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Lot 597
Weihrauchgefäß China 18. JhAuf drei Beinen am Ansatz der Wandung mit Löwenmaskaron, kugeliger Korpus mit vierpassigen Reserven darin Darstellung eines Pfaues, seitlich graviert Blüten und Kiefernzweige. Henkel in Drachenform, gewölbter durchbrochener Deckel mit Wolkenrelief, Handhabe in Form eines männlichen Fo Hundes die Pranke auf einem Ball. Bronze dunkelbraun patiniert. Unterseite Signatur. H.: 24 cm.
Lot 156
A Bijouterie Lafayette Paris 8685 Art Deco three tone marble mantel clock decorated to top with bronze leopard, approx. height 32cm. IMPORTANT: Online viewing and bidding only. Collection by appointment via our website or arrange with Mailboxes Etc couriers ONLY. Restrictions apply to ensure social distancing.
Lot 747
Vasenobjekt Richard Meitner, 1993 2-teilig. Farbloses und schwarzes Glas, partiell säuremattiert und laminiert. Bronze. In Gravur signiert und datiert: R. Meitner '93. H. 28 cm Lit.: Ausst.- Kat. ''Richard Meitner'', Musée des Arts Décoratifs, Paris 1991, Farbtafel S. 15.Bitte beachten Sie, dass dieses Objekt regelbesteuert ist. Fu?r Kunden innerhalb der EU wird auf den Zuschlag zuzu?glich 26 % Aufgeld,die gesetzliche Umsatzsteuer von derzeit 19 % erhoben. Ausgenommen hiervon sind Käufer aus dem Drittland, der Schweiz sowie Händler innerhalb der EU mit Umsatzsteuer-ID-Nr.. Please note that this item is calculated with standard taxation.EU customers have to pay the hammer price plus 26 % premium and value added tax (19%).Excluded from this are buyers from non-EU countries, Switzerland and EU Dealers with valid VAT no.
Lot 19
Germaine Richier (1904-1959)Claire-voie n° 3 1956 signed, numbered 1/8 and incised with the foundry mark Susse Fondeur Paris on the basepatinated bronze35.5 by 18.5 by 14 cm.14 by 7 5/16 by 5 1/2 in. This work was conceived in 1956, and is from an edition of eight numbered versions and four subsequent editions numbered HC1, HC2, HC3 and EA. Footnotes:ProvenancePrivate Collection, UKThence by descent to the present ownerExhibitedZurich, Kunsthaus, Germaine Richier, 1963, another example exhibitedArles, Musée Réattu, Germaine Richier, 1964, another example exhibitedSaint-Paul de Vence, Fondation Maeght, Germaine Richier: Rétrospective, 1996, pp. 153, no. 94, another example illustrated in black and whiteBern, Kunstmuseum Bern, Germaine Richier. Retrospective, 2013-2014, another example exhibitedThis 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
Tony Cragg (B. 1949)Early Forms 1993 incised with the artist's initials, numbered 4/4 and incised with the foundry mark Raimund Kittl, Düsseldorfbronze72.5 by 46.5 by 56 cm. 28 9/16 by 18 5/16 by 22 1/16 in. This work was executed in 1993, and is number four from an edition of four plus one artist's proof.Footnotes:ProvenanceBuchmann Galerie, BerlinAcquired directly from the above by the present owner in 2007ExhibitedBerlin, Buchmann Galerie, Tony Cragg Early Forms, 1994, p. 45, illustrated in colourThis lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 38
Jaume Plensa (B. 1955)SHADOWS I 2006 stainless steel and stone 242 by 192 by 196 cm. 95 1/4 by 75 9/16 by 77 3/16 in. This work was executed in 2006, and is unique.Footnotes:ProvenancePrivate Collection, US (acquired from the artist)Selling exhibition: Sotheby's, Windermere, Sotheby's at Isleworth: Monumental, 2007 Acquired directly from the above by the present ownerTowering at nearly eight feet tall with arresting presence SHADOWS I, executed in 2006, is a stunning example of Spanish artist Jaume Plensa's text-based sculptures that transform the environments they inhabit.Born in Barcelona, Plensa is renowned for his large sculptures and public installations, which are widely exhibited across the globe with celebrated projects in cities such as Calgary, Chicago, San Diego, Montréal, London, Paris, Dubai, Bangkok, Shanghai, and Tokyo. Installations of his monumental sculptures can be seen in public spaces at the Rockefeller Centre and 30 Hudson Yards in New York City, the Museo Nacional de Arte in Mexico City and Plaza de Colón in Madrid. Over the past 35 years, the artist has produced a multifaceted body of work creating sculpture that speaks to the power and beauty of humanity, bringing people together and enriching communities through their presence. He works with conventional sculptural materials like glass, steel, and bronze but has also gone further to blend this with unconventional media such as water, light and sound to create hybrid works of intricate energy and symbolic richness. Composed of stainless-steel letters that are weaved together in a linguistic fluid form, this present work is an elegant personification of Plensa's sculptures that are so definitive of the artist's oeuvre. Here, a figure sits upon a stone plinth with its arms clasped around its legs in what appears to be a meditative and serene posture, suggesting a sense of tranquillity and peace. Despite its striking originality, we are encouraged to see parallels to the figures we identify in classical sculpture, in its concern with aesthetic beauty and earnest examination of the human soul in the most simplified form. This figure bears no expression, no facial features or the complexities of human existence. Rather than a straightforward portrait, Plensa plays with proportions thus giving instead a sense of spirituality to his faces, as he examines the relationship between body and soul. Plensa's sculptures are unique in their remarkable ability to transform the environments which they inhabit. This present lot invites a dialogue between the sculpture and the surrounding landscape which is readily visible through the interlaced letters that comprise the figure. The sculpture exists in harmony within its setting and transforms the space around it, most notably in the way in which the open and closed form of the letters alter light and shadow. This subject of transparency was of great allure to Plensa; he was intrigued with how he could bring light and its related openness to metal and found he could achieve this through this use of open weave, lattice like letters. Plensa's work explores not only the human form, but also the role of language in the human experience. An avid reader, Plensa was fascinated with language and classical literature; he has a particular interest in the workings of Shakespeare, William Blake and Johann Wolfgang von Goethe regarding their texts as some of his main sources of inspiration. For Plensa, a language and its calligraphy, or alphabet, provided a portrait of cultures, and through the process of incorporating letters together, but without specific meaning, sought to provide a positive metaphor of our world today. He avoids any negative connotation in his work, and instead expresses messages of hope, beauty and unity, he seeks to portray feelings of unanimity despite the conventional barriers that separate humankind. He believed poetry, which for him was a far greater influence than the visual arts, to be a universal language with the capacity to bring humanity together; and has expressed his utopian vision of a world without boundaries. As the artist himself noted, 'One letter alone is nothing, but together with other letters you get a word. A word with a word becomes a text, and so on. A person alone is nothing, but together with others we become family, a neighbourhood, a city, a county, a country.' (The artist in an interview with Ginny Van Alyea, 'An Interview with Artist Jaume Plensa', Chicago Gallery News Online, 8 November 2017).The present work was acquired by the prominent American collector and philanthropist Gerard L. Cafesjian. Born in 1925 in Brooklyn to Armenian immigrant parents, Mr. Cafesjian became a highly successful editor at West Publishing - a firm specialising in legal materials - and spearheaded the launch of the annual 'Art and the Law' exhibition, for which he received the prestigious Business in the Arts Award. Mr. Cafesjian's passion for collecting began with a childhood fascination with geology and gemstones, which later branched into fine art. Over the years, he patroned and developed personal relationships with world-renowned sculptors and ultimately assembled an impressive collection of both lapidary and fine works of art.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 5
Robert Rauschenberg (1925-2008)Intersection (Copperhead) 1989 signed and dated 89; numbered 89.46 on the reversesilkscreen ink, acrylic, enamel and tarnish on copper, in a bronze frame244 by 122 cm.96 1/16 by 48 1/16 in.Footnotes:This work is registered in the archives of the Robert Rauschenberg Foundation, New York, under RRF 89.46.ProvenanceM. Knoedler & Co., New York (A 116778)Private Collection, LondonAcquired directly from the above by the present ownerExhibitedNew York, M. Knoedler & Co., Robert Rauschenberg: Works, 1989, no. 13, illustrated in colourWith its lustrous, subtly reflective copper surface and vivid blend of silkscreened and painted imagery, Intersection (Copperhead) from 1989 is a truly spectacular example from a celebrated series of paintings on metal created during Robert Rauschenberg's ROCI project. Over the course of his 60-year career, Rauschenberg worked in a wide range media including painting, sculpture, fabric collage, printmaking, photography and performance, challenging gestural abstract painting at a time where Abstract Expressionism was the dominant creative philosophy in America. Studying at the famed Black Mountain College under the tutelage of Josef Albers, he quickly rose to be one of the most influential and experimental artists of his time, a progenitor of practically every post-war artistic development since Abstract Expressionism and the first American to win the Golden Lion, the top prize at the Venice Biennale in 1964. Today, his works are highly sought after internationally, and with only two comparable works having been offered at auction in the past ten years, this is a rare opportunity to acquire a signature work by this singular artist.Robert Rauschenberg believed in the power of art as a catalyst for positive social change. He travelled widely throughout his life, participating in numerous international ventures and from 1984 to 1991 he embarked on the ROCI project, the Rauschenberg Overseas Culture Interchange (ROCI) - pronounced 'Rocky,' like the name of his pet turtle. The project was an expression of his long-term commitment to human rights and intended to spark a dialogue and achieve mutual understanding through creative work. As part of the project, Rauschenberg explored diverse cultures and local art-making practices, steering him to countries where artistic experimentation had been suppressed, including Chile, China and Cuba. On his trip to Chile in 1984 Rauschenberg visited a copper mine and foundry and learned from artist Benito Rojo about the potential of tarnishing agents on copper. Mined locally and widely exported around the world, the material was not only of huge significance to the country, but by using it, Rauschenberg demonstrated his solidarity with the Chilean people during the rule of Dictator, President Augusto Pinochet. It also possessed warm reflective qualities that he liked for his own practice, explaining that, 'the metal carries the image instead of the opposite way around, where the paint is the image on the surface.' (the artist in: Galerie Thaddaeus Ropac press release, BOREALIS 1988-92, www.ropac.net, 21 September 2021) The Copperheads (1985/89) are a series of paintings using copper supports, tarnishing agents, acrylic, enamel and silkscreened photographs taken by the artist on his travels. Photography and printmaking were two of his abiding interests, allowing him to document and reflect the countries he visited and the world around him. While the fourteen Copperheads made in 1985 are part of the larger series ROCI Chile, the present work belongs to the first of fifteen series of paintings on metal that Rauschenberg made between 1985 and 1996. With the addition of hand painted enamel, Intersection (Copperhead) is a melange of textures and shadow play, first captured in Rauschenberg's black and-white photographs and then transformed into graphic signs and bursts of colour on the copper surface. A painting that is suffused with the politics of the emergent globalization at the end of the 1980s, it wonderfully demonstrates the artist's adroitness and keen eye for imagery in modern media culture; how they could be propagated, transformed and composed. Set over a both lustrous and murky copper background, the eye is drawn upwards across the vertical pane to find a selection of five distinct images, each assigned a colour or colour combination. Some are more readily recognizable than others: the wheel of a bike for example is centrally positioned between stark letters at the top of the composition. Three small men are encased by the lamp of a traffic light, an image that was photographed in Chile and is clearly referenced in the work's title 'Intersection'. At the base, a yellow chair against a vibrant red background is serenely positioned between two windows and beautifully grounds the composition.Rauschenberg took the photograph of the bike and letters in Moscow; the image of the chair at the bottom of the composition was taken in either Captiva, Florida or the neighbouring Pine Island, near Rauschenberg's studio. Besides the reference to the prominently positioned traffic light, the title of the work also draws attention to the various layers of apparently unrelated imagery intersecting across the picture plane and the juxtaposition between two different modes of paint application: gestural brushstrokes and mechanically reproduced imagery. No specific narrative can be inferred from the figurative motifs and in some areas the imagery is dense, even overlapping, in others it is sparser, leaving part of the copper base bare, only broken up by incidental gestures, including wipes and drips, streaks, washes and spots.Rauschenberg didn't want his paintings to be didactic; rather they are a collection of motifs that lead the viewer on their own journey, and are subject to the viewer's own thoughts, perceptions, and feelings. The present work is a truly magnificent example of some of the artists most recognizable techniques with an imposing and striking presence. Rauschenberg's impact on art history is still felt strongly today, with his works being incredibly popular and amongst the highlights of the most prestigious public and private collections around the globe, including the Centre Georges Pompidou, Paris; Guggenheim Bilbao, Bilbao; Louisiana Museum of Modern Art, Humlebaek; Moderna Museet, Stockholm; Stedelijk Museum in Amsterdam and New York's Museum of Modern Art.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
Lot 39
Jenny Holzer (B. 1950)Living Series: You should limit the number of times... 1980-1982 cast bronze plaque20.3 by 25.4 cm. 8 by 10 in. This work was executed in 1980-1982, and is number one from an edition of three plus one artist's proof.Footnotes:This work is accompanied by a certificate of authenticity signed by the artist.ProvenanceBarbara Gladstone Gallery, New YorkPrivate Collection, UK Thence by decent to the present ownerAnother example of this edition is in the permanent collection of the Museum of Modern Art, New York.For further information on this lot please visit Bonhams.com
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350105 item(s)/page