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534325 Los(e)/Seite
Los 125
λ DAVID WILSON (20TH CENTURY) GIRL IN A YELLOW TRENCH COAT Oil on canvas Signed (lower right) 75 x 50cm (29½ x 19½ in.) Condition Report: A pinhole approx. 15cm down at either extreme left and right edge. Light surface dirt throughout. An area of staining to the left side of the upper edge. Inspection under UV reveals no evidence of restoration or repair. Condition Report Disclaimer
Los 181
FARID BELKAHIA (MOROCCAN 1934-2014) ABSTRACT COMPOSITION Watercolour Signed and dated '94 (lower right) 19.5 x 20.5cm (7½ x 8 in.) Condition Report: Unexamined out of glazed frame. Light staining to the sheet throughout. Light speckling throughout the centre of the work but overall the work appears to be in ready to hang condition. Condition Report Disclaimer
Los 203
λ SALVADOR DALI (SPANISH 1904-1989) PARADISE CANTO 31 (FROM DIVINE COMEDY) Etching on silk, a special edition in sepia in an edition of 3 Inscribed along the lower edge 25.5 x 20cm (10 x 7¾ in.) Condition Report: There appears to be some light discolouration, otherwise, in apparently good condition. Under glass and unexamined out of frame. Condition Report Disclaimer
Los 23
λ JOHN FREDERICK LLOYD STREVENS (BRITISH 1902-1990) SUMMER PROMENADE WITH MOTHER Oil on canvas Signed (lower left) and inscribed `Summer Promenade/John Strevens' (on the reverse) 50 x 40cm (19½ x 15½ in.) Condition Report: Very light surface dirt. In good original condition. Condition Report Disclaimer
Los 57
ERNEST PARTON (AMERICAN 1845-1933) BETWS-Y-COED, CONWY VALLEY, WALES Oil on canvas Signed and dated 1880 (lower right) 36 x 51cm (14 x 20 in.) Condition Report: Light surface dirt throughout. Two patch repairs verso to the extreme right edge and corner. Inspection under UV reveals a thick green varnish and a small area of retouching to the centre of the sky together with further retouching to the far left edge corresponding with the patch repairs verso. Condition Report Disclaimer
Los 70
λ CHARLES ERNEST CUNDALL (BRITISH 1890-1971) A PORT VIEW WITH CITY BEYOND Oil on panel Signed and dated 1931 (lower right) 30.5 x 46cm (12 x 18 in.) Condition Report: The paint surface is dirty and would benefit from a clean. There is some light scattered craquelure to the sky. Ultraviolet light reveals no evidence of retouching. In overall good condition. Condition Report Disclaimer
Los 74
THOMAS COOPER GOTCH (BRITISH 1854-1931) NEWLYN HARBOUR Watercolour Signed (lower right) 18.5 x 10.5cm (7¼ x 4 in.) Condition Report: Unexamined out of glazed frame. The sheet is slightly undulating. Light yellowing to the edges of the sheet and a couple of spots of foxing to the upper sky. The frame is damaged in the upper right corner. Condition Report Disclaimer
Los 78
λ EDWARD SEAGO (BRITISH 1910-1974) PORTRAIT OF CYRIL FLETCHER Oil on board Signed (upper left) 39.5 x 28.5cm (15½ x 11 in.) Provenance: Collection of Arthur Ackermann & Peter Johnson Sale, Christie's, London, The Arthur Ackermann & Peter Johnson collection, 8 May 2008, lot 134 Sale, Bonhams, Ipswich, 9 March 2006, lot 408 Condition Report: The paint is thin in places and there are a couple of small patches of retouching to the left hand edge, visible under ultraviolet light. Otherwise, in good original condition. Condition Report Disclaimer
Los 1243
A TWELVE LIGHT CRYSTAL CHANDELIER. early 20th century, with four tiers of glass drops and swags above scrolling brass branches holding six sets of sconces surrounding a further four bulb holders, with further swags, drops and cut glass stars, height approx. 105cm, width 70cm. * Untested, may need rewiring, some losses (some loose but present). **BP 22.5% inc VAT + Lot Fee of £8
Los 132
Steiff The British Isles Bears. Irish bear, English bear, Scottish bear and Welsh bear collection. With original box. The Irish teddy bear blond 19cm with National flower (little clover) embroidered on right foot. English Teddy Bear light blond 19cm with National flower embroidered (the red rose). Scottish teddies bear golden blond 19cm with the national Scottish emblem (the thistle). Welsh teddy bear Olive 19cm with national flower embroidered (Daffodil). As a collection, All in great condition.
Los 209
Silver Age DC Superman Comics. 4 Atom comics collection. No.6 The world smallest super-hero The Atom an amazing time pool story The Highwayman and the Mighty Mite. No.8 The Atom locked up in the Lethal Lightbulb featuring the Amazing villain Dr. Light. No.9 The Atom featuring The Atom's Phantom Double. No.10 The Atom featuring Ride a Deadly Grenade. From 1963. These comic magazines are in good condition with some minimal wear observed around the spine and edges, shows age, making a great addition to a comic book fan collection.
Los 296
A Georgian light baluster wine glass, circa 1740, conical bowl set on an annulated collar, above an air beaded drop knop and flattened ball knop, with plain stem section above an angular knop with large air tear, high conical foot, snapped pontil, 16.2cm high, bowl 6.7cm diam, foot 7cm diamCondition report: small cluster of sooty inclusions within the bowl, and other scattered inclusion throughout the glass, excellent condition
Los 339
A Georgian opaque twist stem goblet, circa 1775, bucket bowl above a double series opaque twist stem, a pair of multiply spiral tapes outside a lace corkscrew, conical foot, snap pontil, 18.4cm high, bowl 8.2cm diam, foot 9.3cm diamCondition report: there is a bubble in the bowl which has not burst, and a piece of clinker, there are a few very light scratches on the interior of the bowl
Los 341
A Georgian baluster wine glass, circa 1725, round funnel bowl with an air tear in the base, an annular collar above an inverted baluster stem with large air tear, conical folded foot, snapped pontil, 17cm high, bowl 7.5cm diam, foot 8.3cmCondition report: light series of scratches on the outside of the bowl, some particles suspended within the glass as expected
Los 342
A Dutch engraved Newcastle light baluster, circa 1745, pointed round funnel bowl engraved 'Vriendschap' (Friendship), above a Ducal coronet and two hands clasped in greeting, all set within a foliate cartouche, the stem has a swelling knop above a flattened ball, small ball knop and flattened knop cushion, domed and folded foot, Condition report: excellent
Los 1028
**PLEASE NOTE COLLECTION OF THIS LOT WILL BE FROM BISHTON HALL STAFFORDSHIRE**A pair of cream silk taffeta floor length window curtains and a pair of door curtains en suite, late 20th century, interlined, the window curtains with 413cm long, 58cm deep fringed pelmet, the door with 167cm wide, 58cm deep pelmet, each with tasselled ties, main curtain drop of 245cm (window) and 241cm (door). Condition: as seen and found. A.f Vertical edges of the curtains exposed to light show splits in material
Los 1029
**PLEASE NOTE COLLECTION OF THIS LOT WILL BE FROM BISHTON HALL STAFFORDSHIRE**A pair of moulded glass eight branch/twelve light electroliers, late 20th century in Regency style, with C-scroll branches conjoined by beaded swags and hung with almondine facetted drops, 50cm high, 55cm diameter Cond: good – probably some small parts missing. Sold as seen
Los 1039
**PLEASE NOTE COLLECTION OF THIS LOT WILL BE FROM BISHTON HALL STAFFORDSHIRE**A moulded glass eight branch/twelve light electrolier, late 20th century in Regency style, with C-scroll branches conjoined by beaded swags and hung with almondine facetted drops, 53cm high, 55cm diameter Cond: as seen. Possibly small parts missing
Los 1051
**PLEASE NOTE COLLECTION OF THIS LOT WILL BE FROM BISHTON HALL STAFFORDSHIRE**A moulded glass twelve branch/eighteen light electrolier, late 20th century in Regency style, with C-scroll branches conjoined by beaded swags and hung with almondine facetted drops, 56cm high, 66cm diameter Cond: as seen. Possibly small parts missing
Los 1059
**PLEASE NOTE COLLECTION OF THIS LOT WILL BE FROM BISHTON HALL STAFFORDSHIRE**A moulded glass twelve branch/eighteen light electrolier, late 20th century in Regency style, with C-scroll branches conjoined by beaded swags and hung with almondine facetted drops, 56cm high, 66cm diameter Cond: as seen. Possibly small parts missing
Los 1075
**PLEASE NOTE COLLECTION OF THIS LOT WILL BE FROM BISHTON HALL STAFFORDSHIRE**A highly ornamental canopied bed, modern, with light green, blue and gold striped taffeta upholstery, the padded bedhead in watered ivory silk, with VI Spring divan, a mattress (152cm x 200cm approx), similar bed cover, and all bedding and cushions thereon, and a pair of circular bedside tables with chipboard cruciform frames, glass tops and textile drapes ensuite, 56cm diameter (quantity) Cond: very good slight fading with age.
Los 1090
**PLEASE NOTE COLLECTION OF THIS LOT WILL BE FROM BISHTON HALL STAFFORDSHIRE**A pair of moulded glass eight branch/twelve light electroliers, late 20th century in Regency style, with C-scroll branches conjoined by beaded swags and hung with almandine facetted drops, 53cm high, 55cm diameter: and a pair of smaller five branched examples 36cm high 45cm diameter(4) Cond: as seen. Possibly small parts missing. One five branch example has water leak stains.
Los 1110
**PLEASE NOTE COLLECTION OF THIS LOT WILL BE FROM BISHTON HALL STAFFORDSHIRE**An eight branch twelve light glass chandelier, 20th century, with double c-scroll branches linked by beaded swags and, hung with almondine drops and facetted spherical terminal drop, 75cm x 65cm Cond: appears good some small parts possible missing
Los 1037
1972 INDEPENDENCE CUP TOURNAMENT (BRAZIL) / SCOTLAND / REPUBLIC OF IRELAND Tournament played 7/6/1972 - 9/7/1972 in Brazil. Issue of ''FIFA NEWS'' dated July 1972 which includes full coverage and reviews of the tournament from the Preliminary Round up to and including the Final which Brazil won defeating Portugal. Four punch holes, light vertical fold. Generally good
Los 2
HELEN FRANKENTHALER (1928-2011)Untitled circa 1958-1961 signedoil on paper laid on canvas68 by 104.5 cm.26 3/4 by 41 1/8 in.This work was executed circa 1958-1961.Footnotes:ProvenancePrivate Collection, SwedenSale: Sotheby's, New York, Contemporary Art Part II, 2 November 1994, Lot 125Chac-Mool Gallery, Los AngelesAcquired directly from the above by the previous owner in 1999Thence by descent to the present ownerInspired by a fervent period of artistic experimentation after the Second World War, a fresh generation of American artists broke away from the genre of landscape and historic paintings which dominated in the early decades of the twentieth century. Helen Frankenthaler, Sam Francis and Kenneth Noland were amongst this new generation of artists who shared the visual vocabulary of abstraction and Bonhams is delighted to present a wonderful selection of six works by the artists from a Private Family Collection from a Knightsbridge Residence.A master of Abstract Expressionism, Helen Frankenthaler created a singular visual vocabulary over her six-decade career. A New York native, Frankenthaler received her earliest art instruction from Rufino Tamayo and fraternised with other New York School artists including Grace Hartigan, Willem de Kooning, Jackson Pollock, Lee Krasner and Robert Motherwell amongst others. Untitled (circa 1958-1961) was created during a formative period in Frankenthaler's career, only a few years after she created her breakthrough piece Mountains and Sea in 1952 and invented her 'soak-stain' technique. Using this technique, Frankenthaler would pour or drip turpentine-thinned oil paint over an unprimed canvas. Untitled from 1994 hails from the last decades of Frankenthaler's career, a period when the artist's confident and virtuosic approach to colour is evident from the nuanced layers of green followed by touches of magenta and yellow. Both pieces embody the intimate and kinetic quality to Frankenthaler's oeuvre; whilst the pigmented, organic forms in the earlier work are reminiscent of the 'push and pull' compositional format in Hans Hoffman's works, despite the translucency of the hues in Untitled from 1994, there is a palpable dimensionality which pervades the entire surface. In Lot 2 the different shades of oil paint unfurl and collect into darker and lighter pools as they are poured across the canvas. The nebulous, uncontrolled shapes within the scene alludes to Frankenthaler's major source of inspiration - throughout her career, Frankenthaler was fascinated by natural landscapes and by the idyllic forested hillsides of the Northeastern United States. Parts of the canvas are left bare to emphasize the gestural nature of the composition and the texture of the artist's brush. The natural element in Lot 6 is heightened further by the handmade paper the artist incorporates into the work. Upon closer inspection, the mix of blue, white and grey hued plant fibres is apparent. The naturally undulating edges of the paper complement the spontaneity of how the wet pigments bloom across the paper to create suggestions of a seascape on a windy day. In many examples of Frankenthaler's work, the sense of push and pull is heightened by the halo effect created by pigments travelling towards the periphery of the wet surface or separating from the oil paint medium. All three works in this outstanding collection are a testament to Frankenthaler's openness to experimentation and honest approach to painting, a process which allowed the artist to constantly start each work with a renewed and inquisitive perspective. Each one of these artist's pioneering artistic practices contributed to the Colour Field Abstraction movement. In Sam Francis's canvases there is a lyrical fluidity to the composition and colour is enhanced by ample negative white space. These techniques were inspired by Francis's encounters with Tachiste artists in Paris and Zen calligraphers in Japan in the 1950s and 1960s respectively, and can be seen in For Baudelaire from 1985 and Untitled from 1983. Kenneth Noland's approach centred around rhythmically arranged patterns of colours, clean lines and geometric shapes. A seminal moment in Noland's career was his visit to Helen Frankenthaler's studio in 1953 where he witnessed her technique of staining her canvases with heavily diluted paint.In these six works by Post-War American artists Helen Frankenthaler, Sam Francis and Kenneth Noland, there is an immortal freshness and an acute sensibility to the interplay of colour, light and textures. Helen Frankenthaler and Sam Francis are amongst the most important names in Colour Field Painting whilst Kenneth Noland went on to pioneer the Hard-edge Painting movement. Their works can be found in the collections of some of the most prestigious international institutions including the Museum of Modern Art, New York, the Centre Pompidou in Paris, the Tate Gallery in London and the Peggy Guggenheim Collection in Venice amongst many others.For further information on this lot please visit Bonhams.com
Los 24
BRIDGET RILEY (B. 1931)Pass 1981 signed and dated '81 on the turnover edge; signed, titled and dated 1981 on the reverse; signed and titled on the stretcher baroil on linen80 by 70.5 cm.31 1/2 by 27 3/4 in.Footnotes:This work is registered in the Bridget Riley studio, London under no. P8012.ProvenanceJuda Rowan Gallery, London (BR 2) Acquired directly from the above by the previous owner in 1986 Thence by descent to the present ownerLiteratureRobert Kudielka, Alexandra Tommasini, Natalia Naish, Bridget Riley: The Complete Paintings, London 2018, vol. 2, no. BR 214, p. 544, illustrated in colourChromatically arresting, visually alluring and completely fresh to the market, Pass from 1981 embodies Bridget Riley's radical investigations into the optical potential of colour and the complexities of illusion and perception. Riley has produced a prolific, compelling, and technically pristine body of work over the course of her extraordinary career; an oeuvre that was in 2019 the subject of a highly lauded retrospective at the National Galleries of Scotland and the Hayward Gallery. Today, her works are held in the collections of the Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Tate Gallery in London, and the Peggy Guggenheim Collection in Venice, to name but a few.Hypnotically evading perspectival resolution, the films of colour as seen in this present work recede and advance into illusory space, extending the abstract field of vision beyond the flat picture plane. Such dramatic visual effects anointed Riley as the undisputed spearhead of the Op Art movement. Nevertheless, her preoccupation with the mechanical contingencies of colour, and the sensory and perceptive effects that can be produced through constructing a rational architecture of form in which colour resides, extend Riley's impact and influence on contemporary painting far beyond the confines of a single movement. Maintaining an unparalleled relationship to the formal, 'plastic' concerns of painting inherited from the likes of Seurat, Paul Klee and Piet Mondrian, Riley has developed a pictorial language that is remarkably unique. Riley explains that 'by plastic I mean that which hangs between the cognitive reading of an image and its perception. If one looks at the painting there is clearly a gap between the mythic illusion which one can 'read' and the immediacy of the sensations one experiences through the sense of sight' (the artist in conversation with R. Kudielka, The Artist's Eye: Bridget Riley, London, 1989, p. 13).Pass belongs to a group of works that were inspired by a trip to Egypt that Riley made in the winter of 1979–80. This excursion was to have a lasting effect on the artist, inspiring her work for over a decade. Following this trip, Riley's palette became brighter, bolder, and more intensified. Paul Moorhouse explains, 'During that trip she visited the Nile Valley and the museum at Cairo, and was able to study, at first hand, the tombs of the later Pharaohs in the Valley of the Kings. Riley was astonished by the art she found in these ancient burial sites carved out of rock and located deep in the earth. These sacred places were dedicated to the dead, yet the tomb decoration was a vivid evocation of life and light. Though their creators had used only a limited number of colours - red, blue, yellow, turquoise, green, black and white - the walls of the chambers receded behind images in which could be seen a bustling affirmation of everyday existence. In looking at the art and craft of Ancient Egypt in the Cairo Museum, Riley recognised that the same colours had been used in all aspects of the Egyptians' material lives, from the decorative to the purely functional' (Paul Moorhouse, Bridget Riley, London, 2003, p. 22).In a spectacular rhythm of blue, red, orange, and white, Pass engenders a harmonious structure that is analogous with the relationship between the component parts of a piece of music. This aggregation of high and low tones, of loud and quiet pitches, creates a field of vision that hums with a warm, self-generated glow. For Riley, suspending incongruent colours and polarising frameworks is the essence of aesthetic harmony: 'this could sound like a paradox', she writes, 'but only if one thinks in logical terms. In painting, it seems to me, contrast is the basic relationship. Even that which appears to be harmony is actually a harmony of contrasts, be they spatial, directional, chromatic, tonal, etc.' (Bridget Riley in conversation with Robert Kudielka in Robert Kudielka on Bridget Riley: Essays and interviews 1972-2003, London 2005, p. 96). In the present work, Riley composes a melodic unity through bands of colour that refract and funnel a cacophony of shifting sightlines between its vertical linearity. An exemplary work of pulsating geometry and colour, Riley's Pass is a compelling vision of abstract painting's closeness to human perception.Born in London in 1931; Riley studied at Goldsmiths College from 1949 to 1952, and at the Royal College of Art from 1952 to 1955. Finding notoriety in the 1960's, her prestige and influence on contemporary art remains decisively steadfast, while her extensive body of work continues to garner discussion in a contemporary context. Citing Georges Seurat as a point of reference, Riley's early output of work played with Pointillism and Impressionism to examine the interaction of colour and form to create light and depth. The Pointillist painter had sought to introduce light into the canvas through dots of pure colour, carefully placed either for contrast or harmony to intensify both their individual power and the overall effect. Similarly, Riley developed a mode of painting that employed the repetition of individual colours in geometric patterns and, in the case of this present work, vertical lines. The lines surpass and transcend their own limitations, and work together to achieve a greater luminosity. Cultivating her technique to explore total abstraction, Riley soon came to hone her optical style, creating dizzying canvases where depth and visual stimuli emanated from the delicate positioning of vertical and linear lines. Initially working with a largely monochrome palette, Riley's first solo exhibition at Gallery One in 1962 soon led to a string of international shows early in her career, including exhibiting in the Museum of Modern Art, New York, a solo exhibition in 1966, and prizes such as the AICA Critics Prize and John Moores' Liverpool Open Section in 1963. In 1968 she represented Britain at the Venice Biennale, receiving the International Prize for Painting. It is true to say that Bridget Riley's continued exploration of optics and colour have afforded her the reputation as one of the most internationally recognisable abstract artists today.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
Los 9
ERNIE BARNES (1938-2009)The Gospel Truth 1985 signedacrylic on canvas 91.4 by 121.9 cm. 36 by 48 in.This work was executed in 1985. Footnotes:We wish to thank the Ernie Barnes Family Trust for their kind assistance in cataloguing this lot.ProvenanceCollection of Tim Hauser, California (acquired directly from the artist in 1985)Thence by descent to the present ownerExhibitedRiverside, Riverside Art Museum, Visual Voice, 2016Ernie Barnes' legacy has crystallized as one of the most significant and upstanding careers of a late great American artist. A young, aspiring boy from segregated Durham, North Carolina, who took to the football pitch as a professional player in the NFL before his first solo show in New York in 1966, Barnes' artistic inclinations were a constant throughout his life that he wove seamlessly together with his love of sport, music, and the sense of community and shared experience that underpinned his creative passion. The gospel halls of Barnes have become some of the most iconic and highly sought-after paintings by the artist, and The Gospel Truth is arguably the finest example of which to come to market. Displaying a remarkable attention to detail and almost chiaroscuro sense of space and light – whose hallowed windows descend in golden sunbeams dappled across the congregation – one cannot shake the imagistic power of a canvas that is bursting with a rapturous joy, marking the height of Barnes' career but a year after he was the official artist of the 1984 Olympic Games in Los Angeles. Across the glorious intensity of The Gospel Truth, Barnes revels in a kind of ecstasy that is both unique to his painting and to the American south that he was raised in. His subjects cast their arms aloft, heads raised to the sky, some held between hands, others throw their bodies and twist their faces in uncontrollable adulation. Recalling his childhood trepidation at the volume and fervour of a congregation in the throes of gospel verse, Barnes glimpsed something that remained at the heart of his career throughout his life; a sense of human presence and power that is found in the individual and in the collective consciousness. In the aptly titled The Gospel Truth this essential quality comes to the fore with remarkable force and artistry. In the finest examples by the artist, the light, depth of field and figurative dynamism identifies masterworks from great paintings – this is such a piece. From the halos that cascade amongst the pulsating crowd to the vignette of the lower edges that frames our gaze, the unique hazy glow of Barnes' paintings makes them radiate an inner light, projecting from the wall with a swirling, intensely layered surface that glistens as it catches the hips and shoulders of the dancing congregation. The Gospel Truth boasts a palette that is immaculately refined and delicately shifts between sunbeam and shadow. Like Barnes' night-time dance venues and pool halls that capture after-hours socialising and amusement, the Sunday morning of The Gospel Truth reveals another kind of liberation, one of worship, community and song, that nevertheless spills over into a party of stupendous energy. Purchased from the artist by Tim Hauser, eight-time Grammy winner and founder of The Manhattan Transfer, the present work bespeaks a musical passion shared between two masters of their craft. Introduced by the bassist Kenny Gradney of Little Feat., who also came up with the name 'The Gospel Truth', the painting was acquired fresh off Barnes' easel by Hauser and would be a brightening focal point of his collection amongst friends. It comes to market now as one of the most remarkable gospel canvases to have remained in constant ownership since its making, full of unique details and qualities that make it one of the most inspired paintings by the artist. Barnes' life and career has become refocused since his retrospective at the California African American Museum in summer 2019. If the truly American Renaissance man existed, it was him. He was unquestionably a natural artist, demonstrating a childhood fascination with the language of painting, intrigued by Delacroix, Michelangelo, and Toulouse-Lautrec. He was rarely without his sketchbook that accompanied him to classroom and track and field alike. Barnes' early sporting ability was an enabler for his artistic pursuit. He earned a full scholarship to the North Carolina College at Durham where he majored in art, and in turn was drafted to the Baltimore Colts in 1959, going on to play for the San Diego Chargers and Denver Broncos, before calling time on his professional career in 1965.Nevertheless, it would be a mistake to consider his term in the NFL a segue from his painting. From his early interests, Barnes' athleticism influenced his artistic inclinations in the most beautiful of ways and placed him at the epicentre of an Americana that made him a bona fide voice of a generation. From his high school captaincy of the football team to the biggest teams in the NFL, his appreciation of the body – of form, of strength, of stamina, of limits – was ingrained. Commenting on his relationship to sport and its impact on his practice, Barnes commented that 'being an athlete helped me to formulate an analysis of movement, and movement is what I wanted to capture on canvas more than anything else; I can't stand a static canvas' (the artist in: 'ernie barnes this is my art', YouTube, 28 July 2011). Athletes and artists share this deep connection, recognizing the nature of physicality and the performative translations that are essential to their endeavours. From illustrating his teammates to the dance halls and marching bands of his native Durham, the elongated, mannerist forms of his characters evince an understanding beyond the visual; of a figuration that embodies the mood, the intensity, and the soul of person.The individual, or moreover, the subjective experience, is at the heart of Barnes' artistic design. Throughout The Gospel Truth and his career at large, the closed eyes of Barnes' characters have been a definitive and iconic motif, one that speaks volumes of how he illustrates the plurality of black experience and culture. Barnes appreciated art as the most complete and intense form of expression of the inner life, but undoubtedly recognized the transformative power of representation in his own painting. The drawn eyelids of his characters he regarded as a manifestation of 'how blind we are to one another's humanity,' but he went still further: 'We stop at color quite often [...] We look upon each other and decide immediately: This person is Black, so he must be ... This person lives in poverty, so he must be ...' (the artist in: Kareem Abdul-Jabbar, 'How Athlete-Artist Ernie Barnes Captured Black Culture's 'Joy and Communal Dignity'', hollywoodreporter.com, 10 May 2019). The expressive body became the locus for Barnes' painting that literally embodied the humanity he sought to reproduce.As the golden light pierces the windows and rains upon the choral troupe and seated attendees, one cannot help but feel the ebullience and religiosity that makes The Gospel Truth such a profound celebration of black joy and community. It is an unashamedly hip-shaking vision whose rhythm and noise is tantalisingly close to breaking from the walls of its frame. For Barnes, it represents one of the most genuine and magnificent scenes of the America that he knew and was raised in, and thus one of the most collectible paintings to have come to market by the artist. A richly coloured and highly contrasted palette, it demonstrates the masterly confidence that Ba... 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
Los 104
Mirror; Spain Carlos III period, second third century XVIII.Gilded and carved wood.It has slight faults and cracks.Measurements: 123 x 78 cm; 61 x 38,5 5 5 (moon).Mirror made of gilded and carved wood with an openwork and dynamic structure like a cornucopia. Cornucopias were rich mirrors to which supports for candles were added (which tends to disappear in 19th-century examples), so that the light from the candles would be multiplied by being reflected on their surface. They were particularly popular in the Baroque period, during the 17th century and much of the 18th century. They were an essential ornament in the great halls of representation which, following the typical theatricality of the Baroque, were full of mirrors and candelabras that produced visual games of all kinds, as well as enriching the room. Since they were pieces of performance furniture, they were made of richly carved and gilded wood, and their frames were decorated with a multitude of delicate relief motifs, worked as if they were sculptures. Cornucopias, like the other mirrors of the Baroque period, could have frames of different shapes and profiles, but they never went beyond the inner profile of the glass, unlike the examples of the Rococo period.
Los 12
Flemish school of the early 17th century."Christ before the people".Oil on copper.Measurements: 25 x 19,5 cm; 28,5 x 23,5 cm (frame).This is a scene linked to the biblical episodes of the Passion: the Ecce Homo. Stylistically and formally it is a Baroque painting, clearly influenced by the Flemish school. Christ is shown before a disturbed crowd, and all the arms are raised in unison to point to him, advancing the episode of the Crucifixion. The concentrated expressivity of each of the figures stands out, not only in the faces, but also in the muscles under tension and the dramaturgy of the gestures.The modelling of the anatomy and features is expressed through an excellent use of contrasts of light, with the intense red of the cloak occupying the centre of the composition. This is a composition which, although faithful to iconographic models of the Passion, has chosen an unorthodox framing.
Los 19
Granada school, second half of the 17th century."Virgin and Child".Oil on canvas.Frame of the XVIII century.Measurements: 100 x 76,5 cm; 90 x 66 cm (frame).A very young Virgin, of almost adolescent aspect, holds the Infant Jesus with a soft and tender gesture, taking the small infantile foot with her left hand, and leaning the little head against her chest. The painting corresponds to the subject matter, composition and technique of Pedro Atanasio, strongly influenced by Alonso Cano and Van Dyck. The love between mother and child is emphasised through a slightly idealised, extremely tender representation, with strong baroque light modelling faces and bodies. Skilful glazes reproduce the transparency of the canvases. St John's face appears on one side, looking enraptured by the scene.During the 17th and 18th centuries, ambitious pictorial series and extensive iconographic programmes were created for churches and convents, as well as printed prints, medals and reliquaries for private devotion. As a whole, regardless of their size or medium, these images fulfilled the aim of sacralising everyday life beyond the altars. As for the Granada school, when Alonso Cano returned to Granada in 1652, he attracted all the artists to him. It could almost be said that the features that characterise the school are the features of its style. Thus, in all of them, the search for the ideal and elegant in the types, the avoidance of realism and genre scenes, paying little attention to portraiture and almost no attention to still life. Rich colour intonations abound in all of them, with specific palette preferences, such as the use of asphalt, as well as a taste for Flemish painting, which would have been encouraged by Pedro de Moya, who is said to have travelled to Flanders and England. From its style, we can relate this image to the hand of Pedro Atanasio de Bocanegra, a painter from Granada who was a disciple of Alonso Cano, Pedro Moya and Juan de Sevilla, the most active artist in Granada in the 1660s. His first known work was the decorations for the Corpus Christi festivities in his native city in 1661. During the following years we find commissions such as the series of canvases he executed between 1665 and 1666 for the cloister of the convent of Nuestra Señora de Gracia, now lost; or the numerous paintings, including the "Conversion of Saint Paul", which he painted between 1668 and 1672 for the altar of the college of the Society of Jesus, now the church of Saints Justo and Pastor (in situ). At the same time he was commissioned to decorate the Carthusian monastery in Granada with large scenes from the life of the Virgin. He was also appointed painter to the cathedral. After this period he went to Seville in 1686, and from there he left for the court of Madrid, where he was protected by Don Pedro de Toledo, Marquis of Mancera. Thanks to the influence of his protector, Bocanegra was awarded the title of painter to the king "ad honorem" for his painting "Allegory of Justice", inspired by a mid-16th-century Venetian print and now in the Royal Academy of San Fernando. After his stay in Madrid, Pedro Bocanegra returned to Granada. In addition to the aforementioned art galleries and religious centres, works by this master can now be found in the Zaragoza Museum, the Goya Museum in Castres, the Diocesan Museum of Sacred Art in Vitoria and the Fine Arts Museum in Granada, as well as in various private collections.
Los 22
Limoges plate; France, 13th century."Angel".Enamel on copper.Both the polychromy and the enamel are missing.Measurements: 7.6 x 13.5 cm (irregular).Trapezoid-shaped plaque, with an iconographic representation of an angel, in copper with gilt polychromy and champlevé enamel. The angel depicted here could belong to the 'army or Hypophany', the watchers of the world, who act as imitators of God by representing the 'beginning' of everything. They vary in their attire, but in general their representation is very similar to that of ordinary angels.Limoges enamelling has a long tradition dating back to the Middle Ages, in particular to the last painting of the 12th century. It will be the most important enamel workshop in France, and owes its success especially to its production of enamel-decorated objects in addition to the usual enamelled plates. Its medieval and Renaissance pieces had their own characteristics, such as a very shallow background dragging or a very fine partitioning for details, as well as an innovative chromatism that included new tones such as light blue-grey or white.
Los 4
Dutch school; 17th century."Portrait of a lady.Oil on panel.It presents faults and restorations.Measurements: 41 x 34,5 cm; 55,5 x 49 cm (frame).The delicacy of the stroke and a skill in the handling of the drawing of the author reveal the portrait of a young lady. Despite the sobriety of the scene, which consists only of the bust of the sitter, the piece stands out for its quality, elegance and subtlety in such a way as to create a very psychologically charged scene, where we can intuit the personality of the young woman, whose clothes and ornaments subtly reveal her high social position to the viewer. The large ruff, the ornate headdress that gathers her hair, the pearl in her earring and even the freshness of her cheeks confirm her status.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 overtly 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. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.
Los 48
Andalusian school; 18th century."Martyrdom of Saint Catherine".Oil on canvas. Re-drawn.It presents jumps in the pictorial surface.Measurements. 165 x 124,4 cm; 175 x 134 cm (frame).In this canvas we see the representation of the martyrdom of Saint Catherine, specifically the moment in which the wheel with which she was being tortured breaks due to divine intervention. It is therefore a mystical approach to the theme, far removed from the most bloody formulas, although not without drama. The saint is depicted in the centre, standing and looking up to the sky, illuminated by a golden ray of divine light. Next to her are two soldiers with almost identical features. The cult of Saint Catherine spread throughout Europe from the 6th century onwards, she is included in the group of the holy helpers and is invoked against sudden death. Catherine was born around 290 into a noble family in Alexandria. Gifted with a great intelligence, she soon stood out for her extensive studies, which placed her on the same level as the greatest poets and philosophers of the time. One night Christ appeared to her and she decided, at that moment, to consecrate her life to him and to consider herself his fiancée, in a sort of mystical marriage. When the Emperor Maximian came to Alexandria to preside over a great pagan festival, Catherine took advantage of the occasion to try to convert him to Christianity, which aroused his anger. To test her, Maximian imposed on her a philosophical debate with fifty wise men whom she would try to convert. Catherine succeeded, provoking the emperor's wrath. The emperor had the sages executed, but not before proposing to the saint that she marry one of them, which she flatly refused. The emperor then ordered her to be tortured using a machine with spiked wheels. Miraculously, the wheels broke when they touched Catherine's body, and she was finally beheaded.The 17th century saw the arrival of the Baroque style in the Andalusian school, a style that would reach its full maturity at the end of the century, and also throughout the 18th century. With the new style came the triumph of naturalism over Mannerist idealism, a loose style and many other aesthetic liberties. At this time the school reached its greatest splendour, both in terms of the quality of the works and the primordial status of Sevillian Baroque painting. Thus, during the transition to the Baroque period, we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, whose works already display the rapid brushstrokes and crude realism of the style, and Juan de Roelas, who introduced Venetian colourism. The middle of the century saw the fullness of the period, with figures such as Zurbarán, a young Alonso Cano and Velázquez. Finally, in the last third of the century we find Murillo and Valdés Leal, founders in 1660 of an Academy where many of the painters active in the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others.
Los 1016
GOOD SCRATCH BUILT LIVE STEAM MODEL LOCOMOTIVE,3 1/2" gauge, City of Truro, in green and black Great Western Railway livery, 66cm long including buffersA Private Scottish Highlands CollectionThere is no boiler certification with this lot; otherwise good condition, some light general wear but overall an attractive engine; additional images available
Los 205
Greek Coinages, Campania, Neapolis, Nomos, 395-385, head of nymph right, hair tied up in broad band, rev. man-headed bull left, crowned by Victory above, nεοπολ[-] within exergue, 7.08g/4h (HN Italy 563; Pozzi –; McClean –; SNG ANS 283). Light porosity, otherwise very fine, obverse better and of fine classical style, dark toned £200-£260
Los 212
Greek Coinages, Campania, Nola, Nomos, 400-385, head of Athena right wearing crested helmeted ornamented with owl and laurel wreath, rev. man-headed bull right, nωλαιων above æ below, 7.00g/5h (HN Italy 604; Pozzi 237; McClean –; SNG Lockett 104). Signs of overstriking and light smoothing in reverse fields, otherwise very fine, dark toned, rare £150-£180
Los 216
Greek Coinages, Campania, Phistelia, Obol, 325-275, male head facing slightly right, rev. dolphin, barley grain and mussel shell, ethnic around in Oscan, 0.53g/2h (HN Italy 613; Pozzi 243; McClean 369-72); CALABRIA, Tarentum, Diobol, 325-280, head of Athena right wearing crested helmeted ornamented with Scylla, rev. Herakles kneeling right, wrestling lion, 1.15g/6h (HN Italy 976; McClean 705); LUCANIA, Metapontion, Diobol, c. 325-275, helmeted head of Athena right, rev. ear of barley, 0.97g/10h (HN Italy –; Johnston Class F.21; McClean 999-1001); Poseidonia, Diobol, c. 445-420, ποσειδα, Poseidon standing right, casting trident, chlamys draped over shoulders, rev. bull standing left on exergue line, 1.14g/11h (cf. HN Italy 1119; McClean 1079); Thurium, Triobol, 440-400, helmeted head of Athena right, rev. bull walking left, fish below exergue line, 1.17g/12 (HN Italy 1759; McClean 1239); BRUTTIUM, Terina, Drachm, c. 300, head of nymph right, triskeles behind, rev. Victory seated left on plinth, holding kerykeion, 1.99g/9h (HN Italy 2641) [6]. Fine to very fine, several with light surface porosity £240-£300
Los 224
Greek Coinages, Calabria, Tarentum, Nomos, 400-390, youth on horseback right, holding whip, λ below, rev. dolphin-rider left, holding aphlaston, ταρα below, 7.70g/1h (HN Italy 850; Vlasto 337-9; SNG Copenhagen 805; McClean 576). Light surface deposits and porosity, good very fine, beautifully toned £300-£360
Los 230
Greek Coinages, Calabria, Tarentum, Drachm, 302-280, helmeted head of Athena right, rev. owl standing right, tαρ above, io and club to right, 2.97g/6h (HN Italy 975; Vlasto 1054-7; McClean 623-4); LUCANIA, Velia, Drachm, 430-420, head of Nymph left, rev. owl standing left on olive branch, υελη above, 4.04g/8g (HN Italy 1272; Pozzi 651; McClean 1417-20); CORINTHIA, Corinth, Drachm, Pegasos flying left, rev. head of Aphrodite left, 2.31g/2h (BCD 149-50; BMC 293-4) [3]. Good fine and better, second with light cleaning scratches, all toned £120-£150
Los 244
Greek Coinages, Northern Lucania, Poseidonia, Nomos, c. 470-445, πομε, Poseidon standing right, casting trident, chlamys draped over shoulders, rev. bull standing right on single exergue line, πομεs above, volutes in exergue, 7.96g/11h (HN Italy 1116; Pozzi –; McClean 1503; SNG ANS 647). Light surface granularity, otherwise about very fine, scarce and toned £90-£120
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