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Lot 60
*ASCRIBED TO ALAN LOWNDES (1921-1978) 'Olive Branch, St. Ives' bearing signature lower left and dated 1955, titled in pencil verso, with further inscriptions to the reverse of the frame, gouache on paper, 25cm x 31cm. Provenance: The Collection of John Milne, Trewyn, St. Ives. John Milne (1931-1978) was a modernist abstract sculptor who was influenced by the Cornish landscape, and later also the architecture of Greece, Persia and North Africa. Milne was a pupil under Barbara Hepworth, and then worked as her assistant. In 1957 he purchased Trewyn House, a large property in St Ives next door to Hepworth’s studio.
Lot 792
Bernard Cohen (b.1933) - abstract patterns, signed artist's proof also dated 64 (1964), numbered 39/40 coloured lithographic print, 21" x 30"* The work also bears the label for the Department of the Environment ICA Galleries numbered L701. The artist spent his early childhood as an evacuee in the countryside of Devon and Somerset and started his artistic education in 1949 at the South West Essex technical college and continued at St Martins School of Art as well as the Slade School of Art. He has exhibited regularly in London and abroad, ten of his works are in the permanent collection of The Tate Gallery.
Lot 686
* Scott (Ian Charles, 1957 -). The New Patron Saint of Forgetfulness, 2000, watercolour on paper, an abstract work showing a man lying on pebbles with his shirt off and holding drumsticks, before him is a regimental drum with a deep sea diver standing on the drum with a boy behind and a gramophone with a Middle-Eastern battle scene to the inner lid, signed and dated lower right, titled verso 80 x 107cm (31.5 x 42ins) mount aperture, framed and glazedQty: (1)NOTESThe original cost of this work was £3500. Ian Charles Scott comes from the remote North Highlands of Scotland. He studied film in London and worked on commercials before enrolling in Dundee University to study art. He emerged as the top student in the under and post-graduate programs there gaining a B.A. 1st class honors degree and an M.F.A. in Fine Art. Upon graduating he was immediately offered a lecturing post in Sunderland Art School. He has taught under-grad and post-graduate students for 20 years. Earlier in his career he taught an art therapy based course in a maximum-security prison. Scott is a nationally and internationally recognized artist.whose works can be found in the Scottish National Portrait Gallery, The Aberdeen Art Gallery, The Dundee Art Gallery, The Royal Scottish Academy, The Koyo Institute, and The Dublin Art Gallery, among others. In the US his works have been exhibited in the Silverstein Gallery, the Kravits Wehby Gallery, and in a touring exhibition Conversations with Jeff Koons and Frank Gehry. He received Scotland’s highest and most sought after scholarship, "The Alastair Salvasen Award" and used it to move to the United States in 1998. He started work as an adjunct at Hostos Community College in 1999 and became full-time in 2004.
Lot 1329
Sandra Francis (Contemporary British), five paintings including 'Shell Abstract I' 102 x 76cm, 'Shell Abstract 2'102 x 76cm, 'Moonlight over Land and Sea' 76 x 76cm, 'The Sea at Sunrise' 70 x 70cm and 'Sea Spray and Seaweed' 80 x 100cm, all acrylic on canvas with shells in relief, signed, titled and dated 2020 verso.Sandra Francis is an art college trained artist and qualified teacher. She has been an artist her whole life, sold countless paintings and is published in the US and UK. www.sandrafrancis.com
Lot 104
William Crozier HRHA (1930-2011)Kelly's Mound (1964)Oil on canvas, 76 x 75cm (30 x 29½'')Exhibited: London, Arthur Tooth & Sons, 'Recent Paintings', September 1964, no.23, illustrated in colour on front cover of catalogue.William Crozier was born in Glasgow in 1930, son to a Co Antrim father and a Scottish mother. He was brought up in Troon, Ayrshire but returned to Glasgow to study at the school of art there from 1949 to 1953. He had his first exhibition in 1951 at the Carnegie Library and on graduating travelled to Paris for a time before moving to London. During the mid 1950s Crozier, not a stranger to Ireland, spent time living in Dublin and formed friendships with many of the literary set of the time. Back in London his reputation grew and by 1957 he had exhibited at the Parton and Drian galleries and at the Institute of Contemporary Art. He recalled his early London days: "I was on easy speaking terms with William Scott .... Eduardo Paolozzi and William Turnbull, simply because I was exhibiting, and took part in the social art world of the time. The social life of artists and writers in the London of the 1950s centred on the clubs and pubs of Hampstead, Chelsea and Soho. In a long day it was possible to meet almost everyone in the art world, and easy friendships were established and abandoned. My relations with Francis Bacon were typical. We inhabited the same small world, spoke frequently, were never close friends and moved in different circles." During this period he also held exhibitions in Milan, Paris, London and Washington. William Laffan writing in 2010 noted that 'By 1961 Crozier was widely seen as one of the most exciting artists in London. This position was acknowledged in that year by the French critic Michel Ragon who described him as "one of the best young painters beyond the channel". Laffan noted that 'For Crozier, whether in Essex, Crystal Palace, Wiltshire - or indeed West Cork - landscape has only ever been a springboard. Nature observed provides the catalyst, or even excuse, for an increasingly wide vocabulary of abstract gestures and marks.' The artist himself articulated "Landscape was a vehicle through which I could say anything. I could do it in any amount of colour, turn it upside down, make it have moods, make it carry different meaning. Landscape is not the subject; it is the vehicle through which I can express intangible things. Things which have no narrative. Loss, memory - all can be done through the language of landscape. The landscape almost takes no part, as if an actor."By 1963 Crozier had moved to Spain where he shared a house with Anthony Cronin near Malaga. He found the experience of living and working in Picasso's birthplace profound and during his stay he delighted in the Andalusian culture, the light and atmosphere. Kelly's Mound was painted the following year and exhibited at Tooth's in 1964, illustrating the cover of the exhibition catalogue. Crozier's work from this Spanish period and beyond was described thus by William Laffan - 'The group of paintings produced in, and inspired by, Spain is perhaps the most glorious and radiant in the artist's entire oeuvre - though not without a certain menace lurking in the background.'We acknowledge William Laffan whose writings formed the basis of this note.
Lot 21
Sean McSweeney HRHA (1935-2018)Pool Áth na Beitheoige (1998)Oil on canvas, 91 x 122cm (35¾ x 48'')Signed and inscribed on stretcher verso, Opus No.98-189Exhibited: Taylor Galleries, Dublin, 'Bogland Shoreline Sligo', October 1998, catalogue no.49.A sense of place is very important to Sean McSweeney's process, his compositions are focused around one small area in Sligo where he has lived from the 1980s. By confining himself to this particular area it allows him to get to know the landscape and its environment intimately. His work is characterised by an enduring act of trying to extract the beautiful from the more mundane aspects of the natural environment. On finding the bog pools in Sligo he remarked "They gave me an opening back into painting, a private space, and another world." (True West, Interview with Brian McAvera, Irish Arts Review, Autumn 2012)While working within the tradition of Irish landscape painting, McSweeney's art has its own unique character defined by their abstract style, the bog pools reduced to rectangular shapes surrounded by intruding grasses and plants. The coastline is a horizontal line separating land, sky and sea. While often painting on a small scale, this present work is much larger and more impressive. With the bogland that has been cut away you are looking at framed pools, the light centre with sky and flowers reflected in it, surrounded by the dense green undergrowth.In speaking about his relationship to the landscape he remarked "in the early days, certainly it was memory... a romantic view. That all changed when I went to live in Wicklow. Living in the landscape - living through tough winters was a great challenge... It hardened things up. I got a lot more structure in my work." (True West, Interview with Brian McAvera, Irish Arts Review, Autumn 2012) This is reflected in how he breaks down the canvas first with colour, using rigorous brushwork often aided by a palette knife. Often, he paints the entire canvas one colour and then introduces another into to it to see what might emerge, an organic process that captures the natural rhythms of the landscape and changing light. Niamh Corcoran, 2021
Lot 19
Zhang Enli (B. 1965)Wooden Shelf 2012 signed in Chinese and dated 2012; signed and titled in Chinese and dated 2012 on the reverseoil on canvas250 by 200 cm.98 7/16 by 78 3/4 in.Footnotes:ProvenanceShanghART Gallery, ShanghaiAcquired directly from the above by the present owner in 2013Crossing the boundaries between figurative and abstract, the real and the imaginary, and the singular and the ordinary, Wooden Shelf is a sterling example of Zhang Enli's works on canvas. Born in 1965 in Jilin Province, China, Zhang Enli was instinctively drawn to working with familiar and everyday objects striving to capture their essential and organic qualities. The expressive lines we see in this present work are influenced by traditional Chinese brush techniques and underpinned by the structure of pencil-drawn grids. Here, immersed in the inherent space of the canvas, the wooden shelf almost appears to dissolve into the thin layers of paint. Zhang Enli wants his viewer to recall and reflect upon the raw essence of painting, exemplified with his use of colour and line as a means to help the viewer explore the trivial matters of this world. The result is simple yet sublime, evoking a harmonious and ethereal quality that is central to his oeuvre. Zhang's works have been recognised internationally; he first exhibited at Art Basel in 2006, followed by a solo exhibition at Hauser & Wirth in 2007 and at Kunsthalle Bern in 2008. Today, Zhang's works can be viewed in institutional collections including the Tate Modern, London and Centre Pompidou, Paris among others.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's 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
Lot 9
Barry Flanagan (1941-2009)Harebell on Portland stone piers 1983 incised with the artist's monogram, stamped with the foundry mark AA and numbered 4/5bronze and stone289.5 by 246.3 by 172.7 cm.114 by 97 by 68 in.This work was executed in 1983, and is from an edition of five numbered versions and three artist's casts.Footnotes:ProvenanceWaddington Galleries, LondonPrivate Collection, UKSelling exhibition: Sotheby's, Windermere, Sotheby's at Isleworth: Monumental, 2005Acquired directly from the above by the present ownerExhibitedLondon, Waddington Galleries, Groups VII, 1984, the present example exhibitedStockholm, Moderna Museet, Dialog, 1985Brussels, Galerie Xavier Hufkens, Barry Flanagan, 1999London, Waddington Galleries, Memorial Exhibition, 2009London, Waddington Galleries, Barry Flanagan: Works 1966-2008, 2010London, Waddington Galleries, Two Pataphysicians, 2014Denver, Denver Botanic Gardens, Stories in Sculpture: Selections from the Walker Art Center Collection, 2016New York, Kasmin Sculpture Garden, Barry Flanagan, 2020-2021Yerevan, Armenia, Cafesjian Center for the Arts, 2005-2020, the present example on permanent displayWalker Art Center, Minneapolis, Minneapolis Sculpture Garden, 1986- present, another example on permanent displayLiteratureMartin Friedman and Marc Treib, Minneapolis Sculpture Garden, 1988, Minneapolis 1988Marjory Jacobson, Art for work: the new Renaissance in corporate collecting, Boston 1993Donald M Reynolds, Masters of American sculpture: the figurative tradition from the American renaissance to the millennium, New York 1993 Rudi Fuchs and Heinz Tesar, The ESSL Collection: the first view, Cologne 1999Jerold S Kayden, Privately Owned Public Space: the New York City Experience, Marblehead 2000Francis Morrone, James Iska, The Architectural Guidebook to New York City, Utah 2002Chin-Tao Wu, Privatising Culture: Corporate Art Intervention Since The 1980s, London 2003Alan Windsor, British Sculptors of the 20th Century, Evanston 2003Barry Flanagan, Barry Flanagan, London 2003 Anne Civardi, Sculpture: Three Dimensions in Art, London 2005Juncosa, Enrique (ed.), Barry Flanagan: Sculpture 1965-2005, Dublin 2006Gottfried Knapp, Prof Karlheinz Essl, Passion for ART 35th Anniversary of Essl Collection, Vienna 2007Jo Melvin, Barry Flanagan: Works 1966-2008, London 2010 Deirdre Holding, Armenia with Nagorno Karabagh, Chalfont Saint Peter 2011Preston, Clare, Jo Melvin, Teresa Gleadowe, Mel Gooding and Bruce McLean, Barry Flanagan, London 2017Jo Melvin, The Hare is Metaphor, New York 2018Leaping forward with a dynamic, lithe energy that is almost acrobatic, Harebell on Portland stone piers captures Barry Flanagan's most iconic subject, the bronze hare. Executed in the early 1980s, the work comes from a seminal decade that would become a definitive period in the artist's oeuvre. His characterful hares have become established as popular landmarks in cities and landscapes worldwide and are included in institutional collections including the Museum of Modern Art in New York, the National Gallery of Art in Washington D.C., and the Tate Gallery in London, among others. This present work is from an edition of five, the most prominent of which is in the Minneapolis Sculpture Park on permanent display where it is widely visited and admired. 1979 marked Flanagan's departure from his post-minimalist works of the 1960s and 1970s where he used 'soft' materials such as hessian, sand and rope and rediscovered bronze casting in a figurative form. Flanagan began to produce a variety of bronze animals, but the hare emerged as his most recognisable subject. Flanagan grew up in Wales where hunters described to him the dynamism and physicality of hares and how their determination was unparalleled as they bounded through the wilderness. However, it was Flanagan's recollection of seeing a hare majestically leaping through the Sussex Downs and upon reading 'The Leaping Hare' by George Ewart Evans and David Thomson, that first inspired him to explore the motif. His earliest work Leaping Hare was exhibited at Waddington Galleries in 1980; it was the debut of what would lay the foundation for his future artistic practice, and two years later, in 1982, he represented Britain at the Venice Biennale. Flanagan was fascinated by the hare's anthropomorphic potential - its ability to amplify a range of expressive characteristics and convey meaning beyond what he felt possible in the human form. 'I use the hare as a vehicle to entertain. I abstract from the human figure, choosing the hare to behave as a human occasionally.' (The artist in: Enrique Juncosa, Barry Flanagan Sculpture 1965-2005, exh. Cat, Irish Museum of Modern Art, Dublin, 2006). Harebell on Portland stone piers conceived in 1983, exudes playfulness and bountiful energy. Flanagan was fascinated by the fluidity of the hare's anatomy. The hare, who actually delightfully spins on its axle, is depicted mid leap with its out-stretched limbs fully flexed, its ears pull behind him emphasising the velocity of movement, offering an exceptional sense of drama. The hare appears weightless, defying gravity, as it glides over the bell providing a comical contrast to the weightiness of the medium. The solidity of the bell provides further contrast emphasising a force of gravity, whilst also being a symbol of steadfast solidarity. Upon leaving St Martin's School of Art in 1966 Flanagan had established himself as a leading figure of the avant-garde. He was fascinated by the movement of 'Pataphysics, a theory defined as a 'science of imaginary solutions'. The ideologies represented an escape from reality that challenged academic seriousness and these principles had a profound influence on the Dada and Surrealist movements. An early member of this movement was Joan Miró, who in 1925 produced Landscape (The Hare). Miró depicts a hare in a vibrant imagined landscape adding a spiralled form and crescent shaped object. The hare challenges the viewer with its fixated eyes characterising its bold spirit. Miró, much like Flanagan, was said to have been inspired by seeing a hare dart across a field. It is considered that Flanagan used the motif of the hare as a metaphor for his own elusive, wild character and in response to the ideologies of 'Pataphysics as a tool against strict avant-garde academicism and the over-intellectualised view of art from that period. 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.Harebell on Portland stone piers is a seamless example of Barry ... 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
Lot 895
•SIR EDOUARDO PAOLOZZI CBE, RA, FRIAS, D LITT(HON) (SCOTTISH 1924-2005) UNTITLED Screenprint, signed artist's proof, numbered 4/10 and dated 1996, 36.5 x 30cm (14 1/4 x 11 3/4") (image), 50 x 38cm (19 3/4 x 15") (plate) BRITISH (20TH CENTURY) Untitled - Abstract Composition Mixed media on paper, signed with initials/monogram, 18 x 18cm (7 x 7") (2) Condition Report: The sheet has been floated within frame and edges are visible. there is a tiny fox mark in the area of the bottom margin and there are handling creases along the top edge of the sheet.
Lot 265
* Hats. A Christian Dior silk turban hat, late 1960s/early 1970s, silk hat with printed abstract pattern in turquoise, mauve, olive green, and white, lined with white organdy, with large silver-coloured side rings, and self tie at rear, Christian Dior woven label inside, hat pin attached, together with 24 other hats, early-late 20th century, including a number of wide-brimmed hats of straw or pleated raffia, 4 feather hats or head-pieces, a beret, several capulet hats, etc., most with designer's labels, e.g. Aage Thaaryn, Madelon Chaumet, Denise Manguin, Gaby Louise, Peter Jones, Fletchet, Otto Lucas, Dolores, Edward Mann, Kay's, Harrods, Barrance & Ford, some slightly squashed, but mostly in good condition, various sizes, plus 5 hat boxes, including Harrods and Peter Jones, and one bearing Madge Chard's printed label and ink stamps, generally rubbed and dusty, a flower girl head circlet of faux forget-me-nots and rose buds, and 7 faux flower corsages/hat embellishmentsQty: (38)NOTESProvenance: From a large private estate.
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