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KONRAD LUEG (1939-1996)Untitled circa 1963 signed and dedicated Mit Bleistift Für Anja on the reverse casein on cardboard plate 23.5 by 16.5 cm. 9 1/4 by 9 1/4 in. This work was executed circa 1963. Footnotes:Provenance Collection of the artist, DusseldorfGift from the above to the present owner in 1980A seminal protagonist in the German post-war art scene, Konrad Lueg is better known as Konrad Fischer, the legendary gallerist who represented artists such as Carl Andre, Bruce Nauman, Thomas Schütte, Sol Lewitt and Robert Ryman to name but a few. Having attended the Düsseldorf Academy, where he studied under Karl-Otto Götz until 1962, Lueg, took his mother's maiden name as an artist. Around 1963, Lueg alongside fellow classmates Gerhard Richter, Sigmar Polke and Manfred Kuttner, founded the Capitalist Realist movement, the West German version of British and American Pop Art, to critique the rise of American capitalism, the growing commercialization of the art market and bourgeois values in West Germany. The group appropriated the iconography of mass media, caricaturing consumer culture at the time of the West German 'Wirtschaftwunder' and famously invaded retail spaces as part of their practice. Paintings would feature cars, socks, chocolate, a kitschy idealization of Neuschwanstein Castle and as seen in the present work, the humble sausage, a theme also portrayed by Roy Lichtenstein at the same time in America. In the legendary 1963 Living with Pop performance, Gerhard Richter and Konrad Lueg invited visitors to a Dusseldorf furniture store where they were seated on pieces of furniture from the store's inventory, placed on pedestals as works of art. They wore suits and the daily news played in the background. In the Kaffee und Kuchen happening in 1966, Lueg invited friends and colleagues to have coffee and cake, this time in the important Alfred Schmela gallery in Düsseldorf. To challenge the perception of art galleries and what constitutes an artwork, Lueg had covered the entire space in his own wallpaper and Gerhard Richter showed a portrait of Schmela himself during the event.Solo exhibitions of Konrad Lueg's work have been held at Konrad Fischer Galerie, Berlin (2019); Greene Naftali, New York (2019, 2013); Herbert Foundation, Ghent (2018); Museu d'Art Contemporani de Barcelona, Spain (2010); Museum voor Actuele Kunst, Ghent (2000): and PS1 Contemporary Art Center, Queens, New York (1999). Lueg's work has been featured in significant group shows including Painting 2.0: Expression in the Information Age (Museum Brandhorst, Munich, 2015); International Pop (Walker Art Center, Minneapolis, 2015); and Living With Pop: A Reproduction of Capitalist Realism (Kunsthalle Düsseldorf, 2013; travelled to Artists Space, New York, 2014), among others. His work is in the permanent collections of museums such as the Barcelona Museum of Contemporary Art; Dallas Museum of Art; Kröller Müller, Otterlo, The Netherlands; Museum of Fine Arts, Boston; The Museum of Modern Art, New York; Städel Museum, Frankfurt; and the Walker Art Center, Minneapolis.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

HOWARD HODGKIN (1932-2017)Girl in a Museum 1958-1960 signed on the stretcheroil on canvas 101.3 by 71 cm. 39 7/8 by 27 15/16 in.This work was executed in 1958-1960. Footnotes:ProvenancePeter Cochrane Collection, London Thence by descent to the present ownerExhibitedLondon, Arthur Tooth & Sons, Howard Hodgkin, 1962, no. 4, illustrated in black and white Bochum, Städtischen Kunstgalerie Bochum, Profile III: Englische Kunst der Gegenwart, 1964, no. 78, illustrated in black and whiteOxford, Museum of Modern Art; London, Serpentine Gallery; Leigh, Turnpike Gallery; Newcastle upon Tyne, Laing Art Gallery; Aberdeen, Aberdeen Art Gallery; Sheffield, Graves Art Gallery, Howard Hodgkin: Forty-Five paintings 1949-1975, 1976 Berlin, Galerie Haas & Fuchs, Howard Hodgkin, 2004LiteratureMarla Price (Ed.), Howard Hodgkin: The Complete Paintings Catalogue Raisonné, London 2006, p. 44, no. 9, illustrated in colourÅsmund Thorkildsen, Howard Hodgkin The Thinking Painter of Embodied Memories, Milan 2011, p. 14, illustrated in colourIn 1962, the celebrated English artist Howard Hodgkin presented his first solo exhibition at the prominent London gallery, Arthur Tooth & Sons. Founded in 1842, the gallery hosted many exhibitions over the years by important artists including Dame Barbara Hepworth, Allen Jones, Antoni Clavé and Jean Dubuffet to name only a few. The exhibition, Howard Hodgkin: An exhibition of recent paintings, in which the present work was included, was met with widespread acclaim as declared by the art critic Edward Lucie Smith: 'It is with sad truth that English artists usually have little sense of the 'absolute'. By which I mean that they seldom have either the stamina or the courage to pursue their own discoveries, or even their own feelings, to the bitter end. Howard Hodgkin, by contrast, is a painter with a wholly refreshing rigour, a talent not just for bold design, but for the intellectual organisation of things. Yet he remains in love with the medium. His work has none of the drabness which is too frequently associated by modern artists with pretensions to intellect. He knows that true austerity need by no means be dismal, and the result is some of the most exciting and original colour harmonies I have seen for years...' (Edward Lucie Smith, Howard Hodgkin: An exhibition of recent paintings, www.howard-hodgkin.com, 9 March 2022).Painted during a pivotal moment in Hodgkin's career, the present work captures a point between the earlier figurative portraiture favoured by the artist in the 40s and early 50s and the more mature expressive and abstract gestural strokes. Whereas works such as Memoirs, 1949 – which illustrates the artist and a friend in a domestic setting - are executed with geometric shapes and bold graphic outlines, Girl in a Museum from 1958-60 is painted in a much looser style and unencumbered by limitations of structure. It is here that we start to see how Hodgkin would break away from the traditional confines of painting and would explore beyond the picture plane, utilising the frame as an inclusion of his work in his highly emotive and eloquent abstractions. Girl in a Museum is a devotion of colour, form, and texture. A young girl is depicted mid-motion, seemingly caught between the foreground and the background of the surface. Her torso is partly ensconced by the horizontal stripes in the upper half of the canvas as her eyes peer out towards the viewer. Only one arm sticks out defiantly as if reaching for something or someone that we cannot see, meanwhile the lower half of her body is free from constraint and the bold red on her legs draws the eye down the surface and is contrasted against the emerald tones of the horizontal lines. From the title we can deduce that the girl is visiting a museum, however there is no indication of the nature of museum or indeed any representation of the institution at all. Instead, the figure has taken the centre stage of the painting as both the viewer and the girl are caught in a fleeting moment filled with the energy and intensity of the artist, skilfully communicated through Hodgkin's masterly interplay of gesture and movement. Widely exhibited, this work was originally acquired by John Peter Warren Cochrane, who was a director at Arthur Tooth & Sons. Aside from his career as an art dealer, Cochrane was also a keen collector with an astute eye and devotion to championing young British artists. Cochrane would collect several works from Hodgkin including the present lot, which was treasured in his private collection for many years. This fondness for the artist was clearly reciprocated as Cochrane became the subject for a portrait Hodgkin would execute in the same year as the solo exhibition. Now in the prestigious collection of the National Portrait Gallery, London, (John) Peter Warren Cochrane, 1962 is an arresting depiction of someone Hodgkin clearly admired. Rendered with a compositional flatness that evokes the simplification favoured by Henri Matisse, there is a sense of assuredness and calm from the sitter but also a respect between the artist and subject. In 1984 Hodgkin represented Great Britain at the Venice Biennale and the next year he was awarded the Turner Prize. With a career spanning over seven decades and with paintings residing in museums internationally, including the Museum of Modern Art, New York; the Museu de Arte Contemporanea de Sao Paulo, Brazil; and the Centro de Arte Moderna, Lisbon, Girl in a Museum presents a wonderful opportunity to acquire a very early and rare work with wonderful provenance by one of the most celebrated and acclaimed contemporary British painters.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

JOHN BALDESSARI (1931-2020)Prima Facie: Suffering/Strained/Gleeful 2005 ink-jet print mounted on board in artist's frame, in three partsEach: 67 by 107.3 cm.26 3/8 by 42 1/4 in.Overall: 215.2 by 107.3 cm.84 3/4 by 42 1/4 in.This work was executed in 2005.Footnotes:ProvenanceMargo Leavin Gallery, Los AngelesSkarstedt Gallery, New YorkIgal Ahouvi Collection, London and Tel AvivSale: Christie's, London, Post-War & Contemporary Art Day Sale, 13 February 2020, Lot 171Acquired directly from the above by the present ownerExhibitedLos Angeles, Margo Leavin Gallery, John Baldessari, 2005LiteratureJohn Baldessari, Ann Cesteleyn, Eds., John Baldessari: The Prima Facie Series, Deurle 2006, n.p., illustrated in colour John Baldessari, Robert Dean, Patrick Pardo, Eds., John Baldessari Catalogue Raisonné; Volume Five: 2005-2010, New Haven 2018, p. 49, no. 2005.29, illustrated in colourFor further information on this lot please visit Bonhams.com

JULIAN OPIE (B. 1958)View of Lake Kawaguchi with Japanese maple and Kagami-fugi from Route 21 2007 signed on a label affixed to the reversecontinuous computer animation on 46' LCD screens, in two partsEach: 113.2 by 66.6 by 12 cm.44 9/16 by 26 1/4 by 4 3/4 in.This work was executed in 2007, and is number 3 from an edition of 4.Footnotes:ProvenanceShiraishi Contemporary Art Inc., TokyoAcquired directly from the above by the present owner in 2008ExhibitedTokyo, Art Tower Mito, Julian Opie, 2008This 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

JULIAN OPIE (B. 1958)Wooden Painting 16 2006 signed on the reverseenamel on wood90 by 61.2 cm.35 7/16 by 24 1/8 in.This work was executed in 2006.Footnotes:ProvenanceAcquired directly from the artist by the present owner in 2007Contemporary British artist Julian Opie is widely recognised for his distinctive depictions of figures, portraits, and landscapes. Born in London in 1958, Opie graduated from Goldsmiths College in 1982, studying under Michael-Craig Martin, and was quickly associated with the New British Sculpture movement. From the 1980s into 1990s he transitioned from painted steel sculptures inspired by Pop Art and Minimalism into a simpler graphic style, which he employs across a diverse range of media, from paintings to animation, continually pushing the boundaries of traditional artistic practice.Opie plays with ways of seeing through reinterpreting the vocabulary of everyday life; his reductive style evokes both a visual and spatial experience of the world around us. Alongside his clear influence in Pop aesthetics, particularly the work of Andy Warhol and Roy Lichtenstein, Opie draws further inspiration from classical portraiture, Egyptian hieroglyphs, Greek mythology, Japanese woodblock prints, as well as public signage, information boards, traffic signs and even the Tintin cartoons by Hergé. Through connecting the clean visual language of modern life with the fundamentals of art history, Opie has produced a distinctive and unique style in his body of work which have appeared in cities and sculpture parks around the world.Perhaps more widely recognised for his portraits and figurative studies, Opie reduces his subjects to essential lines created by thick black outlines and filled in with solid areas of flat, vibrant colour. His figurative subjects are de-personalised; he either chooses to render a featureless face using just a blank circle, or otherwise only depicts very basic facial features using dots and lines in the simplest expression of form. He chooses to differentiate his figures through colour of backgrounds, hairstyles, position of head, light reflected in the eyes and accessories. This depersonalised style creates an ambiguous sense of subjectivity in the sitter and provokes the viewer to question what makes a portrait of a person distinct and how they can relate to it. Bonhams are delighted to be offering three works by Julian Opie - two figurative pieces and a dynamic digital landscape of Lake Kawaguchi in Japan. Aniela 2, executed in 2011, is a portrait of the artist's wife. Set against a vibrant red background, Aniela is not submitting to the viewer; she appears to us in the nude, loosely holding a piece of drapery, captured in a private moment. Aniela was a regular sitter for the Opie and resulted in a series inspired by Renaissance and neoclassical paintings of Greek goddesses such as Aphrodite. In this series, Opie portrayed his wife in the nude occasionally wrapped in drapery which has been reduced to its most essential elements or holding a Grecian urn. Indeed, in this present work we can draw parallels to classicism and his interest in interpreting Greek mythology. Julian Opie's style increased in popularity after he designed the cover of English Britpop band Blur's best of album which was released in 2000.The four-part portrait is not only one of the most famous album covers to be produced but is considered as an iconic artwork. The portraits of the four band members of Blur were bought by the Art Fund in 2001 and now reside in the collection of the National Portrait Gallery in London. Today, Julian Opie is considered one of the leading contemporary artists in the world and his work is exhibited extensively in galleries and museums around the world, including in the Essl Collection, Vienna, the Stedelijk Museum, Amsterdam, Israel Museum, Jerusalem, Takamatsu City Museum of Art, Japan, Museum of Modern Art, New York, Institute of Contemporary Arts, Boston, among many others.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

LOUISE NEVELSON (1899-1988)Rain Garden Cryptic XLI circa 1970 painted wood and metalClosed: 14 by 27.5 by 18.2 cm.5 1/2 by 10 13/16 by 7 3/16 in.Open: 27.5 by 37 by 9.5 cm. 10 13/16 by 14 9/16 by 3 3/4 in. This work was executed circa 1970.Footnotes:ProvenanceCollection of the artistThe Pace Gallery, New York (no. 7613 90A) Middendorf Lane Gallery, Washington, D.C. Private Collection, MarylandSale: Bonhams, New York, Contemporary Art, 12 November 2012, Lot 131Acquired directly from the above by the present ownerExhibitedRockland, William A. Farnsworth Library and Art Museum; West Palm Beach, Norton Gallery and School of Art; Jacksonville, Jacksonville Art Museum; Scottsdale, Scottsdale Center for the Arts, Louise Nevelson, 1979-1981This 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

GIUSEPPE CAPOGROSSI (1900-1972)Superficie 674 1951-1969 signed, partially titled and dated 1951-69 on the reversetempera and oil on paper laid on jute canvas 118 by 86 cm. 46 7/16 by 33 7/8 in. Footnotes:Provenance Galleria d'Arte Niccoli, ParmaStudio d'Arte Mercurio, MilanPrivate Collection, RomeSale: Christie's, Milan, Contemporary and Modern Art, 23 November 2010, Lot 58Acquired directly from the above by the previous owner Thence by decent to the present owner ExhibitedRome, Galleria Marlborough, Capogrossi, 1969Parma, Galleria d'Arte Niccoli, Capogrossi opere dal 1951 al 1972, 1986, p. 26, illustrated in black and whiteLiteratureG. Capogrossi, Seconda parte del catalogo delle opere di Capogrossi 1967-1972, Milan 1992, n.p., no. 18, illustrated in black and whiteThis 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

GERHARD RICHTER (B. 1932)Ophelia 1998 signed and numbered 8/35 on a label affixed to the reverseCibachrome between Plexiglass and Alucobond plates 102 by 116.3 cm.40 3/16 by 45 13/16 in.This work was executed in 1998 and is number 8 from an edition of 35, plus 3 artist's proofs.Footnotes:ProvenanceAnthony d'Offay Gallery, London (A017916)Private Collection, ItalySale: Sotheby's, London, Bear Witness, 10 March 2015, Lot 103Acquired directly from the above by the present ownerExhibitedLondon, Anthony d'Offay Gallery, Gerhard Richter 1998, 1998, p. 21, illustrated in colour, another example exhibitedDallas, Dallas Museum of Art, Gerhard Richter in Dallas Collections, 2000, another example exhibitedStuttgart, Institut für Auslandsbeziehungen; Hanoi, National Art Museum; Moscow, National Centre of Contemporary Art; San Luis Potosí, Centro de las Artes; et al, Gerhard Richter: Survey, 2000-2013, p. 58, illustrated in colour, another example exhibitedFriedrichshafen, Kunstverein Friedrichshafen, Gerhard Richter: Editionen 1969-1998, 2001, another example exhibitedHouston, Museum of Fine Arts Houston, Contemporary Art and Photography: Spotlight on the Collection of the Museum of Fine Arts, Houston, 2001-2002, another example exhibitedCleveland, The Cleveland Museum of Art, Photography Transformed, 2002, p. 248, illustrated in colour, another example exhibitedBonn, Kunstmuseum Bonn; Lucerne, Kunstmuseum Luzern; Emden, Kunsthalle Emden; Tübingen, Kunsthalle; Salzburg, Museum der Moderne Salzburg, Gerhard Richter: Editions 1965-2004, 2004-2005, p. 245, no. 96, illustrated in colour, another example exhibited Düsseldorf, Galerie Schönewald und Beuse, Gerhard Richter: Selected Editions, 2008, another example exhibitedMunich, Galerie Leu, Gerhard Richter: Paintings and Editions, 2008, another example exhibitedDallas, Dallas Museum of Art, Two x Two x Ten: Celebrating Ten Years of Two by Two for Aids and Art, 2008-2009, another example exhibitedBerlin, Billirubin Gallery, Raw Material, 2009, another example exhibitedLeicester, New Walk Museum & Art Gallery, Gerhard Richter: Epoch (Artist Rooms), 2010-2011, another example exhibitedWeserburg, Museum für moderne Kunst, Bremen, Color in Flux: 20th Anniversary of the Weserburg, 2011-2012, another example exhibitedBerlin, me Collectors Room, Gerhard Richter: Editions 1965–2011, 2012, another example exhibitedTurin, Fondazione Sandretto Re Rebaudengo, Gerhard Richter: Editions from the Olbricht Collection 1965–2012, 2013, another example exhibitedAlbertinum, Galerie Neue Meister; Winterthur, Kunstmuseum Winterthur; Dresden, Staatliche Kunstsammlungen Dresden, Streifen und Glas, 2013-2014, p. 31, illustrated in colour, another example exhibitedMunich, Kunstbau München, Gerhard Richter: Atlas – Mikromega, 2013-2014, another example exhibitedLondon, Marian Goodman Gallery, Gerhard Richter, 2014, p. 7, illustrated in colour, another example exhibitedDüsseldorf, Setareh Gallery, Gerhard Richter: Selected Editions, 2016, another example exhibitedEssen, Folkwang Museum, Gerhard Richter: Die Editionen, 2017, another example exhibitedLiteratureHelmut Friedel and Robert Storr, Gerhard Richter; Rot, Gelb, Blau, Munich 2011, p. 116, another example illustrated in colourHubertus Butin, Stefan Gronert and Thomas Olbricht, Gerhard Richter: Editions 1965-2013, Ostfildern 2014, p. 267, another example illustrated in colourThis 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

UGO RONDINONE (B. 1963)Silver Black White Green Mountain 2016 incised with the artist's initials and dated 2016 on the underside of the basepainted stone, stainless steel, wooden pedestal197 by 51 by 41 cm.77 9/16 by 20 1/16 by 16 1/8 in.Footnotes:ProvenanceGladstone Gallery, New YorkAcquired directly from the above by the present owner in 2016 ExhibitedNew York, Gladstone Gallery, the sun at 4pm, 2016Ugo Rondinone's work is timeless, transcendent, and powerful. He evokes our preternatural infatuation with the totem, be it figurative, divine, or mythical. A structure that is as rudimentary as it is authoritative. Throughout his career, the Swiss-born artist has navigated nature, spirituality, and materiality, often capturing such grand ideas in the delicate surfaces and compositions of a single work. He treats art as poetry: his sculptures are wonderfully self-contained, yet they are made up of elements that are individual, primal, and carefully balanced. In the present work, Silver Black White Green Mountain from 2016 – part of Rondinone's signature Mountain series that has been the centrepiece of major public art commissions around the world – the ideas that underpin his practice are expressed with a simplicity, lyricism and grandeur that is deeply compelling. Rondinone's Mountain series has been definitive of his career at large; instantly recognisable and highly sought-after. Tracing a line between natural phenomena and the human condition, Rondinone's work emerges from materials that are innately primordial and raw. His role as the artist is to colour, shape, and provide balance to the matter he is given. The totems speak to, not only the artist's relationship to his chosen medium, but to humanity's role as caretakers of the rock on which it stands. In the artist's words, he's 'putting faith in stone as material—in its innate beauty and energy, its structural quality, its surface texture, and its ability to collect and condense time. The grotesque biomorphic distortion that characterizes the lifetime of a stone can become a haunting openness when transformed by colour and palpable emotional charge' (the artist in an interview with Mitchell Anderson, 'Organic Accord: Ugo Rondinone', moussemagazine.it, 5 November 2020).The associations embedded in Rondinone's work go beyond the relationship between the natural, human, and spiritual, however. In the present work, there is a resurgent presence of Minimalism, Brancusi's Endless Column, and Land Art. Donald Judd's stacks and Michael Heizer's Levitated Mass (2012) are art historical threads that Rondinone conjures masterfully – the latest in a lineage of multifaceted artists to engage with a phenomenology that emerges from the simplicity and rationality that is inherent to the order of the world around us. Painted in glistening, unnatural pigments, Silver Black White Green Mountain is a sterling example that captures the spirit of an artist who continues to be a pioneer of his generation and whose work is held in global museum collections including the Tate collection, UK; the Centre Pompidou, Paris; the Museum of Modern Art, New York; the Institute of Contemporary Art, Boston; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis, and the Dallas Museum of Art, among others. He will further be celebrated at this year's 59th Venice Biennale, with a major solo exhibition at the Scuola Grande di San Giovanni Evangelista, titled burn shine fly, paying homage to Rondinone's late partner and collaborator John Giorno.This lot is subject to the following lot symbols: † TP ○† VAT at the prevailing rate on Hammer Price and Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.○ The 'Seller' has been guaranteed a minimum price for the 'Lot', either by 'Bonhams' or a third party. This may take the form of an irrevocable bid by a third party, who may make a financial gain on a successful 'Sale' or a financial loss if unsuccessful.For further information on this lot please visit Bonhams.com

DAMIEN HIRST (B. 1965)8435. Dilemma Here 2016 signed, titled, dated 2016, numbered 8435 and stamped on the reverseenamel paint on handmade paper21.4 by 29.8 cm.8 7/16 by 11 3/4 in.This work is number 8435 from a series of 10,000 unique examples. The corresponding non-fungible token has been burned.Footnotes:ProvenanceHENI, LondonAcquired directly from the above by the present owner in 2021Damien Hirst has often been considered the definitive enfant terrible and impresario of contemporary art since his monumental rise to global stardom in the 1990s as the figurehead of the Young British Artists (YBAs). His exhibitions and ventures have consistently drawn broad acclaim and criticism, such is the nature of his practice to polarise and activate the passions of his audience. He has never shied away from ideas that would be deemed too unwieldy or all-encompassing for the purview of fine art, approaching life, death, the psyche, and the nature of mythos with a confidence that is nothing short of inspirational. In such a vein, presented here is Hirst's most recent and ingenious project: his first NFT 'drop', titled The Currency. Launched in 2021 and endorsed by Mark Carney, former Bank of England governor, Hirst produced 10,000 unique works – attractive abstract spot paintings on heavyweight paper that are instantly recognisable as Hirst's iconic motif – that exist both as the physical work and a corresponding Non-Fungible Token (NFT). Upon purchase, the buyer was forced to choose between the physical or the digital asset, with the leftover piece being destroyed or burned. The entire 10,000-piece drop sold out and has since become one of the most appreciating and highly sought-after works by NFT and art collectors alike. The work presented here is 8435. Dilemma Here – a physical piece whose corresponding NFT has been burned and only the tangible work remains. Ranked by machine-learning artificial intelligence, the pieces are graded on their colour composition, the weight of the paper, as well as their titles. 8435 boasts an exceptional ranking of 103rd for green pigments, 167th for number of words in the title, as well as 2521st for weight, giving the piece an appealing mass for its handsome scale. The present work represents one of the most exciting enterprises by Hirst, himself one of the pioneers of contemporary artistic practice in the 21st century, to challenge not only the hegemony of capital and financial instruments, but also of the nascent divide between the physical and virtual worlds.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

GERT & UWE TOBIAS (b. 1973)Untitled 2007 woodcut on paper200 by 165 cm.78 3/4 by 64 15/16 in.This work was executed in 2007 and is 1 of 2 unique examples. Footnotes:ProvenanceTeam Gallery, New YorkPrivate CollectionSale: Sotheby's, London, Contemporary Art Day Auction, 18 October 2014, Lot 367Acquired directly from the above by the present ownerLiteratureStefan Gronert Ed., Nichts brennt an, nichts kocht über, Köln 2008, p. 64, illustrated in colourThis 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

Bryan Ingham (1936-1997) - 'Vellan', inscribed with the title and the artist's name on an old exhibition label verso, limited edition etching, 3/16, black and brown sepia etching, 8.25" x 7.752, overall size including the artist's original mount and box type frame, 13" x 14"-** Provenance with The Ashgate Gallery, (Elizabeth Naydler) Wagon Yard, Downing Street, Farnham, Surrey-** The artist was born in Preston and raised in Yorkshire's Calder Valley, he studied at St. Martin's School of Art, London and accepted a post-graduate place at The Royal College of Art, he was a close contemporary of David Hockney. His early talent was greatly appreciated by his director Carel Weight. It was at The Royal Society of Artist's that he made his first acquaintance with etching and was later to become one of the most notable etchers of the second half of the 20th century establishing a studio in Fournier Street, which is off Brick lane, he taught part time at Maidestone College of Art and enjoyed the company of Quentin Crisp, he was also a life model there at the time. He later settled on the Lizard in Cornwall and taught etching at Falmouth Art School and Farnham Art College until five years before his death. The Ashgate Gallery which was run by Elizabeth Naydler put on one-man shows by a number of the best known artists of the period, such as John and Jean Bratby, Elizabeth Frink, Julian Trevelyan, Mary Fedden, Sandra Blow, Peter Blake, Sonia Lawson and Willi Soukop. July 1962 The gallery mounted an important and pioneering exhibition entitled 'British Sculpture Today', with work by twenty three leading sculptors, including Lynn Chadwick, Elizabeth Frink, Henry Moore, Barbara Hepworth and others. A copy of Elizabeth Naydler's arbitrary dates 18th August 2006 can be obtained upon request

Veronika Benoni (Russian, contemporary), 'Westminster Abbey'. Oil on canvas. Signed lower right. Framed. Image size 61 x 76cm.Provenance: Benoni is an acclaimed and highly collectable Russian contemporary artist whose work has appeared at the Wyecliffe Galleries, Courtenay Fine Art, and the Enid Hutt Gallery, among others.

William Orpen, RA, RI, RHA (1878-1931) "Portrait of the Artist's Wife, Grace Knewstub,1912," O.O.C., 58 x 36cms (23" x 14"). Signed and dated 'Orpen Dublin 1912'   Depicting the head and shoulders of a young woman?almost certainly the artist's wife Grace Knewstub this portrait by William Orpen, painted in Dublin in 1912, dates from a time when significant events were taking place in their lives together. While the head is well-finished, Orpen blocked out the area of the dress with broad brushstrokes of brown and black, evidently with the intention of finishing the portrait at a later date. However Grace?s eyes are downcast, and she appears to have been a reluctant sitter. Her hair is not combed, nor is she wearing the fashionable clothes and jewellery that adorned so many of Orpen's sitters. Nonetheless, the portrait shows the artist's brilliance in capturing not only a likeness, but also a sense of life, a gift he shared with his contemporary Augustus John. This is no formulaic society portrait; Grace is instantly recognisable as an individual, with a strong personality. That the painting remained unfinished is no surprise. That same year Orpen painted one of his finest society portraits, that of his long-term lover, the wealthy American Mrs. Evelyn St. George. In January of that year St. George had given birth to their child, Vivien. This would have caused scandal in the middle-class Dublin milieu in which Orpen had grown up, and immense upset to his wife Grace, with whom he had two children. The ramifications would have spread to England, where Grace?s sister was married to the artist William Rothenstein. Also dating from 1912 are Orpen's Portrait of Gardenia with a Riding Whip, depicting the teenage daughter of Evelyn St. George, and several portraits of another American, Vera Brewster, who had married the Irish writer Joseph Hone and lived next door to the Orpens. The artist was clearly fascinated by Vera, who sat for him on several occasions that year: in The Angler, she holds a fishing rod, while in The Blue Hat, she is wearing fashionable headgear. In 1912 also, his portrait of Vera, The Chinese Shawl, was exhibited at the New English Art Club and later purchased by the National Gallery of Victoria in Melbourne. Other portraits from that summer include Portrait of Kit, his daughter, a cheerful young girl sitting with her arms folded and wearing a white knitted hat and scarf. Nevertheless, amidst all these coquettish poses, arch expressions and fashionable accessories, the portrait of his wife Grace stands out for its down-to-earth directness and honesty.   Born in Stillorgan, Co. Dublin, William Orpen was the son of a solicitor, while his mother Anne was the eldest daughter of the Rev. Charles Caulfeild, Bishop of Nassau. After attending the Metropolitan School of Art, he went on to the Slade School of Art in London, winning the composition prize of 1899 with The Play Scene from Hamlet (Houghton Hall, Norfolk). From the outset, Orpen eschewed experimentation and flirtations with Modernism. He revered seventeenth-century painters such as Rembrandt, Velasquez and Chardin, and sought to emulate their Realist style. In terms of his own peers, he admired the work of Augustus John, and joined the New English Art Club. His Homage to Manet depicts members of the NEAC, sitting below Manet?s portrait of Eva Gonzalès. In 1902, in cooperation with John, he opened an art school in Chelsea and also began to teach at the Metropolitan School in Dublin, a position he held until 1914. He was a friend of the collector Hugh Lane, with whom he travelled to Paris and Madrid in 1905. Three years later he began to exhibit regularly at the Royal Academy in London. Elected a member of the Royal Hibernian Academy, he rapidly became one of the most successful portrait painters in London and Dublin, being overwhelmed with commissions. Many of Orpen's portraits are painted in his characteristic bravura style, and yet he seems to have grown to dislike the elite social circles in which he moved. On the outbreak of World War I, he was appointed an Official War Artist and was given the rank of Major in the British Army. Some of his best paintings were done as a war artist, and his images of the Somme, of injured soldiers and ruined cities, remain today amongst the most powerful works of art depicting that conflict, while his portraits of key negotiators at the Treaty of Versailles are a valuable record, reflecting also his privately-held views on the politics of the time. After the war ended in 1918, Open resumed his successful portrait practice. Although he did not return to Ireland after 1915, his artistic legacy at the Metropolitan School of Art continued for many years. Provenance: Originally owned by Lady Yarrow (née Eleanor Barnes) a leading promoter of the Arts and Crafts Revival, this drawing was gifted to the McDonnell family of Dalguise in Monkstown, Co. Dublin. Dr. Peter Murray, 2022

Roderic O'Conor (1860-1940)  "Soleil en Foret (Sunlight in the Forest)," O.O.C.,  61 x 51 cm (24" x 20"). (1) Stamped Atelier O'Conor Exhibited: Musée de Pont-Aven, 30th June - 30th September 1984, Cat. No: 49.                                                      Revealing an assured sense of colour and carefully-judged gestural brushwork, this painting by O?Conor depicts a forest on a bright summer?s day. The trees are fully-grown, their trunks rooted in the forest floor and reaching upward to a canopy of green foliage. With the sun penetrating fitfully, the trees are either in shadow or illuminated with shafts of bright light. The view is tightly framed, with only the tree trunks visible; no sky can be seen, nor any landscape beyond the forest. Shadows are rendered in rich dark greens, blues and browns, while areas of sunlight are depicted with sensuous strokes of pink, red, orange, yellow and white. The impressions given is of an avenue opening up in a dark forest, leading perhaps to an unseen area of sunlight. These is a pantheistic dimension to this work, reflecting the artist?s deep reverence for nature. Having attended Karel Verlat?s Natuur course while studying in Antwerp, throughout his career, O?Conor appreciated painting ?en plein air?, and was drawn to trees and woodlands as subject-matter. In his 1894 The Farm at Lezaven, Finistere (National Gallery of Ireland) the dark trunks of trees form a frieze, behind which can be seen the pink wall of a garden. In his 1892 The Glade (MoMA, New York), the swirling pattern of red marks contrast with green shadows, the red seemingly representing the essence of life, while the swirling patterns of paint also acquire a Symbolist energy. In his 1892 Yellow Landscape (Tate) trees also feature, painted in his characteristic Post-Impressionist style.   Although O?Conor has been described as Ireland?s ?greatest forgotten painter?, he is widely appreciated and, after a period of neglect in the mid-twentieth century, has regained his rightful place in Irish art history, not least since Julian Campbell?s exhibition The Irish Impressionists, held at the National Gallery of Ireland in 1984. The title of a more recent exhibition at the NGI, Roderic O?Conor and the Moderns, Between Paris and Pont-Aven highlights the fact that, like the novelist George Moore, O?Conor was at the heart of contemporary culture in late nineteenth-century France. He immersed himself in the Post-Impressionist movement he encountered in Brittany during 1894, when he became friendly with Gauguin and other artists. Gauguin used O?Conor?s studio in Paris, even asking the Irish artist to join him in the South of France, an invitation which the Irish artist declined. However in the 1890?s, O?Conor exhibited with Gauguin, Pierre Bonnard and Paul Sérusie at the ?Exposition des Peintres Impressionistes et Symbolistes?.   Born in Co. Roscommon in 1860, O?Conor grew up in Dublin and was educated at Ampleforth, before enrolling at the Metropolitan School of Art in Dublin. He was a contemporary of Nathaniel Hill, with whom he shared lodgings in Pembroke Road. After further studies at the RHA schools, in 1883 he enrolled at the Academie Royale des Beaux Arts in Antwerp, where Hill and Walter Osborne were also students: the professor was the realist painter Karel (or Charles) Verlat. A year later O?Conor was back in Dublin, submitting paintings to the 1885 RHA exhibition. His early style was characterized by bright colours, a plein-air technique, and spontaneous but controlled brushwork. However his response to Verlat?s teachings was more progressive than that of his fellow Irish students, who remained rooted in an academic realist style. In 1886, O?Conor moved to Paris to study under Carolus-Duran, before spending time at Grez sur Loing. In 1903 he participated in the inaugural Salon d?Automne, and continued exhibiting there until 1935. For the rest of his life, until his death in 1940, O?Conor remained in France, living for the most part in Nueil-sur-Layon, Maine-et-Loire, with his wife Renee Honta. He was the subject of two biographies in 1992, one by Paula Murphy in the Lives of Irish Artists series, and a second, more extensive publication, by Jonathan Benington. Dr. Peter Murray, 2022

[Bloomsbury Group] In the Manner of Roger Fry (1866-1934) "Lakeside and Mountain View," O.O.C., depicting a bright and vibrant image of deep blue lake and colourful mountain scene, approx. 38cms x 45cns (15" x 18"), unsigned, in contemporary painted frame, the stretcher with stamp for British Art Supplies, 95 Jermyn Street, London. (1)

Three: Major-General E. K. Money, Bengal Horse Artillery, who was dangerously wounded at the siege of Delhi in July 1857 Cabul 1842, unnamed as issued, fitted with contemporary replacement silver clip and bar suspension; India General Service 1854-95, 1 clasp, Pegu (Capt. E. K. Money. 9th Battn. Arty.) naming rubbed overall; Indian Mutiny 1857-59, 1 clasp, Delhi (Captn. & Bt. Major E. K. Money, 2nd Tp. 3rd Bde. Bl. H Art.) toned, nearly very fine, the last better (3) £1,000-£1,400 --- Ernle Kyrle Money was born at Shirehampton, Gloucestershire, on 18 February 1818, son of Vice-Admiral Rowland Money, C.B., R.N. He was a Cadet at Addiscombe from 5 February 1830 till 8 December 1831, and arrived in India on 16 October 1832; 2nd Lieutenant, 8 December 1831; Lieutenant, 29 April 1840; Captain, 5 May 1849; Bt. Major, 19 January 1858; Lieutenant-Colonel, 6 February 1861; Colonel, 24 January 1865; retired as Hon Major-General, 1 August 1872. Posted to 3rd Troop 1st Brigade Bengal Horse Artillery, 29 September 1838, he served in the First Afghan war in 1842 under General Pollock, including the forcing of Jugdulluck Pass, action of Tezeen, forcing the Huftkotal Pass, and recapture of Cabul Medal). Commanded the Artillery at Rangoon during the Second Burma war (Medal with Clasp). Transferred to the 2nd Troop 3rd Brigade in 1854, and was present during the Indian Mutiny campaign of 1857 at the battle of Budleekeserai and throughout the siege of Delhi, where he was dangerously wounded on 23 July 1857 (Medal with Clasp). Major-General Money died at Bromley, Kent, on 21 January 1883.

John Clem Clarke (American, 1936-2021), Rouen Cathedral after Monet, Contemporary oil on canvas, 1968, 238 cm x 160 cm, unframed John Clem Clarke (American, 1936-2021). Rouen Cathedral after Monet, Contemporary oil on canvas, 1968, 238 cm x 160 cm, unframedProvenance of 40 lots in this auction: (and many of the pictures)From the estate of an art enthusiast and collector who lived in New York and died last year aged 85. The items include those from

ALEXANDER MACKENZIE [1923-2002]. Beeny Cliff, 1981. oil on board; signed on reverse. 22 x 34 cm [image] - overall including frame 40 x 52 cm. Provenance: the artist; private collection, UK. Mackenzie was a St Ives artist, who held several one-man exhibitions at the Waddington Galleries, London and Durlacher Gallery, New York - one of the best of the St Ives artists, in our opinion - his work is rare, as he painted very slowly and discarded everything below his high standards - in his long career he probably only produced about 500 paintings. He is becoming very sought after now, quite rightly. The Tate St Ives have never held a one-man exhibition of his work to our astonishment - the curators seem obsessed with vastly inferior contemporary art - why? - we should cherish our best artists from the past. [very good condition - unexamined out of frame]. Buyers premium of 20% + VAT is payable. ARR 4%.

PETER HOWSON R.A. [1958 - ]. Head Study, 2012. ink drawing; signed. 13 x 20 cm - overall including frame 37 x 44 cm. Provenance: the artist; Cameron Contemporary Art [£850] - label on reverse; private collection, UK. [very good condition - unexamined out of frame]. Buyers premium of 20% + VAT is payable.

A collection of farriery, animal husbandry and veterinary related titles, including Thomas Brown: 'A Manual of Modern Farriery', London, Virtue, c.1847, engraved frontis, added engraved title + 18 plates as called for, contemporary calf (worn); James White: 'A Treatise on Veterinary Medicine - Volume I A Compendium of The Veterinary Art, containing plain and concise rules for the treatment of all the disorders and Accidents to which the Horse is liable - Volume II Materia medica, and pharmacopoeia - Volume III Practical observations on some important diseases of the horse', L, Longmans, 1823, 3 volumes, volume I engraved frontis + 23 engraved plates, of which 1 folding and 3 hand coloured, as called for, volume II engraved frontis, uniform contemporary half calf gilt (worn); Miles: 'Modern Practical Farriery', illustrated Benjamin Herring, L, William Mackenzie, c.1870, coloured and black & white plates, 4to, contemporary cloth gilt; plus W. Taplin: 'The Gentleman's Stable Directory of Modern System of Farriery', 1789, Clater: 'Every Man His Own Farrier', 1812, Bartlet: 'The Gentleman's Farriery', 1782, etc etc (23)

A collection of contemporary books, regarding art, architecture, travel and more

A large three dimensional contemporary work of art. Indistinctly signed. 150x50cm - NO RESERVE

* GERARD BURNS (SCOTTISH b. 1961), WINTER WOODLAND WALK oil on canvas, signed image size 100cm x 100cm, overall size 123cm x 123cm Framed. Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

R Grainger (contemporary) a modern collage, arranged flint, entitled 'Low Tide', signed framed and glazed 20cm x 29cm. Sold together with a modern ceramic art work mounted to a large slate roof tile and machine stitched artwork.

A collection of over forty general art, film and design reference books, including '100 Contemporary Artist A-Z' two volumes with slip case (Pub. 2009, Taschen), 'Vitamin D New Perspectives in Drawing' (pub. 2005, Phaidon Press), 'The Triumph of Painting Saatchi Gallery' (pub. 2005, Jonathan Cape), 'Ice Cream' (pub. 2007, Phaidon Press Ltd.) and 'Tank Too' (pub. Thames & Hudson), together with some Art themed periodicals. (q)

A collection of seven contemporary art books and art exhibition advertisement cards, including the limited edition 'Neck Face Satans Bride' with possible hand penned cartoon to frontispiece, (pub. 2004, KAWS), 'Afterglow Ori Gersht' with indistinct signature dated '28/05/2002' (pub. 2002, August Media), 'Thomas Flechtner Snow' with indistinct signature to title page (pub. 2002, Lars Muller), together with Damien Hirst 'Beyond Belief' 2007 exhibition, 'Damien Hirst Beyond Belief Preview 2 June 2007 White Cube..' with image from art work verso, printed upon rigid card, 34.5 by 24.5cm, and three posters. (q)

''Der Kuss'' (Kopf mit zwei Gesichtern) Stanislav Libenský und Jaroslava Brychtová, 1958 Orangegelbes Glas, formgeschmolzen, geschliffen und poliert. In Gravur bez.: LIBENSKÝ - BRYCHTOVÁ. 15,7 x 14,5 x 7 cm Lit.: GR 1970, S. 339, Modell Nr. 1000/16 - Neues Glas in Europa, Düsseldorf 1990, S. 280 - Grover, 'Contemporary Art Glass' 1975, Abb. 64 - Kat. Galerie Scremini, Paris 1988, Nr. 21 - Kat. Prag 1989, Nr. 56 - Kat. Bellerive, Zürich 1991, Nr. 17 - Stanislav Libenský - Jaroslava Brychtová, The Corning Museum of Glass, Corning, New York 1994, S. 191/3.

Vase Joel Philip Myers, 1977 Dickwandiges, weißlich-grau marmoriertes Opalglas, mit mehrfarbigen Aufschmelzungen. Oberhalb des Standes in Diamantriß signiert und datiert: Joel Philip Myers 1977. H. 21 cm Lit.: D. Klein, Glass - A Contemporary Art, London 1989, S. 52 - Contemporary Crafts and the Saxe Collection, The Toledo Museum of Art, Hudson Hills Press, New York 1993, plate 38 & 39

Vase Joel Philip Myers, 1982 Farbloses Glas, blau unterfangen, mit eingeschmolzenen, sich teils überlagernden mehrfarbigen Glasplättchen, sandgestrahlt. In Diamantriß signiert und datiert: Joel Philip Myers 1982. H. 23 cm Lit.: D. Klein, Glass - A Contemporary Art, London 1989, S. 52 - Contemporary Crafts and the Saxe Collection, The Toledo Museum of Art, Hudson Hills Press, New York 1993, plate 38 & 39

Schalenobjekt mit galvanisierter Silberauflage Anna Maria Dickinson, 1992 Farbloses, teils seidenmatt geätztes Glas. Dekor im Sandstrahlverfahren. Galvanisierte Silberauflage mit hellen runden Mondstein-Cabochons und ovalen Saphir-Cabochons in eingelassenen Zargenfassungen. Siberauflage bez.: A. Dickinson '92. Punzen: Stadtmarke London, Silberstandard, Firmenmarke AMD. D. 22 cm Lit.: D. Klein, Glass - A Contemporary Art, 1989, Abb. S. 160

Objekt aus der Serie ''Mütter'' Ann Wolff, 1987 Scheibe in farblosem Glas, mit mehreren Teilüberfängen in Rubinrosa, Blau, Rubinrot und Gelb. Dekor in Ätz- und Sandstrahltechnik herausgearbeitet, lüstriert. In Vibrogravur signiert und bez.: Ann Wolff W.29.1/8.1. Mit farbloser, schwarz bemalter Säule verklebt. Granitsockel mit schwarzer Flachfarbe bemalt. Sockelunterseite bez.: W 21.1/8.1. H. 71 cm Lit.: D. Klein, Artists in Glass, S. 218 ff. - D. Klein, Glass - A Contemporary Art, 1989, Abb. S. 119 - Zeitgenössische Glaskunst, MUDAC, Lausanne 2006, Abb. 94

Vase Donald Carlson, 1971 Kobaltblaues Glas, mit Farb- und Oxideinschmelzung, partiell irisiert. In Vibrogravur signiert und datiert: carlson 71. H. 12 cm Lit.: R. & L. Grover, Contemporary Art Glass, New York 1975, Abb. 17 & 18

A contemporary Scandinavian art glass footed table bowl, the textured overlay interior depicting birds in flight within a Nordic landscape, indistinctly signed verso and dated '87, h.16.5cm, dia.25cmCondition report: Slightly dusty to inside, but overall in very good and original condition.

δ Elisabeth Frink (1930-1993)The Shearwater, from Seabirds (Wiseman 90)Lithograph printed in colours, 1974, signed in pencil, aside from the edition of 150, published by Christie's Contemporary Art, London, printed at Curwen Studio, London, with their blindstamp, on T.H. Saunders mould-made paper, the full sheet, sheet 653 x 476mm (25 3/4 x 18 3/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

An Afghan prayer rug, circa 1900-1920, the madder field with a central mihrab enclosing a trellis design with hooked guls, within a madder hexagonal gul border, 143 x 98cm.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A Turkoman Ensi, late 19th century, the madder mihrab with rows of candelabra and hooked guls, within a madder serrated leaf border, trellis design skirt, 155 x 122cm.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A Turkish tribal rug, 19th century, the green field with a large madder medallion filled an ivory hooked gul, within an ivory gul border, 141 x 87cm.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A Seraband kelleh, North West Persia, circa 1900-1920, the indigo field with rows of boteh, figures, similar madder spandrels, within multiple borders, 353 x 154cm.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A Shiraz rug, South West Persia, the brown ground with a central polychrome medallion, within multiple borders, 157 x 110cm.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

Hand-Woven Carpets, Oriental & European, by A.F. Kendrick and C.E.C. Tattersall, Volumes 1 and 2, dated 1922.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A Chinese famille rose porcelain shaped dish, 19th century, height 5.5cm, width 19cm, depth 12.5cm, a Chinese imari plate, a Japanese imari plate, four blue and white cups and two matching saucers.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A large Chinese porcelain shallow bowl, early 20th century, the centre decorated with peaches within a flowering vine border and shaped cartouches enclosing floral sprays, height 7.5cm, diameter 37cm.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A large Chinese carved hardwood stand, Qing Dynasty, carved with moths amongst foilage, height 9cm, inner diameter 22.9cm, outer diameter 30cm and seven other wooden stands.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.Condition report: The large stand has been re-glued between the top 'ring' and the base and with a few minor breaks. It is heavily water stained on the top. One bowl stand has a crack. The larger three lobed stand is missing a foot. Circular stands good. Please see images.

A Chinese porcelain footed dish, 19th century, with nine square sections each enclosing floral sprays and a cricket to the centre, height 4.5cm, width 16.5cm.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A Chinese porcelain vase, late 19th century, the yellow ground with flowers and tendrils, height 14cm and a Chinese porcelain vase, with Qianlong red seal mark, circa 1900, the red ground with gilt tendrils and opposing famille rose decorated oval panels, height 13.2cm.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.Condition report: red ground vase has tiny nibbles/pitting on top rim. Yellow vase has no condition issues.

A Chinese glass snuff bottle, height 7.5cm, width 5cm, depth 2.5cm.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.Condition report: Tiny chip to rim of neck. Images on David Lay website.

A Chinese overlay glass snuff bottle, mid-late 19th century, the red overlay carved with stylised swan and trees, with red hardstone stopper, height 6cm, width 4.5cm, depth 2.5cm.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.Condition report: The outer and inner edge rims of the bottle have very tiny chips. Possibly a replacement stopper and scoop.

A Chinese yellow glazed porcelain double gourd snuff bottle, Qianlong red seal mark, with pale green hardstone stopper, height 6.5cm, width 3.5, depth 2cm.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A Chinese mother of pearl shell, circa 1900, well carved with figures in a garden scene with trees and pagodas, 17 x 19.5cm. From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A large Chinese polished bronze censer, six character Xuande mark, with loop handles and three tapering stile feet, on a carved wood stand, height 23cm, diameter 28cm.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.Condition report: There are two dents to the side of the censer, a couple of blemishes caused by the forging of the piece, and two of the legs on the stand have been repaired. Extra photos have been uploaded to our website.The censor weighs 5.45kg, the stand weighs 0.8kg, with a combined weight of 6.25kg

A Chinese blue and white porcelain jardiniere, the prunus blossom decorated rim above two stylised dragons chasing the flaming pearl, height 25cm, diameter 30.5cm.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.Condition report: Damaged and repaired

A Chinese export porcelain blue and white warming plate, late 18th century, with an all over design of flowering vines and leaves, height 6cm, diameter 26cm.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.Condition report: There are some glaze faults and the remains of an old sticker on the top of the warming plate. Pitting underneath the plate. No cracks or repairs.

A Chinese polished bronze ding, early 20th century, seal mark, the pierced cover above loop handles with stylised dragons, on three legs, height 29cm, width 26cm.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.Condition report: No condition issues.

A Chinese Peking green glass bowl, on carved wood stand, old paper label beneath stand, height of bowl 8cm, diameter 15cm.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.Condition report: No condition issues

DILLWYN SMITH (b.1958) 'The Wait' (1987/88) oil on board. Signed Verso. Smith studied under John Golding at the Royal College of Art, 1983-6. Winner of the prestigious John Minton Award and the Barclay Award he regularly exhibits Patrick Heide Contemporary. His work is held in many collections. Image size 25cm x 20cm

Unknown - A contemporary wall mirror in the Art Deco style with mirror beveled edge frame around the central mirror plate.

Mark Russell - A contemporary art glass vase, internally decorated with abstract layers of multicoloured glass, heavily cased in clear, signed and numbered 10/80, height 14.5cm.

Sasha Harding, 'The Wonders of the Rockpool', acrylic on canvas, Provenance; acquired by the owner from the Mulberry Tree Gallery, Swanage, this painting has also appeared in print form and greeting cards, 30cm x 30cm with original purchase receipt 2013 for £910. Sasha Harding is a contemporary artist based in Penryn, Cornwall, she studied at the Falmouth College of Art.

DAUM; France, ca.1905.Important large Art Nouveau vase "Escaramujos".Multi-layered glass enamelled in various colours.Signed on the side "Daum Nancy" and cross of Lorraine.Similar vases have been catalogued in "Daum, Mastery of glass, from Art Nouveau to Contemporary Crystal", Noel Daum.Measurements: 47 cm (height) x 15 cm (diameter).An important large Art Nouveau vase with a baluster-shaped body, a milky-yellow background and brown powder fused to the base area. The surface of the vase has been satin-finished and then enamelled with a delicately worked design of rose hips, with attention to detail in the fruit and leaves of the bush. This is a splendid vase with typically Art Nouveau decoration based on the representation of large plant motifs of great beauty and sophistication, dynamic and asymmetrical, very much in keeping with the taste of the period.The Daum manufacture was founded at the end of the 19th century by Augustin Daum (1853-1909) from a small family glassworks in Nancy. He was joined by his brother Antonin (1864-1931), and the Daum workshops soon became a meeting place and training ground for many young artists, who gave impetus to the Art Nouveau style in Nancy. At first they made ordinary glass, but in 1891 they decided to open a decorative workshop and to embark on artistic production, probably as a result of the success of Émile Gallé (1846-1904) at the 1889 Exhibition. Eventually, Daum had a factory with more than three hundred employees and a wide range of artistic production. During the First World War, the factory closed, but resumed production after the war, adapting to the change in aesthetics and leaving behind the modernism of its first period. During the Art Nouveau period, most of Daum's pieces were made of acid-etched cameo glass, but with the new Art Deco style, new techniques and decorative styles were investigated.