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Lot 331
†JONATHAN COX (born 1953); two shallow lustred stoneware bowls decorated with different abstract designs, painted marks, largest diameter 18cm, and a beaker (3).Condition Report: Shallow chips to base of footring of largest bowl, otherwise appears good with no further signs of faults, damage or restorations.
Lot 43
JEAN COCTEAU (1889-1963)Étude pour 'Hommage à Paul Klee' (recto); Étude pour le portrait de Marie Bell (dans Phèdre) (verso) inscribed 'Herr Pa Klee L'épigone d'Athènes' (upper right) and further inscribed 'Hommage' (lower left); inscribed 'Marie Bell' (on the reverse)coloured felt-tip pen and black pencil on paper (recto); coloured felt-tip pen on paper (verso)65 x 50cm (25 9/16 x 19 11/16in).Executed circa 1962 (recto); executed circa 1960-1962 (verso)Footnotes:The authenticity of this work has been confirmed by Annie Guédras.ProvenanceSéverin Wunderman Collection, Côte d'Azur; his sale, Bonhams, Knightsbridge, 25 January 2011, lot 171.Private collection, London (acquired at the above sale).ExhibitedSapporo, Hokkaido Museum of Modern Art, Exhibition Jean Cocteau, Séverin Wunderman Collection, 19 April – 29 May 2005, no. 57 (later travelled to Tokyo, Kofu, Kobe and Morioka).The front of the present work is an homage to Jean Cocteau's friend Paul Klee, depicting him as a Modern dandy and labelling him as an epigone of Athens. The lively, outlandish motifs, such as the monkey-dog Klee walks and the fish flying by, comprise an unlikely foreground against the distant Acropolis. An enthusiast for the Classical world, Cocteau could here be revering the precision and spiritual force of Klee's compositions, many of which can be interpreted as Surreal and Abstract renditions of Arcadia. The reverse of the sheet depicts Marie Bell, a talented French actress who starred in a number of comedic and tragic roles across theatre and cinema. This drawing was likely executed as a study for a series of posters Cocteau made of Bell in the 1960s, showcasing her performance in Phèdre, Jean Racine's adaptation of the original Roman tragedy Phaedra by Lucius Annaeus Seneca.The present work previously formed part of the illustrious collection of Séverin Wunderman, the famous luxury watch manufacturer, art collector and philanthropist, renowned for developing Gucci Timepieces into a powerful global brand. Perhaps the most notable of his international residences was Chateau Montfort, a 16th century hunting lodge on the Côte d'Azur, which he painstakingly restored, renovated and decorated. A particularly exotic homage to Cocteau existed in the form of a suite in which the entire sitting area and bedroom were covered floor to ceiling in Cocteau works. Chateau Montfort hosted a number of flamboyant events that were fixtures in the Côte d'Azur social calendar, including The White Party and The Tintin Party. Wunderman, who was considered to be the world's largest Cocteau collector before he passed away in 2008, established a museum of Cocteau's work in Menton that was adorned with works from his private collection.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
Lot 120
*GRAHAM SUTHERLAND (1903-1980) Abstract forms signed and dated '59 lower right, mixed media on paper, 15cm x 30cmProvenance: The Collection of the Artist, then passed to his wife Kathleen Frances ('Katharine') Sutherland (née Barry) (1905-1991), who gifted the collection to Dr Frank Tait, a prominent psychiatrist An Artistic Family Collection, Wiltshire
Lot 152
*LEO DAVY (1924-1987) 'Highgate Fog I' circa 1950, oil on board, 119cm x 43cmLeo Davy was born in 1924 in Shipley, Yorkshire, the seventh of nine surviving children to an art teacher and painter father and a mother who was the daughter of a painter. At the age of just ten he won a national drawing competition and in 1939 he studied at the Kingston School of Art, under Reginald Brill, before moving on the Slade School of Fine Art between 1942 and 1945, then evacuated to Oxford due to the Blitz, where he studied alongside such future stars as Kyffin Williams. Davy was included in a mixed summer show at the important contemporary gallery Gimpel-Fils in 1950 alongside avant-garde artists of the day, including Patrick Heron, William Gear, Alan Davie and William Scott. Davy was strongly dedicated to the development of abstraction. It was through his panel paintings and works on paper that he reduced and refined scenes of everyday life into his own carefully considered abstract vision, applying thinck paint and washes to form blocks of colour, often quite angular. He settled in a dilapidated cottage in North Cornwall in 1968 with his wife, where he lived and worked until his sudden death in 1987. Davy was a self-imposed outsider, as David Duncan remembers: Davy was 'a man of very few words, in fact would only speak if spoken to'. Although Davy's main intent was to isolate himself and to follow an independent line of philosophical enquiry through his painting, his art was an essential means of communication to the rest of the world. As Davy proclaimed in 1946, at the age of 20, 'I only want to paint what only I can paint.'
Lot 97
*FRANCIS PICABIA (1879-1953) 'Effets de neige, bords de l'Yonne' snow settling on the banks of the river, Villeneuve-sur-Yonne, signed and dated 1906 lower left, oil on canvas, 65cm x 92cmProvenance: An Artistic Family Collection, WiltshireFrom 1903 onwards Picabia frequently painted in and around Moret-sur-Loing near Fontainebleau, which was home to Alfred Sisley from 1880 until 1899. Painted in 1906, 'Effets de neige, bords de l'Yonne' depicts a view of Villeneuve-sur-Yonne, about an hour south of Fontainebleu, and shows the Yonne river calmly passing under the 18th century bridge that connects the town, with the tower of the Church of Notre-Dame visible beyond. The flock of birds flying overhead almost suggesting that the bells may just have rung.Born in Paris in 1879 into a wealthy Franco-Cuban family, Francis Picabia brimmed with confidence and naturally embraced the avant-garde. He studied at the Ecole des Beaux-Arts with Fernand Cormon and attended the Ecole des Arts Décoratifs from 1895 to 1897, but by 1904 had sloughed off the dark palette of academic painting to engage with Impressionism. He was particularly influenced by the work of Camille Pissarro, a political free-thinker constantly open to new artistic influences, and by that of Alfred Sisley, with his intense and highly personal response to nature. Sisley's impressionist period would swiftly come to an end by the end of the decade and by 1911 he joined the Puteaux Group and met artists such as Marcel Duchamp, Jean Metzinger and Fernand Leger. He actively introduced modern art to the United States by exhibiting his proto-Dada works, travelling there several times from 1913-15. In 1916, he began a periodical on the Dadist style, but in 1921 he broke away from the movement, turning to figurative painting. Before the end of World War II, he returned to Paris where he resumed abstract painting and writing poetry. A large retrospective of his work was held at the Galerie René Drouin in Paris in the spring of 1949. Francis Picabia died in Paris in 1953 and was interred in the Cimetière de Montmartre.
Lot 265
ZHOU BROTHERS (ShanZuo and DaHuang Zhou) (b. 1952 and 1972) A large stylised figural sculpture signed "Zhou B. 97" to the reverse of the naturalistic base, wood with red stain, 205cm highThe Zhou Brothers are Chinese contemporary artists ShanZuo and DaHuang Zhou. ShanZuo was born in Nanning, Guangxi Province, China in 1952 and DaHuang was born in Wuming, Guangxi Province, China in 1957. They were both educated and trained in China and together they started their art career in 1973 and have been working collaboratively since. The Zhou Brothers moved to the United States in 1986 after having been at the cutting edge of the contemporary art movement in China in the 70’s and 80’s. The style of the Zhou Brothers’ work is often very abstract and has roots in the images of Chinese cave paintings. Later in their career they incorporated more Western influences into their work. The Zhou Brothers have gained many awards and honours in their career in both the United States and abroad.
Lot 154
*LEO DAVY (1924-1987) 'Seated Figures I' 1952, oil on board, 54.5cm x 30cmLeo Davy was born in 1924 in Shipley, Yorkshire, the seventh of nine surviving children to an art teacher and painter father and a mother who was the daughter of a painter. At the age of just ten he won a national drawing competition and in 1939 he studied at the Kingston School of Art, under Reginald Brill, before moving on the Slade School of Fine Art between 1942 and 1945, then evacuated to Oxford due to the Blitz, where he studied alongside such future stars as Kyffin Williams. Davy was included in a mixed summer show at the important contemporary gallery Gimpel-Fils in 1950 alongside avant-garde artists of the day, including Patrick Heron, William Gear, Alan Davie and William Scott. Davy was strongly dedicated to the development of abstraction. It was through his panel paintings and works on paper that he reduced and refined scenes of everyday life into his own carefully considered abstract vision, applying thinck paint and washes to form blocks of colour, often quite angular. He settled in a dilapidated cottage in North Cornwall in 1968 with his wife, where he lived and worked until his sudden death in 1987. Davy was a self-imposed outsider, as David Duncan remembers: Davy was 'a man of very few words, in fact would only speak if spoken to'. Although Davy's main intent was to isolate himself and to follow an independent line of philosophical enquiry through his painting, his art was an essential means of communication to the rest of the world. As Davy proclaimed in 1946, at the age of 20, 'I only want to paint what only I can paint.'
Lot 278
4 Art Deco glass perfume/atomiser scent bottles, with abstract black designs, largest bottle and stopper height 17cm (4)Largest bottle stopper plug has been broken and re-glued, only visible when you remove the stopper, 1 other bottle has a tiny chip on the foot, otherwise good condition with very light scratching through handling
Lot 686
Donald Hamilton-Fraser - David Whitehead - A 1960s divan cover decorated with abstract irregular block of colour in yellow, blue and brown over a pale grey ground, printed marks to the selvedge, 193cm x 279cm, together with four pairs of 1950s/60s curtains, two pairs with abstract motifs over a grey viscose ground and a further two with gold woven silk squares, all tab topped, largest size width 112cm x drop 173cm. (qty)
Lot 1176
A small collection of decorative ceramics to include: a large 1960s West German Carstons single-handled abstract mustard glazed vase, approx. 44cm high. Together with a Cornish Louis Hudson pottery bowl with relief design, approx. 17.2cm diameter x 11.4cm high, and another decorative, probably studio, terracotta vase, approx. 18cm high. Further details: Some crazing to the West German vase, chip to bottom of Cornish type bowl, nibbles and wear to rims of both vase and bowl.
Lot 3454
A rose pink Chinese jacket embroidered in Oriental flowers in shades of blue with frog fastening in a green foliage pattern, pin tucked down the front, padded shoulders and the yoke at the back is pin-tucked into a V. A deep rose pink grosgrain/taffeta dressing robe by Jen Allie of London, mid to late 1950s, size 14. A gold full length evening coat, the fabric is of a mustard and blue abstract design decorated with gold sequins, by Malcolm Starr, size 10, fully lined in lemon rayon lining. A 1930s sateen jacket with a tie neck. A 1930s deep pink bridesmaid's dress in satin, long sleeves with pointed cuffs and skirt cut on the bias. A peach satin mini dress by Madam Rage, size 10, with tiered front and chiffon full skirt, boat pleated neckline and a central rose on the bodice, metal zip at back. (6)
Lot 1312
Murano and other glass. A collection of five pieces to include: a large multi-coloured Romanian vase with fluted rim; a bowl in a Murano type abstract design with fluted rim and circular footed base; two possible Chinese green glass 'swirl' designed sculptures; and a tall Romanian dark red and clear glass vase with mixed swirl design. Along with a Caithness Scotland glass paperweight. (6) Tallest approx. 32.5cm high
Lot 3539
A 1960s two piece, trousers and cropped top in black knitted lycra silk trimmed with a brown and cream patterned fabric, sleeves taper to a full fan design, the bodice has two ties and covered buttons opening diagonally across bodice, with V neck. The matching trousers include inserts of brown and cream patterned fabric to create large bell bottoms, tight fitting on leg, made by "Sportaville, Made in London England". Size small. Also, a pair of early 1970s "Horrocks' Fashions" printed cotton trousers, abstract colourful pattern in red, beige, white and black. (3).
Lot 676
Peter Hall - Heals - A 1950s single panel of fabric in the Halo pattern, decorated with repeated bands of circles with graduating black through textured grey to white centres, tab topped, 116cm x 104cm, together with a pair of 1960s curtains with abstract geometric wavy patterns, in tonal purple, width 110cm x drop 134cm, also another similar pair in tones of brown, width 109cm x drop 114cm, all tab topped. (5)
Lot 766
Le Cigogne, La Reine and in the manner of Artifort - A 1950s moulded fibreglass Stork side chair decorated in an abstract design over tubular legs, together with a 1950s La Reine vinyl upholstered elbow chair and a 1970s moulded lounge chair in the manner of Artifort, un-labelled, some wear all. (3)NB - These chairs are offered for sale as works of art.They may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason should not be used in a private dwelling.
Lot 683
Grafton Furnishing - A pair of 1950s curtains decorated with overlapping abstract coloured blocks in blue, yellow, red, green and orange over a black ground, printed marks to the selvedge, width 119cm x drop 193cm, together with a 1950s single panel decorated with stylised floral motifs on solid coloured organic shaped forms all over a textured black ground, 119cm x 233cm. (3)
Lot 690
Francis Price - A pair of 1960s screen print curtains in the Sylvana pattern, decorated with large overlapping stylised leaf forms in ochre over irregular cross hatch motifs on a vertical streaked ground, printed mark to the selvedge, width 238cm x drop 152cm, together with a pair of Robert Dodd for David Whitehead curtains, with stylised leaves with abstract paint splashes in tones of pink, width 172cm x drop 137cm, and a single fabric panel by Susan William Ellis for Portmeirion fabric in the Malachite pattern with irregular repeated lines in green and black, 117cm x 157cm, all tab topped with printed marks in the selvedge. (5)
Lot 677
Frederick Fuchs - A 1960s panel of fabric in the Serration pattern, decorated with repeated irregular lines of small black and grey triangles over a mottled yellow and white ground, printed marks to the selvedge, 122cm x 340cm, together with a pair of Horrockses curtains in the Idiom pattern in VAT colours, with abstract charcoal effect pattern, tab topped, printed marks to the selvedge, 119cm x 91cm, also two further pairs of 1950s curtains in similar designs and tones. (qty)
Lot 465
Hylda Cooke - Crown Devon - A Paris shape jug circa 1930, hand painted in an abstract pattern, together with a matched design similar example and a Mattajade candlestick of squat form with flowers and foliage over a tonal turquoise glazed ground, printed marks, one jug as found, tallest 12cm. (3)
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