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283287 Los(e)/Seite
Los 127
GEORGE WOOLLISCROFT RHEAD. Two framed, signed, etchings, man with a horse, profile portrait of a man, largest 29cm x 21.5cm. IMPORTANT: Online viewing and bidding only. Collection by appointment via our website or arrange with Mailboxes Etc couriers ONLY. Restrictions apply to ensure social distancing.
Los 101
FORTUNINO MATANIA (1881 - 1963). Two framed, signed in pencil, pencil on paper studies, with labels verso - both made in Knockaloe Internment Camp, Isle of Man during World War Two, portrait of solider, 23cm x 14cm, man serving from bucket, 18cm x 15cm (ARR). IMPORTANT: Online viewing and bidding only. Collection by appointment via our website or arrange with Mailboxes Etc couriers ONLY. Restrictions apply to ensure social distancing.
Los 134
H. ZOHURIHN. Framed, signed, oil on canvas, portrait of a woman, 39cm x 29cm, together with A. GHAFARI. Framed, signed, oil on canvas, portrait of a man, 44cm x 34cm. IMPORTANT: Online viewing and bidding only. Collection by appointment via our website or arrange with Mailboxes Etc couriers ONLY. Restrictions apply to ensure social distancing.
Los 271
Continental school, late 19th century, head & shoulders portrait of a lady with blue ribbon in her hair, oil on porcelain panel, housed within an architectural oak surround with ivy leaf and vine decoration, portrait 7.5x6cm max dimensions, 22x14cmCondition report: Frame is chipped to the left of the pediment.Porcelain has a faint mark to edge – probably from previously being in a different frame.
Los 261
A George V yew presentation mallet, carved with a portrait and coat of arms with gothic tracery, the mounts with presentation inscriptions dated 1912, height 22cmCondition report: Large split to the head.No hallmarks.Inscribed ‘Presented to the High Sheriff Glamorgan Tatum Esq on the occasion of his laying the foundation stone’.
Los 364
Mrs James Fairfield (mid 19th century English) a portrait miniature on ivory of a young girl, inscribed to reverse in later hand 'Mrs T Fairfield Pt. 1850 AD,' image approx. 4.6cm high, in a pressed composite daguerreotype folding case, with putto and stag decoration, approx. 12.5cm high, together with another portrait miniature of a young woman, approx. 5.2cm high, in daguerreotype case by Littlefield, Parsons & Co, approx. 9.5cm high (2)
Los 7
Tom Wesselmann (1931-2004)Cut Out Nude (Green) 1965 signed and dated 65acrylic, pencil and paper collage laid on board43.1 by 57.5 cm. 16 15/16 by 22 5/8 in.Footnotes:ProvenanceSidney Janis Gallery, New York (#11266)Private Collection, USBarbara Mathes Gallery, New York (CA1833)Guy Pieters Gallery, Knokke Acquired directly from the above by the present owner in 1995In the late 1950s, Tom Wesselmann began a series of small collaged nudes in interior settings, composed from magazine cuttings. From 1961, these provided the compositional basis for his acclaimed and iconic Great American Nude series. Wesselmann's nudes, with their simplified curves and passages of rich colour are arguably the most widely recognised pieces, not only of his extensive and celebrated career, but epitomise the American Pop avant-garde that defined a generation championing progressive attitudes in the midst of the glamourisation of Hollywood and the proliferation of televisual and print media. In this present work, Cut Out Nude (Green) from 1965, the enticing image of a brunette woman, languishingly posing with her arms stretched over her head is rendered in piquant clarity in painted, collaged elements. She appears to us as an idealised and attractive female form, a modern Venus. Her relaxed pose suggests she is completely at ease in her nudity with visible tan lines and a wide joyful smile, reclined in an intimate display evoking historical depictions of women in their private spaces. This is not a figure that is submitting to the viewer, but instead appears to be relishing the attention and freedom her position allows. Wesselmann is not concerned with surface or sculpting – there is no hint of dimension to his nude – but rather we are presented with flat forms and brilliant colours, so definitive of iconic works produced at the height of Pop Art in the 1960s.He often intentionally left the faces of his models blank, avoiding the suggestion of a portrait and allowing his viewers to be open to individual interpretation and leave room for the imagination. The only features Wesselmann includes here are those essential to sensual simplification such as lips and nipples, poignantly identified in bright red, believing that any intonation of personality would interfere with the forthrightness of the subject.Wesselmann consistently referenced the classical representation of the nude throughout his figurative painting. In the present work, the one-dimensional, central figure of the nude is illuminated with a bright green palette and flattened composition. His theme has strong art historical credentials in the motif of the sleeping Venus, evolving into the reclining Odalisque, that adorns the walls of the world's greatest museums in the paintings of Ingres, Manet and Matisse. The latter's influence on Wesselmann was especially profound, identified in his own fluid and supple forms. Wesselmann's voluptuous reclining nudes put a new spin on Matisse's Odalisques, yet we can clearly identify inspiration from the sensuousness of Matisse's forms and vibrant palette. Invigorated by the shifting, luxurious forms of Matisse; Wesselmann shunned the almost clinical eye of his Pop contemporaries in favour of colours and subjects that were at once recognisable and ideal.Wesselmann approached and revived the theme of the artist's muse in a completely novel way. His Great American Nudes as modern odalisques represent the most exceptional examples of his iconic visual language and capture the cultural energy of Post-War America that was going through significant shifts in second wave feminism, sexual liberation and hippie movements. The Great American Nudes established Wesselmann as a master of colour and collage, whose deft manipulation of art historical and contemporary symbols distinguished him as one of the leading American Pop artists of his time.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 15
David Hockney (B. 1937)Portrait of Shea 1981 ink on paper 29.7 by 21 cm. 11 11/16 by 8 1/4 in. This work was executed in 1981. Footnotes:ProvenancePrivate Collection, UK (gift from the artist) Thence by descent to the present ownerThis 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 38
Jaume Plensa (B. 1955)SHADOWS I 2006 stainless steel and stone 242 by 192 by 196 cm. 95 1/4 by 75 9/16 by 77 3/16 in. This work was executed in 2006, and is unique.Footnotes:ProvenancePrivate Collection, US (acquired from the artist)Selling exhibition: Sotheby's, Windermere, Sotheby's at Isleworth: Monumental, 2007 Acquired directly from the above by the present ownerTowering at nearly eight feet tall with arresting presence SHADOWS I, executed in 2006, is a stunning example of Spanish artist Jaume Plensa's text-based sculptures that transform the environments they inhabit.Born in Barcelona, Plensa is renowned for his large sculptures and public installations, which are widely exhibited across the globe with celebrated projects in cities such as Calgary, Chicago, San Diego, Montréal, London, Paris, Dubai, Bangkok, Shanghai, and Tokyo. Installations of his monumental sculptures can be seen in public spaces at the Rockefeller Centre and 30 Hudson Yards in New York City, the Museo Nacional de Arte in Mexico City and Plaza de Colón in Madrid. Over the past 35 years, the artist has produced a multifaceted body of work creating sculpture that speaks to the power and beauty of humanity, bringing people together and enriching communities through their presence. He works with conventional sculptural materials like glass, steel, and bronze but has also gone further to blend this with unconventional media such as water, light and sound to create hybrid works of intricate energy and symbolic richness. Composed of stainless-steel letters that are weaved together in a linguistic fluid form, this present work is an elegant personification of Plensa's sculptures that are so definitive of the artist's oeuvre. Here, a figure sits upon a stone plinth with its arms clasped around its legs in what appears to be a meditative and serene posture, suggesting a sense of tranquillity and peace. Despite its striking originality, we are encouraged to see parallels to the figures we identify in classical sculpture, in its concern with aesthetic beauty and earnest examination of the human soul in the most simplified form. This figure bears no expression, no facial features or the complexities of human existence. Rather than a straightforward portrait, Plensa plays with proportions thus giving instead a sense of spirituality to his faces, as he examines the relationship between body and soul. Plensa's sculptures are unique in their remarkable ability to transform the environments which they inhabit. This present lot invites a dialogue between the sculpture and the surrounding landscape which is readily visible through the interlaced letters that comprise the figure. The sculpture exists in harmony within its setting and transforms the space around it, most notably in the way in which the open and closed form of the letters alter light and shadow. This subject of transparency was of great allure to Plensa; he was intrigued with how he could bring light and its related openness to metal and found he could achieve this through this use of open weave, lattice like letters. Plensa's work explores not only the human form, but also the role of language in the human experience. An avid reader, Plensa was fascinated with language and classical literature; he has a particular interest in the workings of Shakespeare, William Blake and Johann Wolfgang von Goethe regarding their texts as some of his main sources of inspiration. For Plensa, a language and its calligraphy, or alphabet, provided a portrait of cultures, and through the process of incorporating letters together, but without specific meaning, sought to provide a positive metaphor of our world today. He avoids any negative connotation in his work, and instead expresses messages of hope, beauty and unity, he seeks to portray feelings of unanimity despite the conventional barriers that separate humankind. He believed poetry, which for him was a far greater influence than the visual arts, to be a universal language with the capacity to bring humanity together; and has expressed his utopian vision of a world without boundaries. As the artist himself noted, 'One letter alone is nothing, but together with other letters you get a word. A word with a word becomes a text, and so on. A person alone is nothing, but together with others we become family, a neighbourhood, a city, a county, a country.' (The artist in an interview with Ginny Van Alyea, 'An Interview with Artist Jaume Plensa', Chicago Gallery News Online, 8 November 2017).The present work was acquired by the prominent American collector and philanthropist Gerard L. Cafesjian. Born in 1925 in Brooklyn to Armenian immigrant parents, Mr. Cafesjian became a highly successful editor at West Publishing - a firm specialising in legal materials - and spearheaded the launch of the annual 'Art and the Law' exhibition, for which he received the prestigious Business in the Arts Award. Mr. Cafesjian's passion for collecting began with a childhood fascination with geology and gemstones, which later branched into fine art. Over the years, he patroned and developed personal relationships with world-renowned sculptors and ultimately assembled an impressive collection of both lapidary and fine works of art.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Los 600
CORNWALL INTEREST. 'British and Foreign Trees and Shrubs in Cornwall,' by Edgar Thurston, first edition, original cloth, clipped cloth, Royal Institution of cornall and Cambridge University Press, 1930; 'The Cornish Coast (South) and the Isles of Scilly,' by Charles G. Harper,' original cloth, Chapman & Hall, 1910; 'Tudor Cornwall: Portrait of a Society,' by A. L. Rowse, first edition, original cloth, unclipped dj, Jonathan Cape, 1941; 'The Living Stones,' by Ithell Coloquhoun, Peter Owen Ltd, 1957; 'The Old Stones of Land's End,' clipped dj, Garnstone Press, 1974; With twenty-one other books and booklets. (26) Dr Rob Senior arrived in West Cornwall from his native Yorkshire in the early 1960’s where he took up his vocation as a young GP and served the local community for 40 years. At the age of 12, Rob bought a book on Cacti. It was his first book, and established the twin passions of his life, books and plants. His library is a fabulous, eclectic collection of books, largely on plants and horticulture, but also nature and many other subjects, all brought together by a man with a curious and inquisitive mind. Condition: please request a condition report if you require additional information regarding the condition of this lot Postage: £35 Please note that the postage quote is an estimate of the amount that we would charge to send the item to a buyer in the UK. If you are outside of the UK, or there is no estimate shown here, please contact postage@davidlay.co.uk for a bespoke quote.
Los 392
JOHN EVELYN. 'Silva: or, A Discourse of Forest-Trees and the Propagation of Timber in his Majesty's Dominions.' First edition, full calf skin binding, engraved portrait frontispiece by Bartolozzi, forty engraved plates one of which is folded including a folding table (slight tear), gilt edge of text block, book plate on pastedown for George Toapher, A Ward, York, 1776, vg. Dr Rob Senior arrived in West Cornwall from his native Yorkshire in the early 1960’s where he took up his vocation as a young GP and served the local community for 40 years. At the age of 12, Rob bought a book on Cacti. It was his first book, and established the twin passions of his life, books and plants. His library is a fabulous, eclectic collection of books, largely on plants and horticulture, but also nature and many other subjects, all brought together by a man with a curious and inquisitive mind. Condition: please request a condition report if you require additional information regarding the condition of this lot Postage: £35 Please note that the postage quote is an estimate of the amount that we would charge to send the item to a buyer in the UK. If you are outside of the UK, or there is no estimate shown here, please contact postage@davidlay.co.uk for a bespoke quote.
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283287 Los(e)/Seite