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A pine architectural freestanding corner cabinet

dating: First half of the 19th Century provenance: France, Depicting a fountain with fire-gilt architectural elements, surmounted with a general's bust in uniform. It probably contained a now missing music box. height 32 cm.

A German late 18th century ormolu and white marble mounted mahogany, burr elm, maple, mother-of-pearl and stained sycamore 'Schreibschrank' attributed to the circle of David RoentgenCirca 1795, the superstructure comprising a pierced fretwork gallery surmounted by five urn finials above a pair of mirror-inset panel mounted doors enclosing one shelf, interspersed with three Corinthian columns, over a concealed stepped central drawer flanked by projecting block and urn finial mounted angles, the frieze drawer below with an inset hinged top, above a fall enclosing an architectural interior comprising a catch-activated cedar-lined drawer with triangular pediment mouldings, over a central arched recess with a mirrored interior and chequered lozenge-inlaid floor centred by a model tempietto, flanked by two arched recesses and interspersed with four composite columns and two conforming engaged end columns, with two pierced fretwork secret drawers below, above five catch-activated mahogany-lined drawers, the reverse of the fall inlaid with a central conch shell oval, over a ribbon-tied oak-leaf mounted waist with projecting mille raie block angles, with three long panelled drawers below, flanked by canted classical youth herm-tapering and husk pendant mounted pilaster angles, terminating in square tapering panelled feet, 112cm wide x 54cm deep x 210cm high, (44in wide x 21in deep x 82 1/2in high)Footnotes:ProvenanceFormerly from the Estate of Elizabeth Fondaras, USA.With Peter Muhlbauer, Lower Bavaria, between 2013 and 2017.Then purchased by the vendor from Christie's, London, 4 July 2017, European Furniture and Works of Art, lot 57.A comparable, albeit slightly plainer, version of the offered lot sold Christie's, Amsterdam, 24-25 June 2008, lot 751. This Berlin 'Schreibschrank', or secretaire a abbatant, attributed to Georg Ruppert is of similar design and incorporates related characteristics such as white marble or alabaster columns, the Ionic capitals appearing one level below Corinthian ones, a galleried cabinet superstructure and a fitted architectural interior. It was supplied by Ruppert to the Prussian General Carl Freidrich Henrich, Graf von Wylich und Lottum (1767-1841).Although due to the current absence of relevant documentation the cabinet maker responsible for the present secretaire is unknown, as more academic research is completed and further information made public then this will inevitably change over time. However for now it is clearly the case that whoever produced such a magnificent piece, or meisterstuck, of German craftsmanship had undoubtedly been directly influenced by the incredible output and legacy of one of the most renowned cabinet makers of all time, David Roentgen (1743-1807).This wonderful secretaire perfectly typifies the latter stages of the Neoclassical style, and in particular the gout Grec, which was indicative of the height of fashion across Europe during the period 1770-1800. The impact of David Roentgen, whose output was always distinct, elegant, supremely high quality in terms of its construction and often enclosed ingenious mechanisms, especially dominated Prussia, or what is now modern day Germany. And this impact can be seen in the works produced by the contemporaries and immediate successors of Roentgen, which very often sought to emulate the latter's example and merely introduced subtle variations to his stock designs and clearly defined models. It is also worth noting that, during the peak of its fame, the annual income of the Roentgen workshop rivalled that of the Meissen porcelain manufactory, W. Koeppe, Extravagant Inventions: The Princely Furniture of the Roentgens, 2012, New York, p. 3.As a result of Roentgen's successful personal and working relationship with perhaps his most important patron, Crown Prince Frederick William who later became Emperor Frederick William II, he was honoured with the title of Royal Prussian Privy Councillor. Then in 1791, by which time Roentgen had evidently already begun to draw back from accepting new commissions, he chose to give his financial backing and influential support to his foreman, David Hacker, so that the latter could set up his own workshop and in essence become Roentgen's most immediate successor. Hacker, who himself went on to supply many of the Prussian Royal palaces with furniture, appears not to be the likely maker of the present lot however Johann Georg Stein and Johannes Andreas Beo, who both trained under and worked for the former, are indeed possible candidates. Stein and Beo, who evidently inherited Hacker's predilection for the working method and aesthetics originally developed by Roentgen, each executed a practically identical model of 'Schreibschrank', which in turn closely relate to the offered example, A. Stiegel, Berliner Mobelkunst, 2003, Berlin, fig.'s 28-9, p. 95. All three of these have characteristics in common including the use of brilliant mechanisms, a la Roentgen, such as concealed drawers and compartments stored within separate central architectural units. In an inventory of the Charlottenburg Palace undertaken in 1800, the secretaire by Stein is documented as being housed in the private dressing room of Empress Louise (1776-1810), wife of Friedrich III. While the Beo version, which seems to have once enclosed an impressive clock mechanism (in direct continuance of the tradition of Roentgen) remains for now at the Getty Museum (84.DA.87).As well as helping Hacker to establish himself, it appears that Roentgen also assisted Johann Cristian Harder, another cabinet maker who had worked for the former, to also found his own firm in Brunswick in circa 1800. Harder even calls it the Braunschweigische Priviligierte Kunst-Meuble-Fabrik von Neuwied in honour of Roentgen. Constructed following the same stock design as the three aforementioned secretaires, Harder's comparable model, in the collection at the Kunstgewerbemuseum in Berlin, is even more impressive in terms of the extremely complicated and ingenious mechanisms stored within it. And as a result this particular variant features, analysed in meticulous detail, in W. Koeppe, Extravagant Inventions, The Princely Furniture of the Roentgens, 2012, New York, app.'s 3.1-3.15, p. 234.Ultimately the difficulty in attributing the above lot to any of the previously referenced makers - Hacker, Stein, Beo or Harder - proves the immense consistency and cross fertilisation in terms of ideas, innovations and artistry among these Prussian cabinet makers during this period. However one common thread uniting all of them is clearly the enormous and understandably all-pervasive influence of David Roentgen.This lot is subject to the following lot symbols: TP YTP 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.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

Italian School, early 18th century: A carved marble bust of a maiden, probably depicting Venus or an allegory of lovepossibly attributable to Giovanni Baratta (Italian, 1670-1747)her head turned to dexter, her loosely tied coiffure with long trailing chignon, dressed with a jewelled diadem, her shoulders clad in drapery, wearing a ribbon tied heart locket, raised on a later square socle and column pedestal, the bust 74.5cm high, the plinth 88cm high, 162cm high overall.Footnotes:ProvenanceFormerly the property of the Duke of Aveyro, thence by descentEl Retiro, Churriana, Málaga Spain, the present lot removed prior to the sale of the villa and private walled courtyard garden from an exterior façade wall, adjacent to the famous national gardens and partlandBy repute and family tradition thought to be by the hand of the architect Juan Bautista Sachetti (Italian, 1690-1764) and possibly a work originally intended for the Palacio Real, Madrid.The handling of the face and drapery to the offered lot is reminiscent of examples of heads and torsos of angels and female figures by sculptors working in the manner of the celebrated sculptor Alessandro Algardi (Italian 1598-1654). Although Sachetti was evidently commissioned to provide marble sculptural ornaments during his tenure working on the Placio Real, it is possible that the the present lot may have been commissioned by his master, the architect Filippo Juvara (Italian, 1678-1736). As Juvara is known to have commissioned a large body of sculptural and architectural elements including two reliefs of Minerva and Mars for the Royal Palace of La Granja de San lldefonso in Segovia, Spain from the sculptor Giovanni Baratta (Italian, 1640-1747) it is possible that the offered lot may have originated from the same source . In addition Sachetti also worked at Segovia so doubtless would have come into contact with Baratta and as such he may subsequently have worked with him on his later commission at the Palacio Real. Related LiteratureEl Retiro, Inventario, 6th May 1966, Listed on the main Staircase, No. 93 'A lady with a diadem of pearls in marble' - which may be the bust of Venus before she was moved to the exterior facade wall OR No. 94 'A lady with a diadem and bodice for a masque' perhaps a pair for the current lot, now missing or since weathered away in the garden. Photographs of the bust in the private walled garden at the villa are featured in the following publications:Blanco y Negro, Madrid, 25 April 1970, ref. El Retiro (Malaga), p.6Country Life, 12 January 1984, ref. Day-Trip to a Spanish Garden- I, pp. 74-76This lot is subject to the following lot symbols: TPTP 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

Italian School, early 18th century: A carved marble bust of Marspossibly attributable to Giovanni Baratta (1670-1747)looking slightly to dexter, the moustachioed god wearing a helmet with grotesque mask head and plume, his shoulders clad in drapery, his right shoulder with lions mask, raised on rectangular waisted socle, the bust 93.5cm high, together with a modern marble column plinth 97.5cm high 191cm overall. (2)Footnotes:ProvenanceFormerly the property of the Duke of Aveyro, thence by descentEl Retiro, Churriana, Málaga SpainGiven that the present lot has a near provenance similar to bust of Venus, lot 87, with the exception that the bust of Mars is always thought to have been displayed in the house in the staircase hall and not the garden, it is plausible that this bust may also be attributable to the hand of Giovanni Baratta (Italian, 1670-1747) and may have come to the villa as a pair, via the source of the previous lot. In addition the subject of Mars used in a pair of relief carved medallion plaques of Minerva and Mars which he created together with a group of sculpture and architectural elements for the Royal Palace of La Granja de San ildefonso in Segovia, Spain. Related LiteratureEl Retiro, Inventario, 6th May 1966, Listed on the main Staircase, No. 92 'A Warrior in a cuirass and helmet as well as a mask on his shoulder' which is presumably the bust of Mars.Please see footnote on lot 87 for additional information on this lot.This lot is subject to the following lot symbols: TPTP 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

A Victorian black slate mantel clock of architectural form, French striking movement

(THH) An architectural print of a stately home; together with eight other pictures. This lot can only be collected on Saturday 19th December (9-2pm).

Netherlandish School, 16th CenturyThe Madonna and Child enthroned flanked by angels oil on panel55.3 x 39.1cm (21 3/4 x 15 3/8in).unframedFootnotes:ProvenanceThe Collection of Judge Charles H. Carey, Portland, Oregon, USAPossibly with Edmondo Sacerdoti Gallery, Milan, by 1972Private Collection, ItalyWhilst the present work is Netherlandish in origin and reveals the influence of artists active in Antwerp and Bruges in the 16th century, such as Jan Gossaert, Joos van Cleve or the Master of the Female Half-lengths, it may be that its author was in fact active in France. The painting of The Madonna and Child with the Infant Saint John the Baptist, now in the Musée des Beaux Arts, Dijon (inv. no. 2775) by Grégoire Guérard, a painter thought to be from Breda or Utrecht, but who worked throughout France and Burgundy, shows a similar use of decorative, Italianate architectural detail to frame the central composition.We are grateful to Till-Holger Borchert for his kind assistance in cataloguing this work.For further information on this lot please visit Bonhams.com

Michael Angelo Rooker (London 1747-1801)Wenlock Abbey, Shropshire signed and dated 'MARooker/1790' (on rock, lower left, M and A in ligature)oil on canvas71.3 x 90.6cm (28 1/16 x 35 11/16in).Footnotes:ExhibitedLondon, Royal Academy, 1790, no. 134In 1788 Michael Angelo Rooker began to make annual tours of the country, producing a large number of watercolours and a few oil paintings of famous abbeys, architectural ruins and public buildings.For further information on this lot please visit Bonhams.com

ILLUMINATED MINIATUREThe Visitation, full-page illuminated miniature within distinctive gilt architectural border, cut from a Book of Hours on vellum, a banner at the foot of the image with text 'Deus in adiutorium meum intende', verso with 23 lines of text mostly from Psalm 92, 9 initials in gold on red, brown and blue grounds, two gold branch-like line-fillers, architectural border cropped at head, 175 x 110mm., [France, late fifteenth century]For further information on this lot please visit Bonhams.com

CABEO (NICCOLO)Philosophia magnetica in qua magnetis natura penitus explicatur, et omnium quae hoc lapide cernuntur causae propriae afferuntur, FIRST EDITION, FIRST (FERRARA) ISSUE, title within wide engraved architectural border, 4 engraved illustrations (one a world map repeated [Shirley, World 328]), numerous woodcut illustrations, ink spot at inner margin of title, light stain on dedicatory leaf, thin worm trail in blank margin of approximately 150pp., small dampstain in lower blank margin from p.277 to end, recased in early vellum, lettered in ink ('Filosofia magnetica', second word worn) on spine, preserved in modern morocco-backed solander case [Ferguson I, p.136; Riccardi I, 205; Wheeler Gift 97], folio (320 x 220mm.), Ferrara, Francesco Succio, 1629Footnotes:An important treatise on magnetism and the loadstone, containing the first printed account of electrical repulsion. Cabeo (1586-1660), professor of Moral Philosophy and Mathematics at Parma, also discusses William Gilbert's De Magnete.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

VIGO (GIOVANNI DA)The Most Excelent Worckes of Chirurgery... Traunslated into Englishe. Whereunto is added an Exposition of Straunge Termes and Unknowen Symples, belongyng unto the Arte, second English edition, black letter, text in double columns, title within woodcut architectural border, woodcut decorative initials throughout, without final blank 3A4, a little marginal staining and soiling, a very few insignificant wormholes at beginning and end, tiny holes and tear in ff. 4 and 5, paper flaws with corner loss to 2A4 and 2G4, contemporary English blindstamped calf, covers panelled in blind with roll-tool borders, very skilfully rebacked preserving original spine, later clasps [Durling 4616; ESTC S117847; Wellcome I 6621 (Ff. 19-240 only); cf. Garrison-Morton 5559.1], folio (285 x 190mm.), Edwarde Whytchurch, 1550Footnotes:A crisp, attractive copy in contemporary English binding.Provenance: Peter ?Oviat, ownership inscription on A1; Sotheby's, 2 April 1985, lot 515 ('a very good, unpressed copy'), sold for £1,600 to Fletcher.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

REGO (PAULA)Collection of letters, photographs, ephemera and books assembled by Rego's friend David Wright, including 10 autograph letters signed, 4 typed letters signed, 16 postcards or notecards, several Christmas cards, 24 photographs, newspaper clippings, vernissage invitations, 18 books and exhibition catalogues (of which 13 inscribed by Rego to Wright), and a set of her Jane Eyre stamps for the Royal Mail, the letters mostly London, 1997 to 2009Footnotes:'I HAVE DONE DRAWINGS FROM MY HEAD TO BEGIN WITH CONCENTRATING VERY HARD' - an evocative series of letters from Paula Rego to David Wright, from the 1990s to his death in 2013. They met in the 1950s when both studying at the Slade School of Fine Art, forming a close and lasting friendship. A charming series of photographs show them with other friends on the beach, probably in Portugal. Wright went on to become an artist, teacher, textile and architectural designer and gallery director.The many subjects of the letters include: the Royal College ('the students are under terrifying pressure to 'SUCCEED''), her show in Lisbon ('a tremendous success... over 40 thousand people have been to it'), and a trip to the Venice Biennale ('so depressing all that junk... I hope to represent Portugal there in two years time'), 1997; her 'commission for an 18thC. chapel in the Presidents palace in Lisbon [the Palace of Belém]. He asked me. Tiny pictures... The story is the life of The Virgin Mary... I can handle pastel and find a freedom in this medium never managed before', 2002; the film Frida ('I thought Frida absurd. How can you make a film about an artist and not show her working?'), 2003; painting David Hare for the NPG ('he was good to work with and unpretentious and so punctual') and the President of Portugal ('a disaster. I shall not set foot in Portugal for quite a while I am so ashamed'), 2006; death ('I ask my children not to let there be a memorial service for me at The Slade'); the Thresholds exhibition she curated at the Whitechapel ('Don't know the name of the artists but am picking what I like. Some odd works like a schoolroom of vegetables having a lesson'), 2009; and 'constructing an altarpiece... for the Foundling Museum' ('it is very difficult painting in oil paint which I have not done for years'), 2009.Provenance: David Wright, and thence by descent to the present UK owner.For further information on this lot please visit Bonhams.com

MEXIA (PEDRO)The Historie of All the Romane Emperors, Beginning with Caius Julius Caesar, and Successively Ending with Rodulph the Second Now Raigning, first edition in English, title within woodcut architectural border, numerous woodcut illustrations, corner of title repaired with loss to border, lacking first and final blanks, wormtrail in lower gutter of a few gatherings, contemporary calf, upper covers with central gilt motif of rose within branches and surmounted with crown, rebacked [ESTC S114704], folio (285 x 180mm.), Matthew Lownes, 1604Footnotes:Provenance: Armorial gilt stamp on covers, composed of several tools similar to some of those used by Henry Frederick, Prince of Wales (1594-1612). According to Mirjam Foot, 'the fact that there were three different arms blocks and six different corner blocks, all found in various combinations, suggests that the books were farmed out in batches to different binders who were at the same time lent blocks'; Mary Cameron, ownership inscription on title dated 1833.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

RUSKIN (JOHN)Praeterita: Outlines of Scenes and Thoughts Perhaps Worthy of Memory in My Past Life [-Dilecta_ Correspondence, Diary Notes, and Extracts from Books, illustrating Praeterita], 31 original parts in 6 vol., FIRST EDITION, EXTENSIVELY EXTRA-ILLUSTRATED FOR CHARLES E. GOODSPEED WITH THE INSERTION OF 25 AUTOGRAPH LETTERS SIGNED BY RUSKIN, 23 autograph letters and notes by contemporaries (including Turner), numerous sketches, photographs, cut signatures, annotated proof sheets, and upwards of 280 additional engravings and plates (some coloured), the collection comprising: i) Group of 25 autograph letters signed ('J. Ruskin', 'John Ruskin', 'J.R.') to various correspondents, including:'Darling Reille', an unknown child ('...although May is irresistible, And Alice is so bewitching – yet you were my first Love... ps Don't frizz the hair quite so high this time...'); Miss Rudkin, organising a spring dress for Arthur Severn's daughter whom he finds '...already tall enough – to become – a pretty costume, and refresh and refine my savage mind...'; an unknown recipient recalling an encounter with Charles Darwin ('...A couple of years ago, a man, Darwin was walking with me on my garden terrace and stopped to look at a strange form of (I forget what) flower. – 'Now – why is that shaped so' – he said. Why should you want to know? I answered – Oh – he said, laughing – but with the perfectly frank expression of a man partly ashamed of a weakness – 'I always want to know' – 'And I never do.' – ended this 'discussion' in that direction – and we went into lunch...'); Charles Newton on his engagement to Effie Gray ('...I believe indeed that it is every way better for me that I should marry... Miss Gray is a good girl... will be a very noble creature – and far above my deservings...'); another to Newton (speaking of his recent trip to Europe ('...that vast blunder St Peters...'), the effect of political feeling on architecture, hoping to 'get out of Jephson's clutches' soon to show him some architectural drawings completed in Italy); the Revd A. Tighe Gregory (mentioning his nervous condition '...the most trivial matter will sometime sicken and sting me...', his debt to Turner for art and Carlyle for literature and marvelling how they, like him 'should be irreligious' but that he is open to 'all influences'); Lady Naesmyth (sending copies of verses by Rose La Touche, despairing she has gone to Ireland and may not love him when she returns); four to his friend and neighbour at Brantwood, Susan Beever, including a highly personal undated letter regarding '...that wretched child...' [Rose La Touche], complaining of her evangelism and his frustration ('...a husband can always say a little word for himself – whereas a poor, servile – wretch of an old lover... she I verily believe is like to be in mortal illness as not – and vowing I shan't come near her unless I swear first that I don't care to! – and only love God. And of course I can't & won't do anything of the sort – I don't love anything but her in the whole universe – and she leads me the life to Tantalus & Prometheus Vinctus in one...'); another illustrated with a sprig of blossom written three days after her death ('...I've just heard that my poor little Rose is gone when the hawthorn blossoms go... just left the second number of Proserpine to be printed – there are many little things going to be said in it, which nobody but she would have understood... I have been long prepared so you need not be anxious about me...'); and another including a delicate drawing of moss ('...all in stars as close as that – it takes such a dreadful time to paint...'); and Thomas Carlyle discussing the use of colour in Greek sculpture ('...if colour will make Greek endurable – it will make Gothic glorious...'); others include a note to Dante Gabriel Rossetti arranging a meeting, another refusing an invitation to dine at Mr D'Israeli's, to his physician Henry Jephson, to Hale White regarding his paper on Byron and to Henry Jowett regarding the publication of Praeterita, c.52pp in all, 8vo, Denmark Hill, Brantwood, Leamington Spa, Perth etc., c.1841-1889 where dated. ii) Illustrations, including a copy of John Ruskin's self portrait of c.1861, head and shoulders, wearing a black neckerchief, pencil and watercolour, in an unknown hand, image 155 x 125mm.; a sketch map of Oxford depicting the town and colleges, in ink, with monogram ('JR') on reverse of a printed prospectus for Robert Taylor Pritchett's Brush-Notes in Holland, 183 x 240mm.; two fine pen and ink vignettes of hawthorn blossom and moss; and sketch of a dog by John Brown entitled 'orat plorat et adorat', 85 x 65mm.; together with numerous printed plates and engravings including landscapes, architecture and portraits.iii) Some 23 autograph letters by others including J.M.W. Turner (arranging for James Lennox of New York '...to view the work of art at Denmark Hill Slave Ship...'), Ruskin's father John James Ruskin, George Cruikshank, Giulia Grisi (signed musical quotation from Verdi's Il Trovatore), his physician Dr Henry Jephson, John Brown (3), George Allen, Charles Eliot Norton (from whom Goodspeed received Ruskin's autograph), J. A. Froude, Joan Ruskin Severn, Thomas Carlyle, Robert Harry Inglis, Sir Walter Scott, Mary Carlyle (to Robert Browning regarding her uncle's funeral), and Lord Egremont; with others regarding the publication of Praeterita, additional photographs and cut signatures.iv) Printer's proof sheets of Chapter XI Volume 2 with corrections and annotations by Ruskin in black ink., bound at the end of volume 2.Footnotes:AN IMPORTANT EXTRA-ILLUSTRATED SET WITH 25 AUTOGRAPH LETTERS BY RUSKIN, ASSEMBLED BY AND BOUND FOR THE EMINENT RUSKIN COLLECTOR CHARLES E. GOODSPEED OF BOSTON.Praeterita, the story of Ruskin's early life, was published in 28 parts at intervals from July 1885 to July 1889 when ill-health took its toll on the author and the series remained unfinished: '...Praeterita is a delightful work, a rewriting of Ruskin's life that makes it unreliable as a source of biographical fact, yet an accurate portrait of the author's mind...' (Robert Hewison, ODNB). This finely-bound set of Praeteritia is the result of a collaboration in the early years of the twentieth century between Ruskin's friend and literary executor, the American Charles Eliot Norton, who supplied the parts (as evidenced by the ownership inscriptions on the bound-in wrappers), and the eminent Ruskin collector, bibliophile and bookseller Charles E. Goodspeed, who organised the extra material and binding, supplying much of it from his own extensive collection.The extra material Goodspeed carefully chose to include in this edition is not organised in exact chronological order but fitted in where deemed appropriate to fit the text, and includes several important autograph letters by Ruskin amongst the wealth of material. Although some of the letters are marked in pencil presumably for the purposes of publication, most are apparently unpublished, with one particularly revealing letter bearing the pencilled note 'Rosie... perhaps too 'intime' to print?...'. Goodspeed has indeed selected some particularly personal letters for inclusion, several relating to his relationships with young girls, one to Charles Newton for example enthuses about his engagement to Effie Gray ('...far above my deservings...'), and another to his close friend and neighbour at Brantwood, Susan Beever, where, in a highly intimate letter, he complains of '...that wretched child...' (presumably the deeply religious Rose La To... This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

A 19TH CENTURY MAHOGANY MANTLE CLOCK, with eight day movement, the circular silvered dial signed Grimaldi & Johnson, Strand, London, in an architectural case. 16ins high.

Large Pair of Late Elizabethan / James I Oak Architectural Pilasters, English, circa 1600 – 1620. The pair of pilasters having egg and dart carved capitals over tapered and fluted uprights above a geometric carved cartouche centred by applied raised bosses. Originally fittings in a panelled room, 213cm high (2)

A late 19th century ebonised mantel clock presented by Lord ChurchillPayne & Co, 163 New Bond Street, LondonThe architectural case with pediment top decorated with the emblem of the Coldstream Guards, over bevelled glass side panels, quatrefoil fret panel rear door on a moulded plinth base bearing the presentation plaque which reads 'Presented by Lord Churchill on his leaving the regiment Septr (sic) 17th 1889.' The 5.75 inch signed and silvered Roman dial with blued steel spade hands set within engraved spandrels. The twin train movement stamped CH VCNE 37643 with anchor escapement, striking the hours and half hours on a coiled gong mounted on a block stamped G.B., with brass pendulum. Ticking and striking. Sold with a case key and associated winding key. 31.5cms (12ins) high (4)Footnotes:The proceeds from the sale this lot will go towards the Charitable Funds of the Coldstream Guards.Hon. Victor Albert Spencer later Lord Churchill (1st Viscount)(23 October 1864 - 3 January 1934) was the son of Francis Spencer, 2nd Baron Churchill. The family descended from Francis Spencer (1779-1845), younger son of the fourth Duke of Marlborough.He was a page of Honour to Queen Victoria from 1876 and 1881 and in 1886 he succeeded to his father's title. Educated at Eton College and the Royal Military College, Sandhurst, he was commissioned into the Coldstream Guards in 1884 as a Lieutenant, and stayed in the regiment until 1889 - presenting them with this clock as a parting gift. He was made a viscount in the 1902 Honours List.For further information on this lot please visit Bonhams.com

A good second half of the 19th century silver mounted ebonised mantel clock with Presentation Inscription for 1879Chas.Frodsham & Co., 84 Strand, London, no.1611The architectural case with pediment top fitted with the emblem of the Coldstream Guards and four ball finials, over ten silver side panels depicting battle related accoutrements, each marked T.P for Thomas Parker, the bottom of the case fitted with a commemorative plaque 'To the officers of the Coldstream Guards from Lt.Col The Honble (sic) Lewis Payn Dawnay on his leaving the regiment December 1879.' on raised feet, the 4.25 inch silvered Roman dial with blued-steel spade hands centred by an engraved mask depicting a rose for England, a thistle for Scotland and a three-leaf clover for Ireland, with foliate spandrels. The single chain fusee movement with 5 turned pillars screwed front and back, and Harrison's maintaining power to a train of wheels of six crossings, terminating in a large gilt platform with free sprung blued-steel helical hairspring with a diamond endstone to the large cut and compensated bi-metallic balance and lever escapement. Ticking and sold with an associated winding key. 27.6cms (10 1/2 ins) high (2)Footnotes:The proceeds from the sale of this lot will go towards the Charitable Funds of the Coldstream Guards.Lewis Payn Dawnay (1 April 1846 – 30 July 1910) was a Conservative politician and sat in the House of Commons from 1880 till 1892. Second son of William Dawnay, 7th Viscount of Downe, he was educated at Eton and joined the Coldstream Guards reaching the rank of Colonel.The silver marks on the panels date to London 1879. Thomas Parker registered his mark 'T.P' within a shield in May 1875.For further information on this lot please visit Bonhams.com

A 19th century French Boulle bracket clock with an associated wall bracketBaltazar ParisThe architectural case surmounted by a caddy top with flaming urn finials over an arcaded fret and Corinthian columns on raised pediments and toupie feet. The 9 inch velvet covered dial centred by the 7.5 inch brass Roman and Arabic chapter ring held aloft by Chronos astride the rectangular signature plaque, with fine silvered and fettled hands, the twin train movement striking the hours and half hours on a blued-steel coiled gong. Ticking and striking. Sold with a later mahogany wall bracket, brass pendulum and winding key. 61cms (24ins) high (88cms high with bracket) (4)For further information on this lot please visit Bonhams.com

A fine and rare late 18th century mahogany striking regulator longcaseJohn Monkhouse, LondonThe case with a raised architectural cresting surmounted by three ball finials over canted front angles and a long solid mahogany door with good figuring and moulded edge, on a raised panel base and double apron, the 10 inch one-piece silvered dial boldly signed in the low arch 'John Monkhouse' with strike/silent selection lever over a minute track and upward curving aperture revealing the hours, the seconds indicated on a large Arabic subsidiary spanning from the centre to the XII position, with bolt-and-shutter maintaining power lever to the side, the weight driven movement with shouldered plates united by five knopped pillars, both trains with delicate wheel work and high count pinions, the strike with rack system on a bell, the going with large deadbeat 'scapewheel and pallets to a long steel crutch and unusual steel-rod pendulum with heavy bar running into the large lenticular bob secured by an engraved rating nut. Running and striking. Together with a later winding key, two brass (not matching) weights, and door key. 2.02m (6ft 8ins) high. Footnotes:Provenance: Single family ownership for the last 71 years. This clock was bought by the vendor's father from William Lee, BADA-registered Antique Dealer, 39, Stonegate, York, on 11th June 1949 for the sum of £65.00. The receipt from 1949 is included with this lot. John Monkhouse is listed as working from London 1756-1771. A similar regulator by him is illustrated in Roberts: 'English Precision Pendulum Clocks', Schiffer 2003, Figs. 21-2A,B,C. It is featured as an example of the short-lived fashion in the late 18th century for more elaborate regulator cases, interestingly, the dial displays the same large overlapping subsidiary seconds ring as the current lot.This lot is subject to the following lot symbols: TPTP 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

Architecture.- Pozzo (Andrea) Perspectiva Pictorum et Architectorum; Rules and Examples of Perspective Proper for Painters and Architects, first English edition, engraved architectural frontispiece, vignette titles in Latin and English, 101 plates, partly engraved dedication, list of subscribers and full-page illustration of drawing materials to verso of approbation leaf, numerous engraved pictorial initials, text in Latin and English, occasional tears and marginal loss, most neatly restored, occasional marginal damp-staining, spotting and browning, bookplate of William George Bligh, later half calf, rubbed and worn, covers detached, loss to spine extremities, folio, Benj. Motte for John Sturt, 1707.

A FINE SET OF FIVE 19TH CENTURY FRAMED INDIAN SCHOOL FLORAL ARCHITECTURAL PAINTINGS. PROBABLY AGRA, each depicting a display of flora, 33.5cm x 29cm .

* China. An album of 36 gelatin silver print photographs of Beijing, etc., c. 1930s, featuring temples and architectural sites, a few with figures, plus one street scene, images 8.5 x 13 cm, uncaptioned and corner-mounted back to back on stiff card leaves, contemporary boards with cloth spine tie, small oblong folio (20 x 28 cm)Qty: (1)

* Architectural photographs. A collection of approximately 150 photographs, c. 1950s, mostly architectural interest including China, USA and Italy (from 19th-century photographs), the majority 19 x 23.5 cm, many with printed labels to versos, together with a group of approximately 50 smaller snapshots, postcards, etc.Qty: (approx. 200)

* Bisson Freres et al. A good album of 60 architectural and landscape albumen print and salt print views of Italy, Venice, France, Switzerland, England and Wales, Germany and Belgium, c. 1850-63, including large-format prints by Robert Macpherson, Bisson Frères, Édouard Baldus, Roger Fenton, et al., mostly flush-mounted on card, pasted onto rectos of paper album leaves, contemporary half morocco, large folio (56 x 42 cm)Qty: (1)NOTESPhotographs include (albumen prints except where noted): Louis Auguste Bisson and Auguste Rosalie Bisson, Mont Blanc, 1860, photographers' circular initial stamp in red ink on the image lower left, 29.5 x 45 cm; Ledot Ainé et Donas, View of Paris with the Baths of Samaritan, 1853-1863, 35.4 x 44 cm; Gioacchino Altobelli & Pompeo Molins, View of Ponte Nomentano, c. 1863, 26.5 x 36 cm; Roger Fenton, Tintern Abbey, 1857, 33.5 x 42 cm; Édouard Baldus, Portal, Amiens cathedral, 1855, signed in the negative, no. 53, 44.5 x 34 cm; Attributed to Édouard Baldus, Portal, Rouen Cathedral, c. 1855-60, 44 x 33.5 cm; Édouard Baldus, Portal, Chartres Cathedral, c. 1855, signed in the negative, no. 4, 44 x 34 cm; Édouard Baldus, Amiens, Porte de la Vierge, c. 1855, signed in the negative, no. 41, 44 x 34 cm; Attributed to Édouard Baldus, West Façade of Saint-Ouen Cathedral, Rouen, c. 1855, 44 x 32 cm; Édouard Baldus, Amiens Cathedral, Abside, c. 1855, signed in the negative, no. 36, 37 x 27 cm; Attributed to Fratelli Alinari, Falls of Terni, Rome, c. 1855-60, no. 217, 41.5 x 30 cm; Attributed to Fratelli Alinari, Doors (Lorenzo Ghiberti) for the Baptistery of Florence Cathedral, c. 1855-60, no. 152(?), 42 x 29.5 cm; Robert Macpherson, Arch of Titus, Rome, c. 1860, 39 x 30 cm; Robert Macpherson, Arch of Constantine, Rome, c. 1855-60, 28 x 39 cm; Attributed to James Anderson, Theatre of Marcellus, Rome, c. 1855-60, 31 x 22 cm; Attributed to James Anderson, Castel Sant'Angelo, the Ponte Sant'Angelo spanning the Tiber, dome of St. Peter in the background, Rome, c. 1855-60, 25 x 37.5 cm; Eugene Piot, Tower of Pisa, c. 1849-50, salt print, 28 x 20.5 cm; Attributed to Eugene Piot, Baptistery, Pisa, c. 1850, salt print, 14 x 18 cm; Attributed to Georg Schmidt, Liebfrauenkirche, c. 1850s, 31 x 25.5 cm. Other views include: Rialto Bridge, Venice, salt print, 27.5 x 35.5 cm; Bridge of Sighs, Venice, salt print, 35.5 x 29 cm; Staubbach Falls, Switzerland, 32 x 25.5 cm; The Wetterhorn, Switzerland, 32.5 x 25.5 cm; Entrance to King’s College Chapel, Cambridge, c. 1855, 22 x 28.5 cm; Wooded river view with reeds, England(?), c. 1855-60, 19.5 x 25 cm; Ludlow Bridge, c. 1860, 14 x 18 cm; Ludlow Castle, c. 1860, 14 x 18 cm; Wells Cathedral, c. 1860, 23.5 x 19.5 cm.

* Italy. An album of architectural views, ruined buildings and interiors, c. 1870s, mounted albumen prints of Rome, Bolgona, Venice, Siena (2 with blindstamp of P. Lombardi), etc., including 18 large format photographs (approximately 25 x 36 cm and similar), the remaining photographs mostly 18 x 24 cm and some smaller sizes, largely uncaptioned but many of the Bologna views with captions in the lower margin of the negative, mounted mostly as singles or pairs to rectos and versos of stiff card leaves, together with another album of European views, circa 1880, a total of approximately 70 mounted albumen prints, subjects include Rome, France, Scotland, etc., mostly approximately 14 x 20 cm and slightly larger, mounted as multiples to rectos and versos of stiff card leaves, contemporary half morocco, some wear, both folioQty: (2)

* Italy. A group of 16 photographs of architecture and architectural details at Pavia, c. 1880, captioned in the lower margin of the negative, images 19 x 25 cm, mounted singly on contemporary card mounts and loosely contained in a worn original portfolio gilt-titled 'Photographs of Figures from the Certosa at Pavia', together with a group of 14 albumen print photographs of Rome, Naples, Florence and Pompeii by Giorgio Sommer, c. 1880s, captioned in the negative in the lower margins, images 20 x 25.5 cm and similar, mounted singly on contemporary card mounts, additional ink inscriptions, one mount torn with corner lossQty: (30)

* Italy. A large and mixed group of approximately 70 albumen prints of Italy, mostly c. 1870s/1880s, mostly architectural subjects, medium and larger-format sizes, a few mounted but mostly loose and some curledQty: (approx. 70)

A substantial late 19th century noir Belge mantel clock, architectural case, c.1890

Books - Oriental Art - Toda (Kenji), Japanese Scroll Painting, The University of Chicago Press, 1935, colour plates, contemporary cloth gilt, 8vo, (1); Fink (Romy), A Short Introduction to Japanese Art, London: 1954, h/b, d/j, 8vo, (1); Moa; Enjoying Illustrated Scrolls, The Museum of the Imperial Collections exhibition catalogue, illustrated; Korean architectural photography, including Jim Jae Kyeong, others signed, etc; Bernard Leach; Modern British printmaking, various; etc., [1 box]

A Victorian slate mantel clock of architectural form, the central enamelled dial set with Arabic numerals flanked by three brass Corinthian columns, height 42cm, length 39cm.Additional InformationNumerous chips to the slate, the enamelled dial with large chips and old repair. Complete with key and pendulum. As this is a clock, we are unable to confirm if it is in working order.

A c1900 French onyx eight day mantel clock of architectural form, the gilt chapter ring set with Roman numerals with gilt metal mounts, with US and Ansonia Clock Company movement, height 30cm, width 30cm (af), with pendulum.Additional InformationDamage and chips to the onyx. Not tested, no guarantee of working order. Heavy rubbing and discolouration to the dial.

A Victorian slate mantel clock with central inlaid and malachite panels, the circular enamelled dial set with Roman numerals and flanked by gilt scrolling detail and above a silver plated presentation plaque, height 29cm, length 30cm, together with a Victorian black painted metal clock of architectural form (2).Additional InformationHeavy wear, numerous chips throughout the slate case, the enamelled dial with large cracks. We are unable to confirm if the clock is in working order. The metal clock with heavy wear, rusting, and is af.

A late 19th century black slate eight day mantel clock of architectural form, the enamelled dial set with Roman numerals (dial af), the movement striking on a bell and no. 757, 33 x 34.8cm, with key and pendulum.Additional InformationNot tested, no guarantee of working order, chips and nibbles to the slate, dial with spreading hairline cracks and impact damage, further general wear throughout.

A good late 19th Century Gothic revival oak framed architectural wall mirror, with carved detail to the cornice and side panels, height 147cm, width 89cm.Additional InformationThe corner of the cornice is missing, losses to the wood, splitting to one of the corners, general wear commensurate with age and use.

Pierre Vander Aa, "Comté de Devon", hand-coloured map with architectural surround, circa 1729, 25 x 41cm.

A Continental bronze or brass watch holder of architectural form, cast with arches and caryatid pillars, 20cm high and a late-19th century WMF metal stein and cover, (finial lacking), 32cm high, (2).

Railway interest: Architectural drawings, books, LNWR decanter, two LNER plated plates and pictures.

A WWII RAF ward room mantel clock: the single fusee movement with Arabic numeral dial marked with RAF cipher, in an oak architectural case, the movement stamped and dated '10505 SM & Co 1939' and also stamped with 'AM' cipher and crown, 35cm high

British Car Factories from 1896, by Paul Collins & Michael Stratton. A 1st ed hardback (11 x 8½-inches) in dust jacket of this Complete Historical, Geographical, Architectural & Technological Survey, researched within the Ironbridge Institute, published by Veloce, 1993. The book catalogues 240 factories which produced 220 makes of car in 44 different British counties, towns and cities. 269 very well illustrated pages. Rare in this condition.

A Victorian slate and marble mantel clock, architectural case, circular dial with visible escapement, French cylinder movement striking on a gong, 39cm.

Victorian slate mantel clock, architectural case, circular dial, German cylinder movement, 31cm.

Victorian mahogany barometer, architectural pediment, box and ebony stringing, rosette and shell inlay, silvered and repainted dials, 98cm.

J Wagner, Nurnberger, a post war clockwork tinplate toy: of two wood cutters cutting a log, on an oval lithographed base, 22cm. long, three Paya tinplate reproduction penny toy fire engines, each 9cm. long, both boxed and a hand wound figure of a knife grinder 11cm. high. and a Set No 1 Wenebrik architectural toy, boxed (4).

Architekturfragment. Silbriggrauer Schist. Pakistan, Gandhara. Wohl 2./3. Jh. In der Mitte Buddha im Meditationssitz unter einem Dach von pipal-Blättern, die linke Hand liegt auf dem Knie, mit der rechten greift er einen Teil seiner Robe. Er ist umgeben von vier Turban tragenden Adoranten mit gefalteten Händen, über ihnen jeweils eine Figur. An der Plinthe ein Blattfries.H 24,5 cm; B 28,5 cm A Gandhara silvery schist architectural fragment. Pakistan. Probably 2nd/3rd century The Buddha sits in meditation underneath pipal leaves, his left hand resting on his knee while securing a part of his robe with his right hand, he is surrounded by four men wearing turbans and holding their hands folded in prayer, above them a figure. The plinth decorated by a row of leaves.Height 24.5 cm; width 28.5 cm

Nach Yi Lantai . 20th century Die Palastgartenanlage Xiyang Lou (Westliche Gebäude) im Alten Sommerpalast. Sechzehn Radierungen auf Velinpapier mit Darstellung von Pavillons, Palastgeländen und Gärten, darunter das HaiyanTang (Halle der ruhigen See), das Hua Yuan (Blumengarten) mit dem Labyrinth Wanhua Zhen (Irrgarten der zehntausend Blüten) und das größte Wasserspiel des Gartens, das Da Shuifa (Großes Wasserkunstwerk). (16)Kaiser Qianlong (1735-1796) beauftragte den Jesuiten und Maler Guiseppe Castiglione (1688-1766) neben Arbeiten für seine Kunstsammlung auch damit, innerhalb des Alten Sommerpalastes Yu Yuan nördlich von Beijing Garten und Paläste nach europäischem Vorbild zu entwerfen und anzulegen. Die Gartenanlage mit dem Namen Xiyang Lou (Westliche Bauten) wurde nach seinem Entwurf 1737 bis 1766 erbaut und vereinte Baustile des italienischen Rokoko mit klassischer chinesischer Architektur, das verwendete Baumaterial war nicht Holz (wie im Yu Yuan), sondern Stein, die Dächer waren in chinesischer Form gestaltet. Das Haiyan Tang (Halle der ruhigen See) war das größte Gebäude mit der bekannten und eindrucksvollen sog. „Wasser-Uhr“ mit zwölf Figuren menschlicher Gestalt und Tierköpfen, die den Zwölf Tierkreiszeichen entsprachen. Die ursprünglichen Kupferstiche, die diese Gebäude, Gärten und Palastanlagen darstellen, entstanden nach den Vorlagen von Yi Lantai, der ein Schüler von Castiglione war und sich die Technik der Zentralperspektive angeeignet hatte. Er hatte 1781 damit begonnen, den im Bau befindlichen Xiyang Yuan zu dokumentieren. Das Gesamtwerk umfasste zwanzig Blätter und war 1786 abgeschlossen. Die Originale befinden sich heute in der Chinesischen Nationalbibliothek in Peking.51 x 88 cm After Yi Lantai . 20th century Sixteen etchings on wove paper depicting palaces, pavilions and gardens created by Giuseppe Castiglione in the Xiyang Lou (Western mansions) on the imperial grounds of the Old Summer Palace in Beijing, including the HaiyanTang (Hall of the Peaceful Ocean), the Hua Yuan (Flower Garden) with the labyrinth Wanhua Zhen (The Ten Thousand Flower Maze) and the largest ater feature of the garden Da Shuifa (Big Water Method). (16)Emperor Qianlong (1735-1796) commissioned the Jesuit and painter Guiseppe Castiglione (1688-1766) to design and lay out gardens and palaces according to the European model within the old Summer Palace Yu Yuan north of Beijing. The garden with the name Xiyang Lou (Western Buildings) after Castiglione's design was built from 1737 to 1766 and combined architectural styles of the Italian rococo with classical Chinese architecture. The building material used was not wood (as in the Yu Yuan) but stone, the roofs were designed in Chinese style. The Haiyan Tang (Hall of the Calm Sea) was the largest building with the famous and impressive so-called "Water Clock" with twelve figures of human form and animal heads corresponding to the twelve signs of the zodiac. The original copper engravings depicting these buildings, gardens and palaces were made according to the designs of Yi Lantai, who was a student of Castiglione and had acquired the technique of central perspective. He had begun in 1781 to document the Xiyang Yuan, which was under construction. The complete work comprised twenty sheets and was completed in 1786. Today the originals are kept in the National Library of China in Beijing.51 x 88 cm

Architekturfragment. Grünlicher Stein. Pakistan, Gandhara. 2./4. Jh. Zu beiden Seiten einer Nische mit Säule jeweils ein Buddha im Meditationssitz, flankiert von Adoranten, auf undekorierter Plinthe, der Architrav mit Blattmuster.H 9,8 cm; L 28,7 cm A Gandhara greenish stone architectural frieze fragment. Pakistan. 2nd/4th century To both sides of a niche with a pillar, a Buddha seated in meditation flanked by adorants, the plinth undecorated, the cornice with a pattern of pointed leaves.Height 9.8 cm; length 28.7 cm

Carreau aux fleuronsSyrie ou Palestine, fin XVIe siècleCarreau de revêtement en céramique à décor peint en bleu de cobalt cerné de manganèse sur fond blanc à décor de fleuron trilobé formé de palmettes dans une composition d’arabesques florales.20 x 19,5 cm.A "Dome of the rock" pottery tile, Ottoman Syria or Palestine, late 15th centuryOf near square form, with central split palmette in cobalt blueCe décor est caractéristique des carreaux exécutés pour la restauration du Dôme du Rocher à Jérusalem au milieu du XVIe siècle par le sultan Soliman. Il devient le modèle pour d’autres séries, faites à Damas ou à Alep. Références : A. Millner, "Damascus Tiles, Mamluk and Ottoman, architectural Ceramics from Syria", 2015, pp. 274-275. fig. 6.71 à 6.75. J. Carswsell, "Kutahya tiles and Pottery...", 1972, pl. 9, n°4 et 4 a, pl. 15, n°83, et pl. 22 et 23.

A box containing modern books Ancient Architecture and other detailed Architectural History books (a lot)

FOUR FRAMED POSTCARDS, comprising of architectural scenes, 9cm x 14cm, Mounted, framed and under glass (4)

* ANN ORAM RSW (SCOTTISH b 1956), ARCHITECTURAL STUDY watercolour on paper, signed and dated '89 56cm x 81cm Framed

A pair of Victorian Rococo style coppered cast iron Architectural Easel Frames, Reg Number 553836, classically decorated featuring cherubs amongst scrolling foliage, each 36cm high by 23cm wide

Contemporary aluminium floor standing mirror with arched architectural top, 234 x 95cm

Four framed architectural prints. The largest 73 cm wide.

20th century Empire Style Mirror of architectural form, 73cms wide x 111cms high

Indian Carved Wooden Architectural Panel depicting Ganesha, 57cms x 32cms

DAVY, Henry. A Series of Etchings Illustrative of the Architectural Antiquities of Suffolk. Published by the author, Southwold, 1827. Folio. Presented in half leather. With list of subscribers and all 71 full page plates by Davy. Aeg. Bookplate of Lord Fairhaven to front pastedown. [1]Condition report: Some general edgewear and scuffing.Professionally rebacked and backstrip relaid.Light foxing to plates.

Late 19th century mantle clock in architectural walnut case, arched pediment with central leaf carved motif, enclosed by bevel glazed door, fluted and lunette carved, moulded base, brass dial decorated with floral scroll mounts, silvered Roman and Arabic chapter ring, twin train driven movement by 'Lenzkirch', stamped 'AUG 1 Million, 358398', striking the hours and half on single coil, with pendulum and key, H33cm, W22cm - Condition Report

Katharina Grosse 1961 Freiburg i. Br. - lebt und arbeitet in Berlin Untitled. 2015. Acryl auf Leinwand. Verso signiert, datiert sowie bezeichnet und mit der Werknummer '2015/1021 L'. 201 x 135 cm (79,1 x 53,1 in). • Dynamisches, raumeinnehmendes Farbgeflecht in übereinander schwebenden Dimensionen. • Farbe als Phänomen reiner Visualität. • Katharina Grosse gehört seit 2017 zu den KünstlerInnen der Gagosian Gallery und wird von der renommierten König Galerie vertreten. • Katharina Grosse wird aktuell mit einer spektakulären Soloshow im Hamburger Bahnhof, Berlin, geehrt (14.6.2020-10.1.2021). PROVENIENZ: Galerie nächst St. Stephan, Wien. Privatsammlung Hongkong. Privatsammlung Frankreich. 'Ich benutze Spraymalerei, weil es eine Malerei ist, die im Raum passiert und auf einer Fläche landet. Sie wird nicht von mir körperlich auf die Fläche gebracht, sondern ist erst einmal disponibel und bekommt dann durch meine Richtung und Dynamik, aber auch durch die Qualität ihrer Entstehungsform eine Fläche zugewiesen.' Katharina Grosse, zit. nach: Ulrich Loock, Annika Reich, Katharina Grosse (Hrsg.), Katharina Grosse, Köln 2013, S.160-61. Katharina Grosse, eine der profiliertesten Malerinnen der internationalen Gegenwartskunst, kommt im Jahr 1961 in Freiburg im Breisgau zur Welt. Ihr Studium absolviert sie zwischen 1982 und 1986 an der Kunstakademie in Münster als Schülerin von Norbert Tadeusz und Johannes Brus. 1986 wechselt Katharina Grosse an die Akademie in Düsseldorf in die Klasse von Gotthard Graubner, der sie auch als Meisterschülerin annimmt. 1990 schließt sie das Studium ab. Die künstlerischen Anfänge der Malerei von Katharina Grosse liegen im Neoexpressionismus der 'Jungen Wilden'. Schon ab den mittleren 1980er Jahren aber verlässt Katharina Grosse schrittweise die Figuration. Nach kraftvollen Pigmentflecken-Bildern findet sie in der ersten Hälfte der 1990er Jahre zu lasierend aufgetragenen Farbkompositionen mit breiten Pinselstrichen entlang der Bildachsen. 1998 entdeckt Katharina Grosse auch die Arbeit mit der Spritzpistole für ihre Kunst, die sie nun teilweise auch architekturgebunden ausführt. Seitdem sie mit der Spritzpistole eine künstlerische Form gefunden hat, in der die Farbe ganz allein, unberührt von der Hand der Künstlerin wirken kann, greift Katharina Grosse nur noch selten zu einem Pinsel. Sie konzentriert sich stattdessen bei ihren Gemälden auf die industrielle Spritzpistole, die sie mit erstaunlicher Geschicklichkeit und Erfindungsgabe auf Oberflächen einsetzt, die von Leinwänden bis zu Wänden, Böden, Skulpturen und riesigen Wandgemälden im Freien reichen. Sie enthebt den Farbauftrag dem malerischen Handwerk, die Farbe soll selbst handeln. Grosse arbeitet intuitiv, folgt Schritt für Schritt, wohin das Bild sie führt. Lässt sich treiben in einer Entdeckungsreise der Farben. Sie löst die Malerei vom Primat der Dinge, sie stellt nichts dar, gibt keinen Rückbezug auf reale Dinge, die Malerei besteht ausschließlich aus sich selbst. Der entstandene Eindruck des fast körperlosen Malens steht in spannungsvollem Gegensatz zu den imposanten Dimensionen ihrer Kunstwerke. Sollen die Farbkompositionen so wirken, als ob nie ein Mensch sie berührt habe, müssen die großformatigen Leinwände angehoben, gefaltet, gekippt werden, um die faszinierenden Farbstrukturen zu erzielen. Seit dem Jahrtausendwechsel arbeitet Grosse mit parallelen Linien, die, ebenso wie andere Farbflecken und -spuren, bald auch Objekte überziehen. In diese Entwicklung ist auch die hier angebotene Arbeit einzuordnen, die starke Assoziationen zu ihren raumfüllenden Installationen aufbaut und durch ihre Farbigkeit und Komposition an vegetative Formen erinnert. In ihren Werken nimmt Katharina Grosse den Betrachter mit auf eine Reise, bei der die Farbe Besitz von ihm ergreift, sie wird zu einem Phänomen reiner Visualität. [SM] Aufrufzeit: 11.12.2020 - ca. 18.17 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONKatharina Grosse 1961 Freiburg i. Br. - lebt und arbeitet in Berlin Untitled. 2015. Acrylic on canvas. Verso signed, dated, inscribed and numbered '2015/ 1021 L'. 201 x 135 cm (79.1 x 53.1 in). • Dynamic and spatial color mesh with stacked dimensions. • Colo as a phenomenon of pure visuality. • Katharina Grosse is represented by Gagosian Gallery and the renowned König Galerie. • Katharina Grosse's art is currently honored in a spectacular solo show at Hamburger Bahnhof, Berlin (June 14, 2020 - January 10, 2021). PROVENANCE: Galerie nächst St. Stephan, Vienna. Private collection Hong Kong. Private collection France. 'I use pray painting because it is a form of painting that happens in space and lands on a surface. I do not apply it to the surface physically, I just give it direction and dynamics [..].' Katharina Grosse, quote from: Ulrich Loock, Annika Reich, Katharina Grosse (editor), Katharina Grosse, Cologne 2013, pp.160-61. Katharina Grosse, one of the most prominent painters in international contemporary art, was born in Freiburg im Breisgau in 1961. She completed her studies at the Art Academy in Münster between 1982 and 1986, among others, she was a student of Norbert Tadeusz and Johannes Brus. In 1986 Katharina Grosse transferred to the to the class of Gotthard Graubner at the academy in Düsseldorf, and was also accepted as student of his master class. In 1990 she completed her studies. The artistic beginnings of Katharina Grosse's painting lie in the Neo-Expressionism of the 'Junge Wilde” (Young Wild Artists). However, as early as in the mid-1980s, Katharina Grosse gradually abandoned figuration. In the first half of the 1990s, after pictures executed with powerful dabs of pigment, she attained color compositions with broad glazing brushstrokes applied along the image axes. In 1998 Katharina Grosse also discovered the spray gun for her art, which she now also uses in more architectural ways. Since she found an artistic form of expression with the spray gun, which allows the paint to work independently and unaffected by the artist's hand, Katharina Grosse almost entirely abandoned the brush. Instead, she put focus on the industrial spray gun in her paintings, which she handles with amazing skill and ingenuity on surfaces that range from canvases to walls, floors, sculptures and giant outdoor murals. She separates the application of paint from the painterly craft, the paint is to act itself. Grosse works intuitively, follows the direction the painting takes step by step. She gets carried away on her journey of the discovery of colors. She detaches painting from the primacy of things, depicts nothing, does not reference real things, painting exclusively consists of itself. The resulting impression of an almost disembodied painting stands in fascinating contrast to the impressive dimensions of her works of art. If the color compositions are to appear as if no person has never touched them, the large-format canvases have to be lifted, folded, and tilted in order to achieve the fascinating color structures. Since the turn of the millennium, Grosse has been working with parallel lines, which, like the color spots and traces of color, soon also cover objects. The work offered here can also be classified as part of this development; it shows strong associations with her spatial installations and, owing to its color and composition, is reminiscent of vegetative forms. In her works, Katharina Grosse takes the viewer on a journey in which the color takes possession of him, it becomes a phenomenon of pure visuality. [SM]. Called up: December 11, 2020 - ca. 18.17 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.