128.5 cm. (40 1/2 x 50 1/2 in.)Footnotes:ProvenanceA.C.J. Wall, thence by descent to the present ownersPrivate Collection, U.K.ExhibitedLondon, Royal Academy of Arts, Summer Exhibition, 3 May-14 August 1915, cat.no.681The present work depicts the miraculous healing told in the Gospel of John (5:1-15). With Christ's word, the waters of the pool of Bethesda stirred and a man who had been invalid for 38 years was cured. This subject was painted by several of the Old Masters, including Murillo, Panini, Tiepolo and Hogarth, whose Christ at the Pool of Bethesda (1735-36) hangs at St Bartholomew's hospital. In Brockhurst's variation the scene is classically composed in a Nazarene manner as the young artist pays homage to the great tradition of biblical painting. Yet there are ample hallmarks of the style which he was to refine throughout his career; the intricacy and pattern of the drapery and awnings, the deftly rendered expressive faces and the dramatic employment of varying light sources that isolate the key figures from their surroundings. Fifteen years after the work was first exhibited it was noted that 'The picture gives ample presage of that which subsequently transpired, and it also contains a self-portrait, in the figure of the dark-eyed man behind Christ' (Jessica Walker Stephens, 'Gerald Leslie Brockhurst, ARA, RE', Apollo, 1930, p.118). In addition to the self-portrait, it is more than likely that Brockhurst's first wife Anaïs Folen, modelled for a number of the female figures, identifiable by her dark hair and strong features.The painting was executed whilst Brockhurst was at the Royal Academy Schools, and for it he received a Gold Medal award and traveling scholarship in 1913. He had proved a prodigious talent, having previously won the Armitage Medal, named for the Victorian painter Edward Armitage, who may have influenced the present work. In 1915 Pool of Bethesda was accepted to the Royal Academy's Summer Exhibition, the first work by Brockhurst to be shown there (he would later be elected R.A. in 1937).The present, prior and following lots all formerly belonged to A.C.J. Wall. Wall purchased, and commissioned, several further works by Brockhurst including a portrait (sold in these rooms, 23 June 2015 for £20,000, see fig.1).Wall was a Birmingham based industrialist who started collecting in the 1930s. His was an eclectic taste, ranging across paintings, ceramics, furniture and sculpture. He was well known as a benefactor to the arts, particularly in Birmingham where he was the mayor, and he was known to have sat for a bust portrait by Jacob Epstein. Selected works from his collection were sold by Christie's in 1970 with many pieces being bought by leading international museums.We are grateful to Professor Kenneth McConkey for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Christopher Richard Wynne Nevinson A.R.A. (British, 1889-1946)The Peaceful Rhythms Of The Downs signed 'C.R.W NEVINSON' (lower right)oil on canvas63.9 x 76.6 cm. (25 1/8 x 30 1/8 in.)Footnotes:ProvenanceWith Dicksee & Co, Glasgow, 1941Private Collection, U.K., thence by descent to the present ownerPrivate Collection, U.K.ExhibitedLondon, Royal Academy of Arts, Summer Exhibition, 5-9 May 1941, cat.no.240Possibly London, Royal Academy of Arts, The Second United Artists' Exhibition in aid of H.R.H. The Duke of Gloucester's Red Cross and St. John Ambulance Fund, 1 January-7 March 1942, cat.no.72 (as September Morn)The Peaceful Rhythms of the Downs was one of six pictures Nevinson exhibited as an A.R.A. at the Royal Academy in 1941, and the only one not directly referring to wartime themes and events. The title, however, is telling, suggesting the contemporary viewer might find consolation, looking away from war to its opposite, in a 'peaceful' downland vista located in an area close to Amberley in West Sussex. The eye is led up the track on the left to a lone tree, a pivotal point, from which fields, slopes and lines of trees fan out. The landscape is variously worked but devoid of figures, this second world war having created a shortage of land workers, as had the first. There are levels of rhythm in the lines and groups of trees: choppy, toothed, islanded or sinuous, as along and shouldering the crest of the down, which Nevinson evokes with, in T.W. Earp's phrase, 'a lyric fervour'. Nevinson, so much the war artist, found peace in such a landscape, as he did in listening to classical music. The painting's colouring is quiet, yet embracing many shades of green, and earth and straw colours, below a sky of light, passing clouds. In wartime, pensive and melancholic, Nevinson built here on many years of depicting the English landscape, to reach an apotheosis of his art.The Peaceful Rhythms of the Downs was one of a number of Nevinson's landscape paintings reproduced full-size by the Medici Society. Other titles, of a similar size, included Spring in Suffolk and After the Storm. This meant the images reached an audience beyond the galleries and exhibiting societies. The Peaceful Rhythms of the Downs became a print in the 1940s, and the print can be glimpsed on the wall of an apartment in the 1947 film The Dream of Olwen, also known as While I Live (director, John Harlow).We are grateful to Christopher Martin for his assistance in compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Sir Winston Spencer Churchill O.M., HON. R.A. (British, 1874-1965)Branksome Dene signed, inscribed and dated 'Mrs Cassel from Winston/1916.' (upper right)oil on canvas50 x 60 cm. (19 11/16 x 23 5/8 in.)Footnotes:ProvenanceThe Artist, by whom gifted to Lady Helen Cassel, thence by descent to the present ownerPrivate Collection, U.K.LiteratureDavid Coombs with Minnie Churchill, Sir Winston Churchill: His Life and His Paintings, Running Press, Philadelphia, 2004, p.240, fig.512 (C 525) (col.ill.)'It seems to me that, of all the countries in the world, this country is the one that should direct the attention of painters to the sea ... In the endless interpretations of those changing forms we will find a source of inspiration and a source of culture which ought to contribute to the general movement of our island life.' (Sir Winston Churchill, from 'Sea Power' in Art, July 1937) In his Catalogue Raisonné of Sir Winston Churchill's collected works, David Coombs gives the painting the informal title Branksome Dene, which places it as a view from the home of Churchill's close friend the financier Sir Ernest Cassel on the south coast of England. It is an important and truly unique work that gives insight into Churchill's earliest motivations, influences and ambitions as an artist. Moreover, it is a work that combines his passion for both painting and the sea, and in so doing draws together his personal and political life.Created in the earliest period of Churchill's practice as an artist, the painting successfully captures the calm atmosphere of the scene. It was the light, colour and mood of the sea that inspired the numerous seascapes that Churchill produced during his lifetime - from the coast of England to the south of France and even Miami, he spent many happy days with his paints and brushes by the sea. A year before gifting the present painting to the wife of his friend, Churchill first took up a brush in 1915. At that time, he was enjoying a much-needed retreat from political life in the Surrey countryside. It was during this period that he was encouraged to take up painting in order to counter a bout of deep depression. He swiftly became deeply devoted to his new 'pastime', taking up paints and brushes at home, with friends and on holidays. As David Coombs has written, 'It was the challenge and difficulty of capturing satisfactorily the scene before him which proved such a tonic to his mind.' From the outset Churchill sought to learn as much as possible about painting technique to develop his skills. He benefitted from knowing some of the greatest artists of the day, including Sir John Lavery, Walter (Richard) Sickert and William Nicholson, all of whom offered Churchill wisdom and advice. Alongside these painters was the British sea painter (Albert) Julius Olsen RA, who was a particular influence on his sea paintings. Churchill also sought to study from those artists he admired, travelling to Paris to see the Impressionists, sought out paintings by Turner, and copied the works of the great masters in order to apply their techniques. For the composition in the present painting Churchill fixes our gaze out to sea. The work is a tightly framed, compressing view of the coastline. The white cliffs reach out along the horizon out to the ship which thoughtfully structures the work and acts as a focus of the picture. Our view is enclosed by trees, lending a sense of intimacy to the work, with the foliage enhancing the horizon and cloud-filled sky. Churchill gently infuses the work with a sense of peace and serenity. The painting may be read as a moment of stillness before a gathering storm ahead, and the demanding times for which Churchill is perhaps most famous.Barry Phipps is an art historian and Fellow of Churchill College, University of Cambridge and we are grateful to him for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Roger Hilton (British, 1911-1975)December '63 signed and titled 'HILTON/DEC '63' (verso)oil and charcoal on canvas127 x 114 cm. (50 x 44 7/8 in.)Footnotes:ProvenanceWith Waddington Galleries, LondonMr and Mrs W. MortonSale; Sotheby's, London, 4 July 2001, lot 173 (as Composition 1963)With Godson & Coles, London, 2002, where acquired by the family of the present ownersPrivate Collection, U.K.The 1960s ushered in a period of growing critical and commercial acclaim for Hilton. May 1960 saw Hilton's first solo exhibition at Waddington's, with institutional purchases gathering pace: the British Council acquired the first of eleven paintings that they were to buy of his work, with paintings also sold to the Tate, the Arts Council, the Gulbenkian Foundation and the Ferens Art Gallery in Hull. Abroad, travelling exhibitions featured his work, including in the British Council-organised British Painting 1700-1960, which was shown in Moscow and Leningrad, while European Art Today: 35 Painters and Sculptors, organized by the Minneapolis Institute of Arts, travelled to Los Angeles, San Francisco and New York. Clement Greenberg, the most influential art critic of the 20th Century who shaped the reception of modern art in America, was to see this exhibition and write to Hilton praising the 'real character' shown in his paintings, which was quite an accolade from this notoriously hard-to-impress critic (Clement Greenberg quoted in Andrew Lambirth, Roger Hilton: The Figured Language of Thought, Thames & Hudson, London, 2007, p.139). Alan Bowness was a key supporter and not only wrote catalogue introductions which gave serious weight to Hilton's work, but also recommended the purchase of his paintings by public bodies, including the Contemporary Art Society. In November 1963, Hilton was to win first prize in the prestigious John Moores Exhibition in Liverpool, for the painting March 1963. The present lot, December '63, was painted the month after he won this most fêted prize, and it exhibits all the richness and exuberance that characterises Hilton's best work. With glowing ochre and bold blues, the vibrant colours of this work marks out the painting as particularly special. While these strong hues may be the first to catch the viewer's eye, Hilton's careful handling of a complex but measured palette shows his flair and mastery of the abstract medium at this time which had been so lauded by the critics, and rightly so. The painting is bordered by delicate, warm peach tones, while white and off-white paint is applied with varying techniques to provide contrasting intensities of colour, and a painted surface which intrigues. While the central area has a thin, sparing layer of off-white paint, the half-circle along the lower edge has been created first with a palette knife, the upper sliver then finished with swirling impasto strokes. A mist of hazy charcoal is smoothed over the central area of paint lending a grainy, subtle, shadowed surface to the work, inviting closer inspection and fading off towards the top edges. Bold brushstrokes luxuriate in the application of the deep royal blue and cobalt tones, catching the light and showing Hilton's delight in the slick, smooth application of these rich paints. While painting provides the form of the present work, Hilton's ever-present concern with drawing shapes it, contains it, encircles it, defines it. His characteristic charcoal line provides the organic sweep that curves through the centre of the work, reminiscent perhaps of bodily shapes, but often intangible or so far removed from the original source, that one can only see a suggestion or trace of this. As Andrew Lambirth has noted, for Hilton, incorporating charcoal into a painting was his own unique development, integral to many of his most successful abstract works: 'Visible charcoal lines in a painting usually suggest under-drawing, the artist's preliminary ideas. Hilton turned this preconception on its head, for in his pictures the charcoal was of crucial importance, as important as the paint' (ibid., p.111). In fact, Hilton often applied the charcoal last, not first, raising the drawn line to equal status as the traditionally exalted paint. As Lambirth has so succinctly put it: 'in a very real way, the drawing is as important as the painting' (ibid., p.155).In the present lot, we have a supreme example of Hilton's best work from a decade when critical and commercial appreciation began to really recognise his achievements. A master of the medium, this is a painter at the height of his powers. In an abstract language that suggests, but is not defined by, its references to the outside world, be that figural muse or airy Cornish landscape, Hilton created a style which combines the painterly gesture and drawn line which is uniquely his own.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Dame Barbara Hepworth (British, 1903-1975)Wave Forms (Atlantic) signed and dated 'Barbara Hepworth 1964' (lower right); further signed, titled and dated again 'Barbara Hepworth/Wave Forms (Atlantic) 1964' (verso)oil and pencil on board76.2 x 101.4 cm. (30 x 39 7/8 in.)Footnotes:ProvenanceWith Gimpel Fils, LondonDr Pierre TurquetWith Marlborough Gallery, LondonSale; Christie's, London, 10 November 1989, lot 379With Marlborough Fine Art, London, where acquired by the family of the present ownerPrivate Collection, U.K.ExhibitedLondon, Gimpel Fils, Barbara Hepworth: Sculpture and Drawings, June 1964, cat.no.49London, Marlborough Fine Art, Summer Exhibition, 1965, cat.no.25London, Tate Gallery, Barbara Hepworth, 3 April-19 May 1968, cat.no.218LiteratureAlan Bowness, Drawings from a Sculptor's Landscape, Cory, Adams & Mackay, London, 1966, cat.no.69 (col.ill.)Mervyn Levy, Drawing and Sculpture, Studio International, Volume 171, Number 873, January 1966, Cory, Adams & Mackay Limited, p.28 (ill.b&w)Abraham Marie Hammacher, Barbara Hepworth, Thames & Hudson, London, 1968, p.146, pl.123 (ill.)This painting is recorded as D484 in the catalogue compiled by Hepworth.Wave Forms (Atlantic) was created at a time when Hepworth was at the peak of her career. In 1964, her most important and famous commission was unveiled at the United Nations Secretariat in New York, the monumental sculpture Single Form. The following year, she was to be made a Dame Commander of the British Empire and also appointed a Trustee of the Tate Gallery, while exhibitions both at home and abroad further celebrated her work, with shows in London and New York, the Netherlands and Scandinavia. The Cornish landscape continued to be an evergreen source of inspiration for her, the light, stone and sea informing so much of her work. Since first moving down to Cornwall in 1939 with Ben Nicholson and their triplets, and after several moves within Carbis Bay, in 1949 Hepworth bought Trewyn Studio in St Ives, where she lived from December 1950 until her death in 1975. Many of the paintings and drawings from 1960 onwards were made in Hepworth's Barnaloft studio flat, which had a view of Porthmeor Beach and the Atlantic Ocean. In Wave Forms (Atlantic), one feels the intimate relationship between artist and the elements and the close proximity of the two to one another. As a viewer, we are immersed in the composition which is dominated by the deep blue water as it churns and moves turbulently through the pictorial space, generating through its energy and power the frothy whiteness of the breaking surf. The force with which the water is crashing and our proximity to it is conveyed through the thicker spots of white pigment that occupy the area towards the top of the painting, indicative of spray. Further complex colour tones have been used to describe the scene and Hepworth herself wrote particularly poetically of how, 'the sea, a flat diminishing plane, held within itself the capacity to radiate an infinitude of blues, greys, greens and even pinks of strange hues' and how 'the incoming and receding tides made strange and wonderful calligraphy on the pale granite sand which sparkled with feldspar and mica' (Barbara Hepworth, Drawings From A Sculptor's Landscape, London, Cory Adams & Mackay, 1966, p.12). The medium of oil and pencil is one which Hepworth favoured and the contrast of strong, definite graphite over washes of colour something which she particularly enjoyed. In Wave Forms (Atlantic), we see the curving lines and shapes echoing and complimenting the rhythm of the sea. In this case the pencil has been rather subtly applied with the oil predominating but leaving a strong sense nonetheless of a sculptural impression on the surface. Hepworth has further worked into the surface of the board, largely apparent on the right-hand side of the composition, by scraping back to reveal the whiteness of the primed surface underneath, in turn echoing the light and rough, rocky surfaces of the coast. Drawings were for Hepworth a means of capturing new ideas for sculpture and, as she stated in Drawings from a Sculptor's Landscape in 1966, it was a life-affirming act. Hepworth wrote that, 'Whenever I am embraced by land and seascape, I draw ideas for new sculpture: new forms to touch and walk around, new people to embrace, with an exactitude of form that those without sight can hold and realize' (Ibid., p.11). Hepworth's important and large curved sculpture Sea Form (Atlantic) was conceived in 1964, the same year as the present work, with casts housed in the Dallas Museum of Art and the City of Norwich Museum.We are grateful to Dr Sophie Bowness for her kind assistance with the cataloguing apparatus for the present work.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Mary Martin (British, 1907-1969)Six Groups signed and dated 'Mary Martin '63' (verso)stainless steel, Formica, wood and painted wood relief91.5 x 91.5 x 9cm (36 x 36 x 3 1/2in)(unframed)Footnotes:ProvenanceWith Molton & Lords Gallery, London, 1964, where acquired by Dennis Lennon, thence by descent to the present ownerPrivate Collection, U.K.ExhibitedLondon, Molton & Lords Gallery, Mary Martin, February 1964, cat. no.14Mary Martin was an innovative Constructivist artist, part of an avant-garde group which included Victor Pasmore, Robert Adams, Adrian Heath, Anthony Hill and her husband Kenneth Martin, who she had met while studying at the Royal College of Art. Martin explored the possibilities of making constructed abstract art, often using the medium of the relief and three-dimensional forms to do this, beginning from the early 1950s onwards. She is best known for her complex reliefs which used square and rectangular shapes organised in different permutations often to dazzling effect, exploring the many combinations she could create from the repetition of one simple element, which later focussed on the cube. As she herself wrote in 1957, 'the end is always to achieve simplicity'.Six Groups is a particularly striking example of Martin's signature style, and at 91.5 x 91.5cm, it is larger in scale than the majority of her other reliefs. This work was included in her solo exhibition at Molton and Lords Gallery in 1964, where Martin showed a number of related relief constructions. The common unit for all these works was the right-angled wedge, created from a cube of wood cut diagonally in half, with the rectangular surfaces then covered in a thin sheet of stainless steel, each set at 45 degrees. Set against an impressive background of black Formica, the reflective surfaces of the stainless steel are arranged to catch the light at numerous different angles. As David Sylvester noted in the catalogue essay accompanying her exhibition at Molton and Lords in 1964: 'The wedges are juxtaposed with the reflecting surface facing in all the various possible directions, so creating jagged contrasts of light and shadow which change as the spectator's position or the direction of the light changes.' (D. Sylvester, Mary Martin, Molton & Lords, 1964, n.p.) Despite creating a relief using hard, industrial materials in geometric shapes, Martin creates a sense of movement and rhythm into which the viewer is drawn to interact. The present work takes its title from the six groups of sixteen wedges which are arranged in a four by four formation. The groups have then been arranged asymmetrically on the Formica background, allowing the negative spaces to fill the remaining areas of the square. Six Groups shares with all Martin's reliefs an underlying mathematical logic, and she used principles informed by the Golden Section, Fibonacci sequences and pendulum permutations to devise the complex patterns she created.The present work has a special and interesting provenance, having been acquired from Molton and Lords Gallery in 1964 by the architect Dennis Lennon. Dennis Lennon was one of London's leading architects and designers in the 1960s. After a distinguished career in the war, his first job was with Maxwell Fry. Following this he became director of the Rayon Design Centre, where he offered the up-and-coming young designer Terence Conran his first job after seeing his end-of-term show. He set up his own practice in 1950, and was one of designers for the 1951 Festival of Britain. Examples of his furniture designs are in the collection of the Victoria and Albert Museum, and from 1963-1998 he was the set designer for many productions at Glyndebourne. He was also responsible for co-ordinating the design for the Cunard ocean liner the Queen Elizabeth II in the 1960s. In 1968, House and Garden magazine illustrated Six Groups hanging in situ in Dennis Lennon's home, Hampermill House. He was a great patron of the arts, and bought many pieces from up-and-coming artists of the time, and knew Francis Bacon, John Piper and Graham Sutherland.Particularly striking and impressive, Six Groups is a formidable example of Martin's best work, and the scarcity of her reliefs means that the chance to acquire one is a rare opportunity. A similar work, Spiral, also created in 1963 and exhibited alongside Six Groups in 1964 at Molton and Lords Gallery, is in the collection of the Tate, London, who acquired it directly from the above exhibition in 1964.We are grateful to Dr. Susan Tebby and the Estate of Mary Martin for their assistance in cataloguing this lot. A full analysis of the mathematical systems used in Six Groups by Dr. Susan Tebby is available on request.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Patrick Heron (British, 1920-1999)White and Green Upright : August 1956 signed and titled 'Patrick Heron/White + Green Upright/August 1956' (on the stretcher)oil on canvas91.4 x 50.8 cm. (36 x 20 in.)Footnotes:ProvenanceWith Waddington, Galleries, LondonPrivate Collection, U.K.ExhibitedSt Ives, Tate Gallery,Patrick Heron: Early and Late Garden Paintings, 20 March-3 June 2001LiteratureAndrew Wilson,Patrick Heron: Early and Late Garden Paintings, Tate Publishing, London, 2001, p.27 (ill.)Mel Gooding,Patrick Heron, Phaidon Press, London, 2002, p.106 (col.ill.) White and Green Upright: August 1956 is a painting that belongs to a key moment in both Patrick Heron's life and the development of British art. In April 1956, just a few months before the present work was painted, the artist and his family settled at Eagle's Nest, the home he purchased from Mark Arnold-Forster. It was here, in close proximity to his friend and fellow artist Bryan Wynter and five miles west of the artists' colony of St Ives, amongst the hills overlooking the Cornish village of Zennor, that Heron found his idyll. This corner of west Penwith had captivated numerous people before, including D.H. Lawrence who wrote 'When I looked down at Zennor, I knew it was the Promised Land, and that a new heaven and a new earth would take place' (James T. Boulton (ed.), The Selected Letters of D.H. Lawrence, Cambridge, 1997, p.123).In January 1956 Modern Art in the United States arrived on British shores and caused a sensation at the Tate. Heron reviewed the exhibition, which included Jackson Pollock, Mark Rothko, Robert Motherwell and Willem de Kooning amongst others, for Arts and there can be little doubt it had a revelatory impact on both him and his peers. The scale of the works and the confidence with which they were composed meant he was 'instantly elated by the size, originality, economy and inventive daring of many of the paintings'. However, as an accomplished artist himself, Heron was confident enough to stress his view that there was a lack of resonance in their colour. This is perhaps not surprising given his grounding in European art, shaped by the formalist criticism of Roger Fry alongside the work of great Cubists and Fauves, their canvases imbued with vivid hues. He was also a keen admirer of another American artist, Sam Francis, who as a Tachiste alongside the likes of Hans Hartung and Pierre Soulages advocated gestural painting of a softer kind than Abstract Expressionism. The arrival at Eagle's Nest in 1956 marked a move away from figuration and the embracement of abstraction as Heron saw it. The property had been described as a 'painter's garden' owing to the spectacular planting undertaken by Arnold-Forster during his prior ownership and Heron clearly felt this to be the case with much of his work from the period drawing on the rich outdoor landscape and his own reference to 'Tachiste Garden Paintings'. White and Green Upright: August 1956 predominantly incorporates the colour scheme of its title in vertical planes across the surface with subtle tones and variations of red, yellow and black also introduced to give layered complexity. We may consider the ocean to also be at play here with Heron describing how it acted as a gigantic mirror around the property, 'brilliantly silver, and reflecting white light upwards. To have the rocks and the bushes illuminated from below, from a glittering reflector which is over 600 feet beneath one, and many miles wide – is a special experience' (Patrick Heron quoted in Michael McNay, Patrick Heron, Tate Publishing, London, 2002, p.38).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Graham Sutherland O.M. (British, 1903-1980)Feeding a Steel Furnace, Swansea gouache, pastel, charcoal, pen and ink20.8 x 17.4 cm. (8 1/8 x 6 7/8 in.)Executed in 1942Footnotes:ProvenancePrivate Collection, ItalyWith Crane Kalman Gallery, London, 2017, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Imperial War Museum, Sutherland, The War Drawings, 1982, cat.no.108 (ill.b&w)Penzance, Penlee House and Museum, From Darkness into Light: Graham Sutherland; Mining, Metal and Machines, 14 September-23 November 2013; this exhibition travelled to Swansea, National Waterfront Museum, 7 December 2013-23 March 2014LiteratureRoberto Tassi, Graham Sutherland, The War Time Drawings, Sotheby's Parke Bernet Publishing, London, 1979, cat.no.115 (ill.b&w)Paul Gough, Sally Moss and Tehmina Goskar, From Darkness into Light: Graham Sutherland; Mining, Metal and Machines, Sansom & Company, Bristol, 2013, p.61 (col.ill.)A similar work, also titled Feeding a Steel Furnace, is included in the Tate Collection and was presented by the War Artists Advisory Committee.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Peter Lanyon (British, 1918-1964)Still Air signed and dated 'Lanyon 61' (lower left); further signed, titled and dated again 'STILL AIR/Lanyon Sept 61' (verso)oil on canvas91.1 x 122 cm. (35 7/8 x 48 in.)Footnotes:ProvenanceJonathan LanyonSale; Sotheby's, London, 27 June 1979, lot 211 Professor BallWith Bernard Jacobson Gallery, LondonPrivate Collection, U.K.ExhibitedNew York, Catherine Viviano Gallery, Lanyon, 30 January-17 February 1962, cat.no.13San Antonio, Marion Koogler McNay Art Institute, Paintings by Peter Lanyon, 24 February-March 1963London, Tate Gallery, Peter Lanyon, organised by the Arts Council of Great Britain, 30 May-30 June 1968, cat.no.70London, Archer Gallery, Two by Seven: Bryan Wynter, William Scott, Peter Lanyon, Josef Herman, Heinz Henghes, Paul Feiler, Ralph Brown, 8 November-1 December 1972, cat.no.5London, Bernard Jacobson Gallery, Peter Lanyon: Landscapes 1946-1964, 2-27 April 1991, cat.no.21LiteratureAndrew Causey, Peter Lanyon: His Painting, Aidan Ellis Publishing, Henley-on-Thames, 1971, p.64, cat.no.170Toby Treves, Peter Lanyon, Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, Modern Art Press, London, 2018, p.505, cat.no.489 (col.ill.)Peter Lanyon's gliding paintings are a body of work which represent the pinnacle of his achievements as a painter. Lanyon was a master at corralling his experience of the elements and transposing these onto canvas, in a way that can transport the viewer to his native Cornwall almost instantly. He joined the Cornish Gliding Club at Perranporth Airfield in June of 1959, and was tragically to die in 1964, aged only forty-six, as a result of an accident while gliding, but it was this past-time that was to provide the impetus for so many of his most successful paintings. Still Air is one such painting.The present lot, with its expanses of grey-white paint and streaks of deep blue and ochre, is unusual in Lanyon's output both for the sparing use of paint and the capacious expanse which Lanyon conjures on the canvas. As Lanyon was to comment, he was preoccupied with depicting space itself, and Still Air is a particularly successful example of this endeavour. He noted that: 'A painter's business is to understand space – the ambient thing around us. I don't mean the old approach to landscape – sitting in one place and taking the view, as you get in traditional painting. What I'm concerned with is moving around in this space and trying to describe it. That's one reason I go in for fast motor-racing, cliff-climbing and gliding – gliding particularly: I like using actual air currents; I feel I'm getting to the root of the matter.' (Peter Lanyon quoted in Toby Treves, Peter Lanyon: Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, Modern Art Press, London, 2018, p.30).In Still Air, Lanyon has succeeded in translating this quest for depicting the elements in the most truthful way. A mass of pale grey-white covers most of the surface, which feels almost thick and foggy in its obfuscating opacity, and in the way whispers of blue paint blend into it, emerge from it, or seem suspended in its midst. For Lanyon, the way in which the paint was applied to the canvas carries huge feeling and meaning: as Toby Treves has written, for Lanyon 'the gestural brushstroke was invested with physical and emotional qualities: movement and by extension time were intrinsic; the mark could be light or heavy, fast or slow, strong or feeble, confident or hesitant, angry or calm, violent or tender'. He goes on to comment that: 'The range of sensations and moods that he was able to convey in those works, which are perhaps his supreme achievement, is a measure of his mastery of the manner' (Ibid., p.18).The present work is no exception. A deep blue with a hint of teal is swept across the canvas, marking out what could be jagged rocks or rushing sea, while golden ochre gives the suggestion of fields of golden corn, ready for harvest, which would have been timely considering the painting was executed in September 1961. The finesse and feeling which Lanyon imbues in each stroke shows his command of the medium. The ochre appears to be brushed on rapidly, while there is an almost calligraphic élan to the singular strokes of deep blue in the lower left corner of the work, while the smudging and subtlety to the hints of blue paint elsewhere are particularly unusual. As Toby Treves has observed, 'the extent to which the colours and forms are softly blurred is unique within the oeuvre', an effect which has been achieved by using paint which has been thinly diluted, and brushed carefully over the under-painting (Ibid., p.504). This expressive use of paint has lent Still Air a particularly meditative calm: it is easy to imagine him floating through the sky, looking down on a patchwork landscape below, partly obscured by fog or mist.Lanyon's titles are particularly atmospheric and descriptive, and it is easy to get lost in the lyrical tribute that each work pays to the landscape that he flew through. Still Air is just one of so many paintings which capture his experiences: Gusting, Cliff Wind, Soaring Flight, Spring Rain, Weathering, Strange Coast – these titles could almost read as a short poem themselves, so descriptive yet enigmatic are they. The very month that Still Air was completed, Lanyon was elected Bard of Cornish Gorsedd for his services to Cornish Art, on 2nd September 1961. Considering the title of this painting and the others mentioned above, his Bardic name - Marghak an Gwyns (Rider of the Wind) – is particularly fitting.Lanyon wrote that 'art is a communication of life to the living' (Peter Lanyon, letter to Terry Frost, quoted in Ibid., p.21), and Still Air is a particularly fitting example of this. Toby Treves has summed up this transfiguration of paint to feeling in Lanyon's work incredibly succinctly: 'We do not need to be Cornish or to go to Penwith or to be Peter Lanyon to know what it feels like to carry a landscape inside ourselves; we just need to go to that place, wherever it is, that occupies us, as Penwith did him. We do not need to read science or philosophy to accept that we are in a condition and a system of permanent change or to know that our sensate bodies are the source of much of our experience of being in the world; we just need to take a walk. The weather is not an elite phenomenon, and nor is the air. And most of us are acquainted with the great human emotions, or will be soon. Lanyon painted about these things to share them, to let us know that he had been where we are.' (Ibid., p.22). Still Air is a masterful translation of this ordinary but universally uplifting feeling: it transports us into the elements, to where we can feel the cool breath of autumnal air on our skin, enjoy the whip of wind as it blurs our vision, and experience the landscape as he saw it.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
GIOVANNI BATTISTA PIRANESI (Mogliano Veneto, 1720 - Rome, 1778)."Avanzi di un antico Sepolcro, oggi detto la Conocchia, che si vede poco...".Etching engraving illuminated by hand.Size: 72 x 48 cm (print); 73 x 49 cm (paper); 102 x 79 cm (frame).Avanzi di un antico Sepolcro, oggi detto la Conocchia, che si vede poco lungi dalla Porta di Capua per andar a Napoli. Questo Sepolcro non si sà quant Famiglia abbia poputo appartenere; stante che gli e stata levata la sua antica Iscrizione.Piranesi first arrived in Rome in 1740, and there he found an established market for selling views of the city as souvenirs of the Grand Tour. His Views, however, transcended topographical fidelity and became heroic and tragic visions of the power of Roman architecture. Piranesi's Venetian origins were decisive in this particular representation of the city; his training as an engineer and builder in stone (in the poetic effect of the ruin, for example), and his apprenticeship as a set designer (sensitivity to the effects of light and great skill in linear and atmospheric perspectives). The plates were printed and sold in single sheets or in collections, initially through his publishers, Bouchar and Gravier. Piranesi went to the former's establishment every evening to see which views sold best and to listen to the comments of the customers. In 1760, however, the artist opened his own establishment, in the Palazzo Tomati, and from then on took control of the entire business, from printing to sales. Over the next two decades he produced a large body of work, and after his death in 1778 the business only increased. His son Francesco Piranesi expanded his father's series of 135 plates by two, and continued to sell in Rome until 1799, when he settled in Paris. Francesco sold the first Paris edition between 1800 and 1807, and after his death in 1810 the plates were acquired by the house of Firmin-Didot, which continued to publish them between 1835 and 1839. After the latter date they were acquired by what is now the Royal Chalcography in Rome.Piranesi was an Italian engraver who produced more than 2,000 engravings of real and imaginary buildings, as well as Roman statues and reliefs. He studied architecture in Venice with his uncle, Matteo Lucchesi, where he learned about the works of Palladio, Vitruvius and the buildings of antiquity. In 1740 he moved to Rome, accompanied by the Pope's envoy in Venice, Marco Foscarini. In the Italian capital he was impressed by the Roman ruins and focused on depicting them, combining descriptive zeal and fantasy in a style that advanced Romanticism by a hundred years. In Rome he learned the technique of etching, and in 1743 he published his first large series of prints, "Prima Parte di Architettura e Propettiva". At the age of just twenty-three Piranesi already revealed his mastery as an engraver and his inventiveness. He opened his workshop opposite the French Academy in Rome, so he was always in close contact with French artists and scholars. His engravings enjoyed great commercial success, as they were sold to travellers as souvenirs of the Eternal City. In 1761 he became a member of the Accademia di San Luca in Rome. Prints by Piranesi are preserved in the world's leading museums, including the Hermitage in St Petersburg, the Louvre, the Metropolitan Museum in New York, the Rijksmuseum in Amsterdam, the British Museum, and the Fine Arts Museums in Dallas, San Francisco, Detroit, Washington, Sydney and Montreal.
19th century Spanish school."Still life of fruit".Oil on canvas.Size: 53 x 79 cm; 71 x 97 cm (frame).In this work the artist shows his magnificent ability for still life painting, especially appreciable in his way of working the different qualities of the elements, as well as in the careful modelling through the soft variations of lights and shadows. The intense colouring of the fruit also stands out before our eyes, toned and balanced, very well thought out, but at the same time very naturalistic and warm. The dark background, enveloped in a half-light from which the fruits seem to emerge, is inspired by the black backdrop common in 18th-century Baroque painting. Similarly, this asymmetrical yet balanced, rational composition derives directly from the Spanish works of Sanchez Cotán, in which the placement of the foodstuffs, arranged in an apparently natural yet perfectly studied manner, is a priority.
19th century Spanish school."Still life of fruit".Oil on canvas.Size: 53 x 79 cm; 71 x 97 cm (frame).In this work the artist shows his magnificent ability for still life painting, especially appreciable in his way of working the different qualities of the elements, as well as in the careful modelling through the soft variations of lights and shadows. The intense colouring of the fruit also stands out before our eyes, toned and balanced, very well thought out, but at the same time very naturalistic and warm. The dark background, enveloped in a half-light from which the fruits seem to emerge, is inspired by the black backdrop common in 18th-century Baroque painting. Similarly, this asymmetrical yet balanced, rational composition derives directly from the Spanish works of Sanchez Cotán, in which the placement of the foodstuffs, arranged in an apparently natural yet perfectly studied manner, is a priority.
Flemish school, mid-17th century."Adoration of the Magi".Oil on copper.With frame circa 1830.Measurements: 56 x 73 cm; 65 x 82 cm (frame).A light illuminates the scene and the illumination seems to emanate from the bodies, especially from the body of Jesus, Mary and the kneeling King Melchior. But the other figures also have a personality of their own. Enraptured, they carry myrrh and incense. Their cloaks shine like satin and fine silk, as do the soldiers' helmets. A great variety of human types come to Bethlehem. This painting is fully in keeping with the Baroque style, which is notable for the painstaking attention to detail, the use of contrasts of light and the varied range of facial expressions.It is thus a symbolic representation of the Magi as the three ages of man, with maturity represented by the figure kneeling beside the Child.
JAN JACOBSZ MOLENAER (1654-c.1690) "Kermesse".Oil on canvas.With informative label on the back.Signed.Measurements: 53 x 65 cm; 65 x 70 cm (frame).We see in this canvas the representation of a "kermesse", Dutch term that designates the popular peasant festivities typical of the Netherlands. It was undoubtedly in the paintings of the Dutch school that the consequences of the political emancipation of the region and the economic prosperity of the liberal bourgeoisie were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light.
SEBASTIÁN LLANOS VALDÉS (ca. 1605-1677)."Head of Saint Blaise.Oil on canvas.It conserves an 18th century Andalusian frame.Size: 38 x 46.5 cm; 44 x 53 cm (frame).In this scene of great dramatism, which follows the tenebrist heritage, as for the light expressiveness, the author only shows the face of an old man, with closed eyelids and on his right a knife. This iconographic attribute identifies the figure as Saint Paul. Paul was a Hellenised Jew from the Diaspora, born in Tarsus. He was therefore Jewish by ethnicity, Greek by culture and Roman by nationality. He received the name Saul, which he changed to Paul after his conversion. Born at the beginning of the first century, he studied in Jerusalem under the rabbi Gamaliel, who would have been noted for his hatred of Christians. One day, when he was on his way from Jerusalem to Damascus around the year 35, he was dazzled by lightning and fell from his horse. Then he heard the voice of Jesus saying to him: "Saul, Saul, why are you persecuting me? As a result of this experience, the saint went abruptly from persecutor to zealot of Christianity. After curing the blindness of a Christian from Damascus, he began his life as a missionary until he reached Jerusalem, where he came into contact with Peter and the other apostles. In the Middle Ages numerous corporations were placed under his patronage, due to various aspects of his iconography, life and miracles. However, St. Paul was never a popular saint, which is proof of the relative poverty of his iconography. In fact, his role in art is not commensurate with his importance in the spread of Christianity. In early Christian art, his only attributes are a book or a scroll, and in the 13th century his emblem appears, the sword that was the instrument of his martyrdom.A Spanish Baroque painter, active in Seville and apparently a disciple of Francisco de Herrera the Elder, Sebastián de Llanos Valdés' style shows much influence from Francisco de Zurbarán. He is known to have been Mayor of the Painters' Guild in Seville in 1653 and is assumed (according to contemporary texts) to be well off. He also co-founded the San Lucas Academy of Drawing in 1660, together with Murillo and Herrera el Mozo. His work is preserved in Seville Cathedral, as well as monumental Evangelists in the Casa de Pilatos in the same city.
Italian school; circa 1840."Annunciation of the Shepherds".Oil on canvas.Preserves its original canvas.It has a frame with slight faults.Measurements: 44,5 x 58,5 cm; 64 x 79 cm (frame).This biblical theme was specially treated from the Renaissance. It represents the apparition of Saint Gabriel to the shepherds at the Birth of the Child Jesus, an episode narrated in the Gospel of Luke. Here, the foreshortened bodies of the peasants have been skilfully modelled with light and line, creating chiaroscuro with cold reflections in contrast to the warmth of the garments and flesh tones. The angel bursts in with a break of glory, announcing the good news.The painting is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and their deepest feelings. With the economy of the state in ruins, the nobility in decline and the clergy heavily taxed, it was the monasteries, parishes and confraternities of clerics and laymen who encouraged its development, and the works were sometimes financed by popular subscription. Painting was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was depicted, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. The religious theme was therefore the subject matter.
Zubeida Agha (Pakistani, 1922-1997)Untitled (Flowers in a Vase) signed and dated Zubeida '71 lower rightoil on canvas, framed90.1 x 43.8cm (35 1/2 x 17 1/4in).Footnotes:CELEBRATING ZUBEIDA AGHA'S BIRTH CENTENARYProvenanceThe Collection of Imran R. Sheikh; family of the artist.ExhibitedLondon, Bonhams, Zubeida Agha, 2022, No. 8 PublishedSalima Hashmi for Bonhams, Zubeida Agha: Celebrating an Extraordinary Career, 2022, p.8, No.8Zubeida Agha was a socially and politically aware individual, attuned to what was happening around her, which becomes critical to the viewing of this work. The year it was painted was marked by the civil war in Pakistan, where half the country broke away and Bangladesh came into being. Agha was close to many people 'on the other side', the most eminent among them being the celebrated artist Zainul Abedin, a dear friend. Her anguish at the time was shared by many among the art community.The painting belies all these circumstances and seems instead to be celebrating a moment of optimism and vigour. This was not unusual for the artist. She was known for keeping her emotions under wraps and her stoicism intact under extreme circumstances. The vase is placed in isolation against the light, a burst of colour emanating from its form. Agha often painted single bottles and vases which took her fancy. A particular favourite was a bottle of Chianti which made a regular appearance. A vase of Murano glass was another, strategically placed under a painting in which it appeared. These were considered decisions and no accident. The symbolic use of colour and form was intrinsic to her process. In this example, the two flowers stand defiant, rising from the austere form below; the narrative in the painting is deliberate and intentional. - Salima HashmiThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Seema Kohli (Indian, B.1960)Ardhanareshwar 1145signed and dated in Devanagiri Seema Kohli '13 lower right and edition 9/10 lower leftserigraph on Archie's paper, framed47.2 x 52cm (18 9/16 x 20 1/2in).Footnotes:ProvenanceThe Artist's Collection.Note: This is one of 10 prints. There are no AP prints.'Siva, the only householder God of the Trinity, merges into union with Shakti on Mahashivratri; celebrating the night of enlightenment in spiritual terms. A night according to Advaita's philosophy, is the removal of Dwaita, it is a night of union of Shiva and Shakti, that space, a time where the opposites merge, a space of no contradiction, a space of no gender, a space of Pure Consciousness. A night of merging of Shunya with Shakti, thereby giving a form to this Pure Consciousness, the Siva. Mahashivratri, the darkest night or the no moon night, Amavasya, that celebrates the union of Shiv and Parvati. A night of destruction, a night of creation, that night of dance of ecstasy, abandon, by the ultimate yogi along with his Ganas, a celebration of light, of darkness, of shunya-emptiness and wholeness of Maya, of inclusivity. As Shiva reflects omnipresence, a night of internal reflection and introspection through external sources of senses. A night which sanctifies all beings of creation and all paths to reach him, as they are all within him, the pure consciousness, in Siva-the truth, the conscious, and the one who is beauty itself. I am truly overwhelmed by the concept of Siva.' Seema Kohli, September 2022.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Md Tokon (American-Bangladeshi, B.1980)Moonlight Lilies signed and dated 2021 versoacrylic on canvas, framed146.2 x 126cm (57 9/16 x 49 5/8in).Footnotes:Md Tokon spent the first half of his life in Bangladesh before relocating to the USA, where he completed his Bachelor of Fine Arts from the City University of New York (2002-2006) and simultaneously enrolled at the Art Students League of New York (2005-2010). Noted alumni from the latter include Cy Twombly and Mark Rothko. Rothko's and the New York abstract expressionist's influence is evident in Md Tokon's works however Tokon's works also incorporate elements of Impressionism and Romanticism, as his works are predicated on colour, space, dark and light. The colours and themes employed in his works are a tribute to both the tonalities of Bangladesh and the long tradition of abstract art emanating from the country, specifically that of Mohammad Kibria.Tokon favours large canvasses, dramatic colour and loose brushwork, as evidenced by the 2 lots on offer in this auction. He has been part of numerous solo and group exhibitions in New York, Chicago and Dhaka, and he is the recipient of the 2010 Richard Lillis Memorial Scholarship.'His paintings are direct; they do not hesitate. The paintings deliver their message reflecting nature, emotion, and passion; with intense aesthetic expression, through surface and color.' (Ronnie Landfield, New York)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Md Tokon (American-Bangladeshi, B.1980)Light in the Ocean signed and dated 2021 versoacrylic on canvas, framed141.2 x 141.2cm (55 9/16 x 55 9/16in).Footnotes:'Every artist takes a cue from previous generations in pursuit of identity and a place in the sun either through embrace or negation of the visual art tradition. In Md Tokon's art, it's the former. There are intriguing affinities, kinship and frames of reference to art historical past that come to mind: the Hudson River School landscapes in the late 1800s; the J.M.W. Turner's paintings and watercolor exhibition at the Metropolitan Museum of Art in 2008; and, Philip Guston of the New York School for all intensive purposes because they reveal something in common — resonant gestures and luminescent colors that go beyond the surface.' (Marina Del Rosario.)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Nabibakhsh Mansoori (Indian, B.1966)Everything your Heart Desires signed in Devanagiri and dated 'Nabibakhsh Mansoori 27 XII 2019' and dated, medium, size and year versooil on canvas71 x 106.8cm (27 15/16 x 42 1/16in).Footnotes:ProvenanceArcher Graphic Studio, Ahmedabad.Born in Idar, Gujarat, Mansoori obtained his Diploma in Fine Arts (Drawing & Painting) from the Sheth C.N College of Fine Arts, Ahemdabad. He subsequently obtained his Post Diploma in Fine Arts (Creative Painting) from Maharaja Sayajirao University, Baroda. His works are exuberant and feature layered and skewed imagery. He employs multiple view points in his works, as if one is looking at them through a prism, convex or concave lens which entices the viewer to look at it repeatedly from different perspectives; he came across this multiplicity of viewpoints in his childhood when his father gave him a prism, convex and concave lens and he viewed the rivers and rivulets in his village through these mediums and married them with the colours he could see.He uses both oils and acrylics as his medium and the dramatic use of light coupled with the unconventional perspective and the use of crisp bold colours are his trademark. His works have been exhibited in bot group and solo exhibitions in London, Mumbai, New Delhi, Hyderabad, Chandigarh and Ahmedabad, and he has been the recipient of various awards including the 1998 Gujarat State Lalit Kala Akademi Award for Painting.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Dinosaur Tail With Streamer Feathers in Amber99 million years old (Cretaceous) Origin: Hukawng Valley, Myanmar Weight (approx): 2.91 grammes / 14.55 carats Dimensions (approx): 40 x 13 x 8mm Shape: Freeform Verification: Confocal microscopyFrom Advanced Amber Kretaceous Zoologia archive, a burmite amber fossil specimen containing immaculate feathered dinosaur remnants. Most protofeathers found in Cretaceous amber are very small indeed and often need magnification. This piece of amber contains various unidentified vertebrate remains but the highlight is the incredible tail that has a perfectly aligned and perfectly preserved set of streamer protofeathers. This piece has a tail that does not need scanning or magnification to be appreciated and hits the viewer with a real WOW effect. The photo provided shows the magnificent tail feather looking at the front of the amber specimen, and the reverse side has partial remnants of the dinosaur that sported this tail. If you would like to see the reverse side of this high-end museum piece you are going to have to purchase it. Other highlights include the fact that this amber is highly transparent without any darkness and just a pleasing light golden colour. The picture you see is not just a feather, the central shaft has dozens of streaming feathers coming out symmetrically on both sides of the central tail shaft. Perfect for making jewelry such as a pendant making this the ultimate gift for those that prefer genuine dinosaurs in real gemstones rather than a cheap replica. Natural History, Fossils, Minerals
Hilda Fearon (British, 1878-1917)On the beachsigned 'H.Fearon' (on stretcher); bears signature (lower left) oil on canvas 40.9 x 53.6cm (16 1/8 x 21 1/8in).Footnotes:ProvenancePrivate collection, UK.Hilda Fearon, born in 1878, began her studies in 1897 when she enrolled at the Slade School of Art before going on to study in Dresden under artist Robert Sterl. In 1900, Fearon moved to Cornwall which at this time had become one of the most important artistic hubs in the UK. With the extension of the Great Western Railway in the mid to late 1800s, Cornwall became much more accessible, and it was primarily the quality of light which encouraged the influx of artists including Henry Scott Tuke, Lamorna Birch and Julius Olsson. Fearon too wanted to explore the picturesque quality of Cornwall and so moved to St Ives for inspiration and to paint en-plein air. It was working under Algernon Talmage which had the most profound impact on her art. When she arrived Talmage and Olsson had already established their own Cornish School of landscape, figure and sea painting.Fearon enjoyed success in her life and regularly exhibited at the Royal Academy. However, tragically she died prematurely at the age of only thirty-nine in 1917. Today, her work can be found in the Tate Gallery, London. This particular composition relates to Fearon's 1906 painting 'The boating party' which was sold for £30,000 at Woolley & Wallis, Salisbury, on 2nd April 2008.For further information on this lot please visit Bonhams.com
Thomas Cantrell Dugdale (British, 1880-1952)The light of the fire signed 'T C Dugdale' (lower right) oil on canvas 127.3 x 127.3cm (50 1/8 x 50 1/8in).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
NO RESERVE Boerio (Niccolao) Consuetudines Bituriceses præsidatuum, seu si mauis balliuiatuum ..., scattered very faint spotting, occasional light finger-soiling, front free endpaper detached, later calf, cracked joints, rubbed and worn, Paris, Jean de Roigny, 1543 § Heroldt (Johann) Panegyricus Ferdinando Augusto Rom. Imp. ..., G1 with marginal paper defect, occasional water-staining, loss to one or two edges, neatly repaired, modern boards, Basel, Johannes Oporinus, [1557]; 4to & 8vo (2)
Hobbes (Thomas) Elementa Philosophica de cive, engraved pictorial title, one or two instances of light spotting or damp-staining, later vellum backed boards, corners a little rubbed, Amsterdam, Henr. and Vidaum Th. Boom, 1696 § Ferguson (Adam) Grundätze der Moralphilosophie..., first German edition, bookplate to title verso, contemporary half calf, extremities a little rubbed, Leipzig, 1772 § Collins ([Anthony]) Paradoxes Métaphysiques sur le principe des actions humaines..., contemporary mottled calf, spine gilt with red morocco label, Eleutheropolis, [1776]; and 2 others eighteenth century continental, mathematics and astro-theology, 12mo & 8vo, (5)
Slavery.- Act of Parliament for transferring to His Majesty certain Possessions and Rights vested in the Sierra Leone Company... and for preventing any dealing or trafficking in the buying and selling of Slaves within the Colony of Sierra Leone, 2 ff., extract pp.[285]-287, 1807; An Act for rendering more effectual... An Act for the Abolition of the Slave Trade, 3ff., extract pp.[245]-450, 1811; together with c.50 other Acts of Parliament, some lightly foxed or with marginal light browning, loose, Eyre and Strahan, small folio (c.50)⁂ Other topics covered in the Acts here together from the reign of George III, include: the East India Company and Indian territories (c.10), Naval matters (2), the Quakers (1), smuggling (1), relating to relations with America and Canada (c.10), relating to plantations and trade, across America, Canada, the West Indies, and others including of tobacco, run, sugar, silks and others (c.30) and a few domestic affairs such as the marriage of lunatics and the stealing of turnips.
NO RESERVE Slavery.- Papers relating to the Slave Trade... Correspondence between the Admiralty and Naval Officers..., 35 pp., peripheral ff. with some light surface soiling, otherwise a few isolated spots, un-bound, small folio, ordered, by the House of Commons, 1828.⁂ Correspondence extracts relative to the suppression of the slave trade, with references to vessels located off St Thomas, Jamaica, Cuba, Brazil, Chile, Cape coast, Sierra Leone. Parliamentary papers of this early date, prior to 1835 when they were made more generally available, are scarce.
![Brothels.- [Mandeville (Bernard)] Venus la Populaire, or Apologie des Maisons de Joye, first edition in French, wood-engraved](https://cdn.globalauctionplatform.com/b76c68e7-ed31-4f63-82dc-af4e00b3afa9/3787811c-16e0-4a1d-9001-af4e00bc05ae/468x382.jpg)
Brothels.- [Mandeville (Bernard)] Venus la Populaire, or Apologie des Maisons de Joye, first edition in French, wood-engraved device to title of a winged head with single layer of wings and head and wings detailed with fine lines, wood-engraved tail-piece to p.130 of two seated cherubs (without instruments), title with 'ignibus extinguitur', manuscript ink inscriptions to front pastedown, some very light browning, ?near contemporary wrappers with manuscript paper label to upper joint, spine rubbed, uncut, [STC N504777], 8vo, ?London, ?Moore, 1727.⁂ Rare first edition in French of Mandeville's libertine text, originally published in 1724 in English as, 'A Modest Defence of Publick Stews: or, An Essay upon Whoring, arguing for the establishment of state-regulated brothels', under the pseudonym of 'Phil-pornix'. Three editions were published of the French in 1727 - with an fictitious London imprint; most likely done in either France or Holland - each of which have slight variations in design of title vignette and end tail-piece, as well as one or two minor text differences.
NO RESERVE Southey (Robert) The Life of Nelson, 2 vol., first edition, second issue with p.258 correctly numbered, half-titles, frontispieces, light offsetting, 1p. advertisements at end of each vol., armorial bookplate of Sir Robert Eden to front pastedowns, original purple calf, gilt, spines gilt in compartments, slight rubbing to extremities, a very good set generally, [Cowie 139], 8vo, 1813.
NO RESERVE Byron (George Gordon Noel, Lord) The Works, 10 vol., 1815-1823; Don Juan, 3 vol., 1820-1823; The Works, 17 vol., edited by Thomas Moore, 1833, engraved plates, some offset, some light foxing, some vol. with bookplate of Sir Robert Johnson Eden to pastedown, contemporary calf, first two sets rubbed, some joints cracked, last set gilt in compartments with green morocco spine labels; and 5 others by Byron, 8vo (35)
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