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Lot 435
RENE LALIQUE (1860-1945); a 'Cinq Cheveaux' clear and frosted glass car mascot circa 1925, embossed signature to rim, raised on chrome column, terminating on wooden plinth base, height 17.5cm (af).Footnote: this famous mascot is the earliest known example made for a specific vehicle, the Citroën 5CV, when it was presented at the 1925 Art Deco Exposition in Paris.Additional InformationMinor chipping to relief point on horses heads, chip to the top, internal crack near where the horses legs are, see additional images, wear to chrome and plinth base. We have removed the figure from the base and the base of the figure has general surface wear, no major faults, the amber coloured glass panel which is based inside the chrome mount has a chip/piece missing, the mount bears no stamp. The mascot can be removed from the mount.
Lot 48
VICTOR PRIEM (1925-1989); a shallow stoneware wall plaque with abstract figurative decoration, incised signature and dated 1968, diameter 31.5cm, and a ribbed bowl made in 1970 (2). (D) Born in Riga (Latvia), Priem joined the German Air Force, but was captured by the Allies and brought to the UK as a prisoner of war. He was selected to act as an interpreter in a prison camp near Brighton. At the end of the war he was allowed to stay in the UK as long as if he worked as an agricultural labourer. After a full working day, he cycled to Brighton College of Art, where he trained as an art teacher. He worked first in a secondary school in West Yorkshire and later joined the Art Department of Ripon College of Education, where he was mainly responsible for pottery and sculpture.Additional Information2.5cm chip to rim of plaque, otherwise appears good with no further signs of faults, damage or restorations. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 495
ANDRE VERLON (1917-1993); an oil and collage, 'Construction', signed and dated 1964, 32.5 x 50.5cm, framed and glazed. (D)Exhibited: Letchworth Museum and Art Gallery, 1966, catalogue no. 17.Provenance: Purchased from the artist for £25 in 1965.Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 496
ANDRE VERLON (1917-1993); an oil and collage, 'Solitude', signed, inscribed and bearing artist's address label verso, 94 x 58cm, framed. (D)Exhibited: Letchworth Museum and Art Gallery, 1966, catalogue no. 19.Provenance: Purchased from the artist for £110 in 1965; the work is dated 1962.Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 545
BURMANTOFTS FAIENCE; an art pottery jardinière with tubelined decoration depicting stylised flowers and motifs, impressed marks and numbered 2024 to base, height 34cm (af).Additional InformationTwo cracks running from the neck into the interior, approx 5cm long each, faint hairline to the interior approx 4cm long. General surface wear and minor chipping to tube lined decoration. We would not be able to post this item as it would not fit into our largest boxes.
Lot 551
WILLIAM S MYCOCK FOR ROYAL LANCASTRIAN; a pedestal matte finished bowl, with incised decoration depicting Art Nouveau style floral motifs, signed and impressed marks to base, circa 1932, diameter 18cm.Additional InformationGeneral surface wear throughout, light scratches to glaze but good condition.
Lot 645
J CO; an Art Nouveau brass hanging double candle holder, the back plate decorated in relief with an Art Nouveau maiden's head and stylised motifs, attributed to Agres Bankier Harvey, height 38cm.Additional InformationNo apparent polish holes, back panel looks to have been re-soldered, general surface wear throughout, minor indentations to back plate and light scratches.
Lot 130
BRUCE McLEAN (born 1944); a large earthenware plate with brush and incised decoration on buff ground, painted signature and dated 2015, no. 80/100, gallery label, diameter 41.5cm. (D) Exhibited: British Ceramics Biennial, 2015; 100 Plates, New Art Centre, Salisbury, 2016; Out of Stoke, Contemporary Ceramics Centre, London, 2016.Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 131
BRUCE McLEAN (born 1944); a large earthenware plate with brush and incised decoration on pale blue ground, painted signature and dated 2015, no. 86/100, gallery label, diameter 40cm. (D) Exhibited: British Ceramics Biennial, 2015; 100 Plates, New Art Centre, Salisbury, 2016; Out of Stoke, Contemporary Ceramics Centre, London, 2016.Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 132
BRUCE McLEAN (born 1944); a large earthenware plate with brush and incised decoration on pale yellow ground, painted signature and dated 2015, no. 45/100, gallery label, diameter 40cm. (D) Exhibited: British Ceramics Biennial, 2015; 100 Plates, New Art Centre, Salisbury, 2016; Out of Stoke, Contemporary Ceramics Centre, London, 2016.Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 133
BRUCE McLEAN (born 1944); a large earthenware plate with brush and trailed decoration on green ground, painted signature and dated 2015, no. 8/100, gallery label, diameter 39cm. (D) Exhibited: British Ceramics Biennial, 2015; 100 Plates, New Art Centre, Salisbury, 2016; Out of Stoke, Contemporary Ceramics Centre, London, 2016.Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 154
PETER HAYES (born 1946); a raku bottle form with fractured pink surface, impressed early mark, incised signature and dated 1988, height 28.5cm. (D) Provenance: Purchased from Sheila Harrison Contemporary Art, Jermyn Street, London, 1988.Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 138
A Bretby Art Pottery jardiniere, decorated with dragons and the flaming pearl, in greens, yellow and brown, impressed factory mark, 33.5cm; and A Bretby Art Pottery planter, moulded with Neptune, Amphitrite and Salacia, with sea creature mask handles, brown glazed, impressed factory mark and 628, 44cm wide (2) (a.f. damages)
Lot 119
DAVID SHEPHERD (1931-2017), 'Big Five', a portfolio of Limited Edition prints featuring Rhino, Elephant, Buffalo, Lion and Leopard, all signed to lower margin, with Fine Art Trade Guild stamp, Edition No.817, unmounted, approximately 26cm x 43cm (condition: water staining to folio cover, marks to print margins)
Lot 1
Marcia Hafif (American, 1929-2018)#196 1968 signed and dated 1968 on the overlap, signed and dated 1968 on the stretcheracrylic and lacquer on canvas100 by 100 cm.39 3/8 by 39 3/8 in.Footnotes:ProvenanceMarisa Volpi Orlandini Collection, RomePrivate Collection, Rome (by descent from the above)Acquired directly from the above by the present owner LiteratureÉric de Chassey, Marcia Hafif - La période romaine / Italian Paintings, 1961-1969 précédé d'un entretien avec l'artiste, Geneva 2010, p. 125, no. 196, illustrated in black and whiteFormerly in the collection of esteemed curator and art historian Marisa Volpi Orlandini, Marcia Hafif's #196 is a masterfully simple, vivid painting that demonstrates the American artist's ties to Pop Art and Minimalism. Characterised by a melodious enamel surface over a seething, crisp underpainting, #196 is an exemplary work from Hafif's Roman period that saw her engage directly with the surface, exacting forms and colour. Resident in Rome between 1961 and 1969, #196 is from an instrumental passage in Hafif's career that would establish the timbre of her investigations into, what she called, 'Pop-Minimal' painting. Of the 210 paintings she produced over the course of the decade, only half of them survive, making them still more rare and significant. In the present work Hafif's nuanced synthesis of pop colours and minimal structures produces a superbly chic canvas, boasting an erudition and confidence of a consummate master of geometric painting.Born in 1929 in Pomona, California, Hafif closely studied the art of the Italian Renaissance, captivated by the sumptuous panels and frescoes of Fra Angelico. Introduced to collectors and curators including Volpi Orlandini during her tenure in Rome, she was quickly recognised for her talent and significance as an artist at the forefront of the painterly avant-garde of the 1960s, aligning herself with Italian Pop as well as with artist Francesco Lo Savio who was himself a pivotal influence and precursor to American Minimalism. Returning to New York in 1971, she garnered attention for her monochromatic paintings that were a continuation of her earlier Roman works, culminating in her inclusion in Abstract Painting: 1960-69 in 1983 at the P.S.1. Museum, New York, alongside the likes of Brice Marden, Robert Ryman, and Agnes Martin.Across an oeuvre that has been overlooked and considerably undervalued, Hafif has proven herself to be one of the most serious minimalist painters and theoreticians, consistently pushing the significance of the materiality and synesthetic affects of paint. Writing in Artforum in 1978, she commented: 'The options open to painting in the recent past appeared to be extremely limited. [...] we may be ready to enter still another phase of abstraction, a synthetic period' (Marcia Hafif, 'Beginning Again', Artforum, September 1978, No. 17, Vol. 1, online). In the present work, the canvas ebbs and flows under a radiant orange hue, abutted by a sine wave of marine blue enamel. A painting that demonstrates all the subtlety and skill of a refined master drawing upon the palettes of Pop Art and the aesthetics of Minimalism, #196 is a fresh to market work of exceptional provenance by an artist whose career is overdue an institutional and market reassessment.For further information on this lot please visit Bonhams.com
Lot 14
Carla Accardi (Italian, 1924-2014)Negativo (ideogramma) 1954 signedenamel and casein on canvas88.5 by 116.5 cm.34 13/16 by 45 7/8 in.This work was executed in 1954.Footnotes:This work is registered in the Archivio Accardi Sanfilippo, Rome, under no. 50.ProvenanceArchitetto Luigi Moretti Collection, RomeThence by descent to the present ownerExhibitedParis, Galerie Rive Droite, Individualités d'aujourd'hui, 1955LiteratureGermano Celant, Carla Accardi. La vita delle forme, Rome 2011, p. 320, no. 1954 40, illustrated in colour; p. 321, illustrated in black and white (installation view)Negativo (ideogramma) from 1954 is a rare and intricate painting by Carla Accardi which was purchased by renowned architect Luigi Moretti in the mid-1950s and has stayed in his family collection since.Luigi Moretti was one of the most prominent Italian architects and designers of the Twentieth Century having worked on the design of landmark buildings of pre and post WWII. His projects have included the design of Casa del Balilla (1932-1937) and Accademia di Scherma (1936) in Rome, the house Il Girasole in 1949, which is considered one of the earliest example of postmodernist architecture, as well as the Watergate Complex in Washington (1962-1971) and the Stock Exchange House in Montreal, which by the time it was completed in 1964 was the tallest building in Canada. Luigi Moretti was also an intellectual and a writer; in 1950 he founded the architectural magazine Spazio and in 1954 he opened Galleria Spazio in Rome. Open for two short years, the gallery hosted an exhibition of Carla Accardi's work in 1955. This painting, thanks to art critic Michel Tapié, who met Accardi in 1954 and who became extremely interested in her works, was also exhibited at Galerie Rive Droite in Paris in 1955 alongside works by Franz Kline, Georges Mathieu, Karel Appel and Claire Falkenstein. This work was executed in a pivotal moment in the artist's career; in 1953, after a period dedicated to constructive-concrete paintings, Carla Accardi started to focus on pseudo-calligraphic signs and it is in 1954, the year of the execution of the present work, that she started to alternate black and white segments which would evolve into the increasingly complex structures, that are visible in the present work. This painting is considered a 'negativo' (negative), here the white and dark grey segments are painted alongside one another on a black background in opposition to her 'positivo' (positive) works which are conceived the other way around. This 'language' which explores the relationship between figure and ground will become the leitmotiv of Carla Accardi oeuvre and one which would continue to evolve until Accardi's death in 2014. Today Carla Accardi is finally regarded as the most important Italian female artist of the Post-War period and her works are held in the most prestigious public collections such as the Guggenheim in New York, the Centre Pompidou in Paris, Galleria Nazionale d'Arte Moderna in Rome and the Fondazione Prada in Milan.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 17
Lucio Fontana (Italian, 1899-1968)Crocifisso 1948-1950 painted and glazed ceramic37 by 21.6 by 12.8 cm.14 9/16 by 8 1/2 by 5 1/16 in.This work was executed in 1948-1950.Footnotes:This work is registered in the Fondazione Lucio Fontana, Milan, under no. 2240/16, and is accompanied by a photo-certificate of authenticity.ProvenancePrivate Collection, FranceAcquired directly from the above by the present ownerA work of supreme, transcendent beauty, Lucio Fontana's Crocifisso (1948-1950) is a sterling demonstration of the artist's ineffable capacity for pushing his materials and methods to their technical limits. Appearing to emerge from the lustrous black of the painted ceramic cross, arms raised aloft, Fontana's Christ is a devotional image laden with Baroque curlicues, spiritual force, and aesthetic drama that is prototypical of the Spazialismo movement Fontana founded in 1947. An artist revolutionising the aesthetic and theoretical parameters of art in the traumatic fallout of World War II, Fontana's importance as a figurehead of the Modern period cannot be understated. Moulded, painted, and fired during this hugely influential period of cultural redefinition, the present Crocifisso is testament to Fontana's lifelong appreciation of art as a key to the nether dimensions, a means to communicate with and pass through the envelope of our veiled perception. A sculpture of enduring beauty, with comparable works held in the collection of MoMA, New York, and the Musei Vaticani, Rome Fontana's Crocifissioni have formed key displays in retrospective exhibitions of the artist's oeuvre, most recently at the Terra e Oro (Earth and Gold) exhibition at Galleria Borghese in Rome. Over the course of one of the most subversive and thought-provoking careers, Fontana consistently challenged predetermined notions of creative methodology. Whilst tackling one of the oldest themes of art history, Fontana's Crocifisso presents a timeless vision of Christ in flux, the feathered tips of clay forming ornate leaves that reach into space, creating deep crevices between the limbs of the soaring Messiah and dissolving the distinction between the body and its support. 'We live in the mechanical age', the artist declared in the Manifesto Blanco, published in Buenos Aires in 1946, 'painted canvas and upright plaster no longer have any reason to exist' ('Manifesto Blanco', 1946 in E. Crispolti and R. Siligato Eds., Lucio Fontana, Milan 1998, p.115). Expressing one of the starkest images of human suffering, Fontana's Crocifisso emerges in the aftermath of global violence and captures the the vision of an artwork that goes beyond its medium and beyond the conditions of the present reality, materialising from a blackened precipice. A glazed ceramic that floats and twists with the weightlessness of silk drapery, the present work belies the weight of its earthenware, disguised under ethereal threads of clay and paint. Fontana's sculptures remain overlooked as fundamental objects that offer a significant insight into the artist's practice. Originally trained as a sculptor, first under his father Luigi, before studying at the Accademia di Belle Arti di Brera in Milan between 1928 and 1930, Fontana's relationship and theoretical interest in the space occupied and delineated by the art object is, first and foremost, grounded in his understanding of sculpture. In the present work this becomes tacitly clear. Modeling and moulding the clay with his hands, the Crocifisso boasts an immaculate surface of fleurettes, crevices and cascades, coalescing and springing from the body of the clay, realising Fontana's vision of 'neither painting nor sculpture [...] but [a] continuity of space in matter' (the artist in: E. Crispolti and R. Siligato Eds., Lucio Fontana, Rome 1998, p.118). Not only is Christ present as a being that transcends notions of the physical and spiritual worlds, but also as one who passes between dimensions, emerging from a lucid, alien form that conjures images of galaxies, neutron stars and the sprawling material of the monumental cosmos. The timelessness and supernatural appearance of Fontana's Crocifisso demonstrates the incredible ability of the artist to synthesise art historical, material and stylistic tropes into a single, radical form. To Fontana, '[the] Baroque was a leap ahead [...] it represented space with a magnificence that is still unsurpassed and added the notion of time to the plastic arts. The figures seemed to abandon the flat surface and continue the represented movements in space' ('Manifesto Blanco', 1946, in op. cit.). Projecting from the corpus of the ceramic, the stylistic character of the work is compelling and dynamic, channeling the energy of El Greco's florid Christ on the Cross (1600-1610) with the solidarity of its making. A breathtaking sculpture whose delicacy and craftsmanship is matched by its impassioned visual power, Fontana's Crocifisso is a rare and extraordinary artwork by one of the most important artists of the Twentieth Century.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 19
Arnulf Rainer (Austrian, born 1929)Verschränkungen 1972 signed and titledcrayon and ink on photograph59.3 by 49.7 cm.23 3/8 by 19 9/16 in.This work was executed in 1972.Footnotes:ProvenanceGalleria LP 220, TurinPrivate Collection, EuropeSale: Sotheby's, Olympia, Contemporary Art, 18 June 2007, Lot 561Acquired directly from the above by the present ownerThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 2
Keith Haring (American, 1958-1990)Dog 1986 signed, dated 86 and numbered 8/10 on a label affixed to the reverseenamel and silkscreen on plywood128 by 96 by 4 cm.50 3/8 by 37 13/16 by 1 9/16 in.This work is number 8 from an overall edition of 35, consisting of 15 white on black, 10 black on yellow, 10 red on black, 7 artist's proofs and 3 unique colour variant trial proofs.Footnotes:ProvenanceEdition Schellmann, Munich - New YorkPrivate Collection, SwitzerlandLiteratureJörg Schellmann, Edition Schellmann 1969-1989, Munich 1989, p. 137, another example illustrated in colourJörg Schellmann, Forty Are Better Than One, Munich 2009, p. 143, another example illustrated in colourDog, from 1986 is a quintessential and powerful work by Keith Haring. A pioneer of the Contemporary Art world, Keith Haring's work would go on to redefine art as we know it. Working alongside artworld giants such as Andy Warhol and Jean-Michel Basquiat, Haring sought to break down the barriers between high and low culture, creating a whole new vocabulary of symbols, one that would become synonymous with the visual culture of the latter half of the twentieth century. Executed in 1986, Dog is boldly demonstrative of the artist's unique vocabulary and more specifically his most recognisable motif, the barking dog.Addressing highly controversial and taboo subjects, Haring didn't shy away from uncomfortable truths surrounding social injustice, AIDS, the drug crisis and racism, which he depicted using his unique iconography. Embedded in the fast and decadent culture of 1980s New York, Haring's work mimicked the city's own convergence of high and low culture, bringing together the creative principles of graffiti, semiotics and the art historical canon. By elevating primitive stick figures and cartoon characters to the same level as high art, Haring sought to democratise art, championing the individual and standing up for the oppressed. Based on a keen awareness of how pictures can serve a similar function to words, Haring was impressed early on by the hieroglyphic writings of the ancient Egyptians. In the present work, the plywood has been cut to the shape of a dog, reminiscent of the Egyptian deity, Anubis. Half-human, half-jackal, Anubis, god of the underworld, would lead your soul to the afterlife. Describing his work, Haring stated 'I was thinking about these images as symbols, as a vocabulary of things. In one a dog's being worshiped by these people. In another one the dog is being zapped by a flying saucer. Suddenly it made sense to draw on the street, because I had something to say. I made this person crawling on all fours, which evolved into the 'baby.' And there was an animal being, which now has evolved into the dog. They really were representational of human and animal. In different combinations they were the difference between human power and the power of animal instinct' (the artist in an interview with David Sheff, 'Keith Haring: Just Say Know', www.rollingstone.com, 10 August 1989).The barking dog is one of Haring's trademark picture-words, with Anubis standing in for its most macabre iteration: death. Visually assertive, the bright yellow paint used in conjunction with the shine of the black silkscreen ink in the present work acts as a warning sign, while the X-branded men, television sets and transgressive images of men and dogs emphasise the animal instinct in each of us. The dizzying frenzy of the work's interior filled with dozens of Haring's picture-words, create a fluid sentence moving through the crawling baby in the lower left foot – the emblem of a positive future – through to anthropomorphic dogs dancing on top of men – playing into Egyptian conceptions of life and death as well as Christian notions of the 'dance of the dead'. Scattered throughout are human targets branded by the letter X, including one involved in explicit liaisons with a dog in the foot of the right leg and another at the very top, the winged man or angel – symbol of death but also of the battle of good against evil – rides a dog, the X sealing their fates. These symbols would have deeply resonated with those living through the AIDS epidemic sweeping through New York City. As a gay man, Haring's life and work were entrenched in this community, becoming a huge advocate for AIDS activism. In 1989 following his own fateful diagnosis he would go on to found the Keith Haring Foundation which would provide funding for AIDS organisations and children's programmes. Keith haring died in New York City on 16 February 1990 at the age of 31.During his short ten-year career, Haring managed to produce some of the most iconic and universally recognisable images of the late twentieth century, producing work that would go onto influence a generation of artists. Through the work of the Keith Haring foundation, Haring's work has been recognised across major galleries and institutions worldwide and can be found in the collections of the Whitney Museum of Art, Washington, LACMA, Art institute of Chicago, the Ludwig Museum, Cologne and the Stedlijk Museum, Amsterdam including a recent major retrospective at the Tate Liverpool, currently on view at the BOZAR in Brussels.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 31
Manuel Rivera (Spanish, 1927-1995)Metamorfosis (Imagen) 1960 signed on the inside of the frame; signed, titled, dated 1960 and variously inscribed on the reverse of the framemesh and wire in metal frame81 by 60 cm.31 7/8 by 23 5/8 in.Footnotes:We are most grateful to Mr. Alfonso de la Torre for the information he has kindly provided.ProvenancePrivate Collection, ItalyAcquired directly from the above by the present ownerLiteratureMiguel Logroño, 1956-1981 Manuel Rivera: Los dos lados del espejo, Madrid 1981, p. 54, listedMarisa Rivera, Aproximación a un Catálogo Razonado, 1943-1994, Madrid 1997, p. 182, listedAlfonso de la Torre, Manuel Rivera, Catálogo Razonado de Pinturas, 1943 - 1994, Madrid 2009, p. 167, no. [232] P-60-17, listedFloating in a sturdy but subtle framework, the complex layers of wire netting of Metamorfosis (Imagen) are superimposed and set against each other at different levels to build an imaginative landscape of forms and depth. The work beautifully displays the formal simplicity of abstraction whilst forever changing depending on light and shadow, as well as the viewers position and emotions when viewing the work. Rivera was never tempted by sculpture or cold kinetic experimentation, he referred to his works as paintings and the expressive interplay of mesh and light with its hypnotic moiré pattern create an experience akin to the works of the Abstract Expressionists. Although Rivera's work is more abstract than that of his fellow El Paso members, he too was influenced by his environment and so we can see history, nostalgia and the artists personal memories, especially of his childhood in Grenada and of the Alhambra, woven into the mesh of his oeuvre. Rivera liked to find poetic pretexts and reference points for his paintings, and he was greatly influenced by cinema, a true symbol of modernity. In his Metamorfosis works he paid tribute to Ingmar Bergman, and not only did he meet his wife at the Regio cinema in Granada, Rivera also found artistic inspiration when he encountered some wire mesh prophetically hanging in the air in a hardware shop window on his way to the cinema. After seeing 'Black Orpheus' by Marcel Camus in 1959 he subtitled two of his Metamorfosis pieces 'Orfeo' and 'Eurídice' and increasingly played with the idea of the image and mirrors in his titles. Like Orpheus crosses the mirror, or Alice the looking glass, the viewer of his subtly manipulated, shimmering metallic paintings is transported to infinite unknown worlds. Executed in 1960, Metamorfosis (Imagen) stems from one of most productive and successful periods of Manuel Rivera's artistic production. Following the devastation of the civil war and confronted with the challenges that modern art faced in Spain at the time, Rivera pursued similar goals to the American Abstract Expressionists in the late 1950s and gradually moved away from a traditional figurative painting style towards abstraction. Along with fellow artists such as Antonio Saura, Manolo Millares, Luis Feito and Rafael Canogar, all of whom were instrumental in defining the Spanish avant-garde of the Post-War era, he co-founded the El Paso movement in 1957. By 1960, the year the present work was executed, Rivera had already found broad international recognition, having exhibited at the 4th Biennial of São Paulo in 1957 and the 29th Venice Biennale in 1958. His works are included in the permanent collections of such prestigious international institutions as the Galleria Nazionale d'Arte Moderna in Rome, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Stedelijk Museum in Amsterdam, MOMA and the Solomon R. Guggenheim Museum in New York and the Tate Gallery in London, among others.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 32
Wifredo Lam (Cuban, 1902-1982)Les Jumeaux, II 1963-1969 signed and dated 1963oil on burlap120.7 by 111.7 cm.47 1/2 by 44 in.This work was executed between 1963 and 1969.Footnotes:This work is accompanied by a photo-certificate of authenticity signed by Lou Laurin-Lam.We are grateful to Mr Eskil Lam for confirming the authenticity of this work.ProvenanceCollection of the artist, ParisPrivate Collection, Europe (acquired directly from the above)Sale: De Vuyst, Lokeren, Art Ancien, Moderne et Contemporain: Première Vacation, 22 October 2011, Lot 307Acquired directly from the above by the present ownerExhibited Kessel, Galerij Dobbelhoef, Wifredo Lam, 25 olieverfs-childerijen, 15 pastels, etsen en litho's en Joan Miro, 30 kleuretsen en litho's, 1978 Nantes, Musée des Beaux-Arts, Wifredo Lam, Voyage entre Caraïbes et avant-gardes, 2010, p. 120, no. 48, illustrated in colour Literature Michel Leiris, Wifredo Lam, Milan 1970, p. 212, no. 168, illustrated in colour (in an intermediary stage)Max-Pol Fouchet, Wifredo Lam, Paris 1976, p. 243, no. 548, illustrated in black and white (in an intermediary stage)Max-Pol Fouchet, Wifredo Lam, Barcelona 1989, p. 263, no. 580, illustrated in black and white (in an intermediary stage)Lou Laurin-Lam and Eskil Lam, Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume II, 1961-1982, Lausanne 2002, p. 317, no. 69.39, illustrated in black and white (in an intermediary stage)Jacques Leenhardt, Wifredo Lam, Paris 2009, p. 237, illustrated in colourBorn in Cuba in 1902 to a Chinese immigrant father and mother of African and Spanish descent, Wifredo Lam's internationalism would play an integral role in the development of his style. Les Jumeaux, II, 1963 – 1969 with its paired back palette of ochre and earthen tones is a consummate example of the artist's work, combining the aesthetic and theoretical power of Surrealism and Cubism with Lam's own aesthetic flavour. In 1918, Lam began his studies at the Escuela de Bellas Artes in Havana, where he would be trained in academic painting, however the academic conservatism of the Bellas Artes did not inspire the artist and in 1923, with the aid of a scholarship Lam would travel across the Atlantic to Madrid, setting the scene for the beginning of his artistic development. In 1938, Lam moved to Paris, where he would meet some of the leading artists of the time including Pablo Picasso, a great admire of his work, Picasso would go on to collect many of his paintings. Marking a significant turning point in his career, it was in Paris that the artist would come into contact with African Art and Surrealism, which would have a huge impact on the development of his work. With the outbreak of World War II, Lam was forced to flee France and return to Cuba, only returning to Europe after the war. This powerful encounter between Cuban culture and avant-garde Europe would allow Lam to produce some of the most powerful and striking images of the twentieth century. An impressive and sophisticated work, created in two stages over a six-year period, Les Jumeaux, II (The Twins) incorporates the aesthetic qualities learnt during his time in Europe with elements of Cuban and Lam's own personal culture. Bound together in a totemic and disconnected embrace, reminiscent of Chinese symbols, the present work derives much of its inspiration from Cubism, the geometric composition and palette invoking Pablo Picasso's Girl with a Mandolin, 1910. While Picasso's deconstructive masterpiece retains its figurative femininity, Lam uses symbolism to create a purely representational image, one that looks beyond the female form. Inspired by the Cuban Santería religion, which finds its origins in Yoruba and West African traditions as well as savage Spanish Catholicism, the twins known as Ibeye – the catholic equivalents of Saint Cosmas and Saint Damian – are depicted. Descendants of the god of lightening, the Ibeye are sacred among the Yoruba and are considered to be the guardians and protectors of priests and houses. An enigmatic image, Lam reaches between the familiar and the unknown, projecting the viewer into an irrational and imaginary world.A giant of the avant-garde, Wifredo Lam's work can be found in the collections of public and private museums across the world including; The MoMA in New York; the Art Institute of Chicago; the Museo Nacional de Bellas Artes in Havana; the Museum of Modern Art in Brussels; the Reina Sofia Museum in Madrid and the National Gallery of Art in Washington, D.C. among many others. In 2016 his work was celebrated in the landmark retrospective at the Tate Modern, London to great acclaim.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 5
Yan Pei-Ming (Chinese, born 1960)Paysage International, retour sur le lieu du crime 003 1999 signed in Pinyin, signed in Chinese, titled and dated 1999 on the reverseoil on canvas180 by 300.5 cm.70 7/8 by 118 5/16 in.Footnotes:ProvenanceBernier/Eliades, AthensAcquired directly from the above by the present owner in 1999ExhibitedAthens, Bernier/Eliades, Yan Pei-Ming, 1999, no. 4LiteratureFrancesco Bonami, Yan Pei-Ming, New York 2017, p. 104, illustrated in colourWith works held in the collections of the world's most prominent institutions including the Centre Georges Pompidou, Paris and the National Museum of Modern Art, Tokyo, Yan Pei-Ming's career has soared since his beginnings creating propaganda frescoes idealizing popular heroes of the Cultural Revolution. In 1980 the artist left for France, where he would develop his signature style of over-sized portraits and anonymous landscapes in palettes of black, white and red. Recognized today as one of China's most important contemporary artists, his work is currently being celebrated in a landmark exhibition at the Petit Palais, Paris.Impressive in scale and reproduced in Francesco Bonami's monumental monograph on the artist, Paysage International, retour sur le lieu du crime 003 depicts an impenetrable blackened scene, one that is both everywhere and nowhere; a disquieting image that is further compounded by the work's title. As described by the artist, 'if you paint a landscape, often it is seductive. 'Yes, this is a pretty landscape.' If you title it 'Lieu du Crime' [Scene of the crime], however, something happens. It's as if you are walking down the street and someone says to you, 'A man was killed here a while ago.' Suddenly the place acquires a history.' (the artist in: 'Chinese Kungfu: Fabian Stech, interview with Yan Pei-Ming,' in Yan Pei-Ming, Execution , Dijon 2006, p.43). The image becomes emotionally charged, compelling the viewer to assign personal meaning to it. Oscillating between gestural representation and abstraction, his singularity of subject matter in conjunction with his use of infinite tautology impresses upon his works' collective character. A timeless beauty, the anonymity of the landscape becomes steeped with meaning, visible not only in the title but in the artist's subtle use of textures, revealing a tactile and layered surface. Executed with both speed and precision and without the use of sketches, Yan Pei-Ming work only seeks to reinforce the importance of the gesture and ultimately the act of painting itself.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lots denoted with a 'TP' 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 6
Christo (American, born 1935)The Pont Neuf Wrapped (Project For Paris), in two parts 1979 signed, titled and dated 1979 on the upper panel; variously inscribed on the reverse of each panelpastel, wax crayon, charcoal, graphite and printed paper on card laid on board, in a Perspex frameUpper Panel: 38 by 244 cm.14 15/16 by 96 1/16 in.Lower Panel: 107 by 244 cm.42 1/8 by 96 1/16 in.Footnotes:ProvenanceCarl Flach, SwedenSale: Sotheby's, London, Post-War and Contemporary Art, 3 December 1992, Lot 68Galerie Bernard Cats, BrusselsAcquired directly from the above by the present owner in 1994Over the course of one of the most enchanting and beloved artistic careers – famed for producing some of the greatest monumental and dramatic works of public sculpture to ever be realised – American artist Christo and his wife Jeanne-Claude have redefined the notion of public sculpture, bringing their 'wrapped' projects to cities including Berlin, Chicago, Milan, and Paris. Presented here are two sterling examples of Christo's preparatory artworks for The Pont Neuf Wrapped and The Umbrellas, each project realised in 1985 and 1991 respectively. Internationally lauded and collected by museums that include the Art Institute of Chicago, the Cleveland Museum of Art, USA, and the Tate collection, London, the Centre Pompidou in Paris will play host to a major retrospective of Christo and Jeanne-Claude, opening in March 2020, before presenting one of their most significant and highly anticipated wrapped monuments in September; covering the Arc de Triomphe in Paris with 25,000 square meters of fabric for a period of 16 days. Contemplative and beautiful, Christo's practice emerged from the Nouveau Réalisme movement in Paris in the early 1960s alongside artists including Yves Klein and Jean Tinguely. Having fled the Eastern Bloc, escaping from Czechoslovakia to Vienna in 1957 before making his way to the French capital, the artist found his quintessential style early on, wrapping cans, bottles, shoes, and chairs in his Paris attic studio, before meeting his lifelong collaborator and wife Jeanne-Claude in 1958. Offered for sale are two preparatory renderings of a pair of enormously complex projects Christo and Jeanne-Claude would undertake years after their conception. The Pont Neuf Wrapped (Project For Paris) (1979) – one if the largest Christo works to ever come to market – and The Umbrellas (Joint project for Japan and USA) (1990) illustrate the extravagant conceptual mind that made Christo and Jeanne-Claude two of the most celebrated and admired creative visionaries of the last half century. The Pont-Neuf bridge was first completed in July 1606 and is the oldest bridge crossing the river Seine in the French capital. An icon of Paris, joining the left and right banks and the Île de la Cité for over 400 years, it has been immortalised in paint by J.M.W. Turner, Pierre-Auguste Renoir, and Camille Pissarro alike. Joining such a canon of artists to tackle this historical site, the present work by the artist is a rare, large-scale, two-part study for the proposed project that took ten years of negotiations and two rejections before it was finally executed in 1985. Turning one of the most important pieces of architecture in Paris into a uniform façade of folds and bindings, Christo and Jeanne-Claude drew attention to the history, the design, and the mythology of the 'City of Light', highlighting the building blocks of a culture and a nation; appreciating them by veiling them. Documenting the ephemeral, 14-day event, the energetic diptych, The Pont Neuf Wrapped (Project For Paris), depicts a charming blend of studied, expressive and technical marks, combined with notes and comments by the artist's hand, capturing the committed and all-encompassing approach to what would become one of the duo's most iconic wrapped monuments. A thought-provoking and more politically weighted piece, The Umbrellas (Joint project for Japan and USA) depicts one of Christo and Jeanne-Claude's most elaborate and poignant works of public sculpture, ambitiously constructed between two continents either side of the Pacific Ocean in 1991. From 9th October that year for 18 days, 3100 oversized umbrellas standing at little over 6 meters high, divided between two valleys in Japan and California, USA, were opened and stood silently and proudly as objects that sheltered and mirrored one another across nations that had previously known intolerable war against one another. Often rebutting the political or historical reading of their work, the couple's temporary monuments nonetheless consistently nudge a reading of them as being bound to their sites and their shapes, drawing attention to their location and social currency. In the present work, Christo's Japanese umbrellas dance through the valley of the Sato River, wonderfully depicted in vivid hues of green and blue, inscribed exuberantly in pencil on paper, alongside a technical map of the lowland in the Prefecture of Ibaraki. As much technical drawings as they are visions of a project to-be, the two diptychs by Christo offered here are superlative examples of the artists' fleeting monumental projects and their lasting preparatory studies. Works of art in their own right, they stand as exquisite landscapes that chart the magnificent and provocative impact Christo and Jeanne-Claude have had, not just as great sculptors, but as an artist-duo who have made history and culture their very medium.This lot is subject to the following lot symbols: * AR* 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.For further information on this lot please visit Bonhams.com
Lot 112
Globes.- Dunn (Samuel) The Description and Use of the Universal Planispheres, or Terrestrial and Celestial Globes in Plano, second edition, occasional ink notes in a contemporary hand, spotting, contemporary boards, chipping to spine and corners, Printed and published for the author & W. Owen, 1759 § Ferguson (James) Lectures on Select Subjects in Mechanics, Hydrostatics, Pneumatics, and Optics: With the Use of the Globes, the Art of Dialing, and the Calculation of the Mean Times of New and Full Moons and Eclipses, first edition, 23 engraved plates, occasional spotting, ink name to title, contemporary calf, rebacked, extremities rubbed, A. Millar, 1760, [Tomash & Williams D72 & F39], 8vo (2)
Lot 118
Good (John) The Art of shadows: or, universal dialling, second edition, 11 engraved folding plates, hour scale pasted on rear endpaper, browned, contemporary panelled calf, sympathetically rebacked, [Tomash & Williams G59], 8vo, J. Robinson and others, 1711.⁂ Provenance: "Robert Kyffin" and "R. Kyffin 1712" (ink inscriptions to title page and endpaper).
Lot 164
Leybourn (William) The Art of Dialling, Performed Geometrically... Arithmetically... Instrumentally, first edition, engraved portrait, folding plate and 1 illustration, woodcut head-piece and diagrams, ink erasure on title, first gathering soiled, contemporary calf, spine and corners neatly and sympathetically repaired, preserved in custom drop-back box, [Tomash & Williams L89; Wing L1900], 4to, S. A. and B. G., 1669.⁂ This issue has "dialling," in line 2 of title, and the imprint date 1669; another issue has "dialling:" and is undated.Provenance: John Harwood, 1701 and Chaloner Greville (ink inscriptions); Greville Mairis Livett (bookplate).
Lot 208
Navigation.- Newhouse (Daniel) The Art of Sailing by the Logarithms, or artificial sines and tangents. Being the most exact way of working all sorts of traverses, and keeping a reckoning at sea. The whole being practically and very intelligibly laid down, with necessary questions in astronomy. Being the second part of the whole art of navigation, first edition, tables and diagrams, title with short tears to gutter, occasional browning, bookplate removed from title verso, lacking front free endpaper, contemporary red panelled morocco, richly gilt with acorn, floral and foliage tools, all within three sets of triple filet borders, spine in compartments, each with a single floral tool, extremities rubbed, cracking to joints, [Tomash & Williams N27], 4to, for Richard Mount , 1701.⁂ First edition of this second part of Newhouse's The Whole Art of Navigation. The unnumbered leaves at the end of this book contain James Atkinson's A Triangular Canon Logarithmical: or a table of artificial sines, tangents and secants. The Naval Binder used a small parrot head stamp, very similar but not identical to this stamp.
Lot 268
Surveying.- Wing (Vincent) Geodætes practicus: or, The art of surveying, first edition, woodcut initials head- and tail-pieces, tables and diagrams, 2 engraved plates (1 folding), H6 a cancel (stub visible), occasional light spotting, 20th century calf, [Tomash & Williams W91; Wing W2991], 8vo, William Leybourn for George Sawbridge, 1664.⁂ Rare. One of the first books of surveying to be written for use as a handbook.
Lot 42
Babbage (Charles) Observations On The Discovery In Various Localities Of The Remains Of Human Art Mixed With The Bones Of Extinct Races Of Animals, offprint from Proceedings Of The Royal Academy, presentation copy with ink inscription "To George Ticknor Esquire, from the Author" to head of title, disbound, title trimmed at head, first and last ff. loose and a little chipped, [Tomash & Williams B46; cf. Origins of Cyberspace 78, Van Sinderen 75 (journal issue, where pp.59-72)], 8vo, 1859.⁂ Provenance: George Ticknor (1791-1871, American traveller and scholar, presentation inscription), Ticknor records visiting Babbage in his journal.
Lot 68
Brown (John) Horologiographia: or, the art of dyalling, being the second book of the use of the trianguler quadrant, first edition, 25 engravings cut out and tipped onto margins of text leaves (originally printed on 41 leaves), lacking frontispiece and some diagrams, blindstamp to head of title and first 2 text ff., bookplate to pastedown, contemporary calf, rebacked, [Tomash & Williams B274; Wing B5042], 8vo, John Danby and others, 1671.⁂ Rare, often found defective.Provenance: The Earls of Macclesfield (bookplate and blindstamps).
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