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Lot 301
A late 19th Century Sunderland Lustre jug depicting a hunting scene with impressed title "Epsom Cup" - H: 20cm, together with a Parian ware pitcher - H: 12cm, a Japanese cloisonne enamel brass dragon & phoenix vase - H: 15cm, Poole pottery pieces, Adams blue & white plates and other ceramic pieces. A collection of ceramics to include an iron Lustre pooja bowl by Wilkinson Ltd - D: 30cm, together with a Shelly bonbon dish, Wedgwood, Coalport cabinet pieces, lidded tureens, meat platters and other pottery pieces (5).
Lot 135
Framed Tower of London Ceramic Poppy from 2014. World War I commemorative item sculpted by the artist Paul Cummins these were displayed in the Towers Moat and each symbolised a British Military fatality from WWI. A wonderful poignant display. ''Blood Swept Lands and Seas of Red'', also included is a Royal Mail commemorative tin containing First Day covers marking the Great War 1914 and a Royal Mint 2 pound coin as well as a framed FLANDERS FIELD ltd edition commemorative coin and a 1981 Diamond Jubilee plate. interesting collection.
Lot 4
JOANA VASCONCELOS (Née en 1971)Love in a Box 2015 carreaux peints, laine, perles en acrylique, polyester, contreplaqué, ferpainted tiles, wool, acrylic beads, polyester, plywood, iron226 x 123 x 46 cm. 89 x 48 7/16 x 18 1/8 in. Réalisé en 2015.Footnotes:ProvenanceAcquis auprès de l'artiste par le propriétaire actuelExpositionsToulon, Hôtel Départemental des Arts, Joana Vasconcelos. Exagérer pour inventer, 2018, p. 51, illustré en couleurs Wakefield, Yorkshire Sculpture Park, Beyond, 2020 - 2022, p. 11, illustré en couleursBibliographieDanilo Eccher, LOVE. L'arte contemporanea incontra l'amore., Milan 2016, p. 291, illustré en couleursNée à Paris, en 1971, c'est à Lisbonne que Joana Vasconcelos suit des études d'arts visuels à l'Ar.Co entre 1989 et 1996. Elle remporte de nombreux prix comme le prix jeunes artistes EDP en 2000, le Tabaqueira Fonds pour l'Art Public en 2003 ou encore le prix de la Fondation Berardo en 2006. En 2012, elle est la première artiste femme invitée à exposer dans le château de Versailles, puis, en 2013, représente le Portugal à la Biennale de Venise. Plus récemment en 2018, le musée Guggenheim de Bilbao a accueilli l'exposition Joana Vasconcelos. Je suis ton miroir, présentant une sélection exceptionnelle de 30 œuvres comprenant des œuvres monumentales et inédites.Artiste engagée, Joana Vasconcelos développe une œuvre politique, engageant une réflexion autour de la domesticité, de l'égalité des sexes et de la société de consommation. Détournant les objets du quotidien et en les associant parfois à l'artisanat, le savoir-faire portugais, elle offre des sculptures, des installations et des monuments qui prennent souvent place dans l'espace public. Love in a Box, réalisée à partir de carreaux de céramiques faits à la main par l'usine Viúva Lamego s'inscrit dans la tradition des azulejos qui ornent les murs de Lisbonne et que l'on retrouve notamment dans les cuisines. Les carreaux forment une fenêtre, leur surface est froide et dure. Ils sont néanmoins transpercés par des fils de laine souples à la texture douce et chaude. Ce contraste saisissant entre les matières et la disposition traversante des éléments annonce une implosion : la fin de l'enfermement des femmes dans leurs taches domestiques et l'égalité des sexes.Cette œuvre a été récemment exposée en Angleterre au Yorkshire Sculpture Park de Wakefield lors de l'exposition Beyond entre 2020 et 2022 mais également en France, à l'Hôtel Départemental des Arts de Toulon en 2018 lors de l'exposition personnelle : Joana Vasconcelos. Exagérer pour inventer. On retrouve les œuvres de Joana Vasconcelos dans les collections permanentes de nombreuses institutions muséales mondiales : National Museum of Women in the Arts à Washington, D.C aux Etats-Unis ; Museo de Arte Contemporáneo de Castilla y León en Espagne ; Amorepacific Museum of Art – à Séoul en Corée du Sud ; et le Musée d'Art Moderne et Contemporain de Strasbourg en France.Son activité sera de plus en plus prédominante dans le paysage culturel européen comme en témoigne le calendrier de ses prochaines expositions. Dans le cadre la saison culturelle France-Portugal, Joana Vasconcelos sera à l'honneur dans notamment deux manifestations d'envergure : Arbre de vie à Paris à la Sainte-Chapelle de Vincennes, Jardin d'Eden à la Maison Folie de Wazemmes de Lille ainsi qu' une installation de la série des Valkyries pour la gare de Lille-Flandres. Au Royaume-Uni, le Waddesdon Manor accueillera également une commande spéciale Wedding Cake pour la Rothschild Foundation.L'engouement international des institutions privées et publiques pour les œuvres de Joana Vasconcelos témoigne de l'importance de cette artiste qui ne cesse de se renouveler dans des créations engagées et saisissantes.Born in Paris in 1971, Joana Vasconcelos did her studies in Lisbon in visual arts at Ar.Co between 1989 and 1996. She won numerous prizes, including the EDP Young Artists Prize in 2000, the Tabaqueira Fonds for Public Art in 2003, and the Berardo Foundation Prize in 2006. In 2012, she became the first woman to be invited to exhibit at the Palace of Versailles, before going on to represent Portugal at the 2013 Venice Biennale. In 2018, the Guggenheim Museum Bilbao hosted the exhibition Joana Vasconcelos. I'm your mirror, presenting an exceptional selection of 30 works including monumental and unseen works. A socially engaged artist, Joana Vasconcelos has developed a politically orientated work, dealing with themes such as domesticity, gender equality and the consumer society. Transforming and reappropriating everyday objects, sometimes linking them to Portuguese artisan techniques, her practice includes sculptures, installations and monuments present in public spaces.Love in a Box made from ceramic tiles handmade by the Viúva Lamego factory hails to the tradition of the azulejos that adorn the walls of Lisbon, notably in the kitchens. The tiles form a window, their surface is cold and hard. Yet here, they are pierced by supple woolen threads of a soft and warm texture. This striking contrast between the materials and the cross-over layout of the elements announces an implosion: the end of the imprisonment of women in their domestic tasks in a move towards gender equality. This work was recently exhibited in England at the Yorkshire Sculpture Park in Wakefield during the Beyond exhibition between 2020 and 2022, before being featured in France at the Hôtel Départemental des Arts in Toulon in 2018 for her solo show Joana Vasconcelos. Exagérer pour inventer.The works of Joana Vasconcelos are present in the permanent collections of many museums across the globe, including the National Museum of Women in the Arts in Washington D.C. in the United States, Museo de Arte Contemporáneo de Castilla y León in Spain, the Amorepacific Museum of Art in Seoul, South Korea and the Museum of Modern and Contemporary Art of Strasbourg in France.Her work is taking a predominant place in the European cultural landscape, as evidenced by her upcoming exhibitions. As part of the France-Portugal cultural season, Joana Vasconcelos's work will be featured in two major cultural events: Arbre de vie in Paris at the Sainte-Chapelle de Vincennes, Jardin d'Eden at the Maison Folie de Wazemmes in Lille as well as an installation from the Valkyries series for the Lille-Flandres railway station. In the UK, Waddesdon Manor will present Wedding Cake, a work specially commissioned for the Rothschild Foundation.The high level of enthusiasm from international private and public institutions for the works of Joana Vasconcelos testifies to the importance of this artist, who continues to renew her artistic language through socially engaged and striking creations.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 70
GUSTAVO BACARISAS Y PODESTÁ (Gibraltar, 1873 - Seville, 1971)."Vista de pueblo".Watercolour and mixed media on paper.Signed in the lower left corner.Size: 34,5 x 28 cm; 50 x 43 cm (frame).Gustavo Bacarisas produced several images dedicated to rural landscapes, in which, as here, he introduced the colour blue with great mastery. A tonality that he mastered to such an extent that it became one of his personal hallmarks. In this image the use of that colour configures a scene in semi-darkness, which is counterbalanced by the warmth of the last shot, lit in such a way as to create a specific moment of the day, when the city, or the village in this case, is dawning. The narrow street, configured through a large diagonal, forms a landscape of great depth, with only an old woman dressed in mourning, next to a little girl tenderly dressed in pink.Gustavo Bacarisas began his studies at the Seville School of Fine Arts and completed his training with a Gibraltar scholarship in Rome (from 1892), Paris, Venice, London and Argentina (between 1906 and 1913), where he held his first solo exhibition in London in 1906 and was relegated to the foreign section at the Madrid National Exhibition of 1915. Settled in Seville in 1914, his fame grew rapidly and he was made an adopted son of the city in 1919. He took part in the Seville Fine Arts Exhibitions of 1916 and 1920, and of particular importance was his solo exhibition of 1921, held at the Museum of Modern Art in Madrid. In 1933 he settled in the Spanish capital, moving during the war to Gibraltar and then to Madeira. He finally returned to Seville in 1945, where he remained until his death. Gustavo Bacarisas's style brought a modern concept to Andalusian painting, in a decorative key but capturing the spirit of things, through beautiful sequences of the life and landscape of Seville and Granada. As a decorator, his production included the set designs and costumes for the opera "Carmen", with a theme similar to that of his painting. He also worked successfully on ceramic paraments for the regionalist architects Juan Talavera and Aníbal González. The balanced combination of tradition and modernity of his style brought him notable successes, as well as the Gold Medal of the Royal Academy of Fine Arts of Santa Isabel de Hungría, of which he was a member since 1964. He was also a member of the San Fernando Academy of Fine Arts in Madrid. Gustavo Bacarisas is represented in the Museo de Bellas Artes in Seville, the Thyssen-Bornemisza and the Museo de Arte Español Contemporáneo in Madrid, among others.
Lot 91
GUSTAVO BACARISAS (Gibraltar, 1873 - Seville, 1971)."Lady with a Fan in the Albaicín", 1922.Oil on canvas. Relined.Attached certificate of authenticity issued by Doña Elsa Jernas, the artist's widow.Work reproduced in the catalogue; Gustavo Bacarisas (1873-1971), Anthological Exhibition. Seville Palacio Mudejar, 1972.Provenance: Elsa Jernas.Preserves early 20th century frame.Measurements: 100 x 80 cm; 118 x 98 cm (frame).In this work the artist represents a seated girl, holding a fan and looking at the spectator with a broad smile. The young woman is set in a landscape depicting a nocturnal view of Aracena (Huelva). This portrait, which has a costumbrista heritage, is dominated by the presence of blue, which was a characteristic tone in Bacarisas's painting, to such an extent that it became one of his personal hallmarks, thus approaching a more symbolist and Noucentist aesthetic trend. This work reveals all the pictorial aspects that defined the painting of Bacarisas, who was one of the most important painters of the early twentieth century: the aforementioned blue tone, the nocturnal landscape for which he felt a predilection and the figure of women with Flemish features were indisputable hallmarks of his lyrical and joyful painting.Gustavo Bacarisas began his studies at the Seville School of Fine Arts and completed his training on a Gibraltar scholarship in Rome (from 1892), Paris, Venice, London and Argentina (between 1906 and 1913). As a Briton, he held his first solo exhibition in London in 1906 and was relegated to the foreign section at the Madrid National Exhibition of 1915. Settled in Seville in 1914, his fame grew rapidly and he was made an adopted son of the city in 1919. He took part in the Seville Fine Arts Exhibitions of 1916 and 1920, and of particular importance was his solo exhibition of 1921, held at the Museum of Modern Art in Madrid. In 1933 he settled in the Spanish capital, moving during the war to Gibraltar and then to Madeira. He finally returned to Seville in 1945, where he remained until his death. Gustavo Bacarisas's style brought a modern concept to Andalusian painting, in a decorative key but capturing the spirit of things, through beautiful sequences of the life and landscape of Seville and Granada. As a decorator, his production included the set designs and costumes for the opera "Carmen", with a theme similar to that of his painting. He also worked successfully on ceramic paraments for the regionalist architects Juan Talavera and Aníbal González. The balanced combination of tradition and modernity of his style brought him notable successes, as well as the Gold Medal of the Royal Academy of Fine Arts of Santa Isabel de Hungría, of which he was a member since 1964. He was also a member of the San Fernando Academy of Fine Arts in Madrid. Gustavo Bacarisas is represented in the Museo de Bellas Artes in Seville, the Thyssen-Bornemisza and the Museo de Arte Español Contemporáneo in Madrid, among others.
Lot 160
Two late 19th or early 20th Century novelty travelling inkwells, each with push release hinged cover revealing gilt metal interior, comprising an opera glasses case, with tan leather exterior and engraved interior with double inkwells and nib brush, 10cm wide x 7cm high; a picnic flask with leather surround, 4.7cm high; together with a ceramic conical inkwell, the caged top marked 'Calvert’s Patent Leeds', enclosing glass marble stopper, 7cm high overall (3)
Lot 520
PABLO PICASSO (1881-1973)Quatre Visages (A.R. 436)Ceramic pitcher Numbered 82/300, inscribed 'Edition Picasso' and 'Madoura', glazed and painted, with the Edition Picasso and Madoura stamps (to base)Height 23.5cm Conceived in 1959 As can be seen in the photographs, there are various knocks to the lip and foot of the jug. These have caused loss of glaze but are not deep enough to have damaged the pottery significantly. There are also very minor firing flaws to the glaze, notably on the handle and where the handle joins the jug. The jug has been used and has water staining to the interior. No cracks, significant damage or repairs.
Lot 464
Coalport - Wallace and Gromit Ltd and Numbered Edition Hand Painted Ceramic Figure ' We'll Go Somewhere, Where There Is Cheese ' WG14. This Figure Is No 400 of 2000. Height 5 Inches - 12.5 cms. Mint Condition & 1st Quality / Never out of Box. Complete with Box and Certificate, Also In Mint Condition.
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163696 item(s)/page