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* SYLVIA ALLEN (SCOTTISH b. 1951 - ), A SPLASH OF FLOWERSgouache on paper, signed and dated 1992 versoimage size 55cm x 81cm, overall size 88cm x 114cm Mounted, framed and under glass.Artist's label verso.Note: Sylvia Allen graduated from Glasgow School of Art 1974. She exhibited regularly in group and solo shows whilst in various teaching and graphics employment. A Glasgow School of Art tutor in Life Drawing and Drawing and Painting in the years 1986-1994. Elected artist member of Glasgow Art Club in 1989.Has also exhibited in USA, France and Germany and as a result her work is in many collections at home and abroad including: Price Waterhouse Coopers, Arthur Andersen and Kempen Capital Management. Exhibited in RGI, RSA, SSWA and PAI. Scottish finalist in 1997 Laing exhibition, London. Painting selected for 1998 calendar. Now works solely for exhibitions. The work is characterised by strong involvement with colour and expressive movement. Themes include weather moods in landscape, atmospheric cityscapes and vibrant colours of flowers caught in sunshine. Solo Exhibitions/Group Exhibitions MacLaurin Gallery, Ayr; McLellan Galleries, Glasgow; Willamette Uni. Salem, Oregon; Main Fine Art, Glasgow; Harbour Arts Centre, Irvine; The Kunsthaus, Nurnberg; Scottish Amicable, Glasgow; The Metro Gallery, Glasgow; Zabo Gallery, Nurnberg; Turberville Smith Gallery, London; Galerie Reiter, Bad Tolz; Seen Gallery, London; Galerie in der Linden, Weidenberg; Cormund Gallery, Glasgow; Usiskin Gallery, London; Mall Galleries, London; Home Studio, Glasgow; Glasgow Art Gallery; Woodside Library, Glasgow; Green Gallery, Aberfoyle; Devonshire Hotel, Glasgow; Adam Gallery, Bath; Kelly Gallery, Glasgow; Hanover Fine Art, Edinburgh; Torrance Gallery, Edinburgh; Dept. Philosophy, Edinburgh Festival; Kingfisher Gallery, Edinburgh; Westgate Gallery, North Berwick; Ainscough Contemporary Art, London; MacMillan Fund, Strathclyde Arts Centre; Gatehouse Gallery, Glasgow; Kelly Gallery, Glasgow; Cornerstone Gallery, Stirling; Leith Gallery, Edinburgh; Chatton Gallery, Chatton; Riverside Gallery, Stonehaven; Thompson's Gallery, London; McEwan Gallery, Ballater and Roger Billcliffe Gallery, Glasgow.

* IAN MACINNES (SCOTTISH 1922 - 2003),SCOTTISH COAST (probably Orkney)oil on board, signedimage size 38cm x 49cm, overall size 43cm x 53cm Framed.Note: Painter, teacher, political cartoonist, born and lived in Stromness, Orkney Isles. MacInnes attended Gray’s School of Art in Aberdeen, 1939–41 and 1945–7, teachers including Robert Sivell and D M Sutherland. He went on to Head the Art Department at Stromness Academy, becoming Second Master and then Headmaster until retirement. MacInnes was a member of the 47 Group, which included Alberto Morrocco; took part in other mixed shows; and had numerous shows in Orkney, Aberdeen and Edinburgh, notably at the Torrance Gallery. MacInnes was a painter of the landscape and people of Orkney. He was a close friend of George Mackay Brown from childhood and illustrated many of his books and dust covers. After his retirement he carried on painting with even greater zeal, and was preparing for another eagerly awaited exhibition in Edinburgh when, in 1997, he suffered the first of the strokes that crippled and ultimately killed him. For his memorial he leaves us a richly evocative display of paintings on countless Orcadian walls - and far beyond his islands. Eleven of his paintings are held in Scottish Public Collections. In The Scottish Contemporary Art Auction of 1st August 2021, three examples of the artist's paintings sold for £650, £700 and £900 (all hammer prices). Condition report: Condition is very good overall, with no visible signs of restoration, damage, or known issues. Picture will benefit from a surface clean. 

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),BEN MORE FROM IONAoil on canvas, signed and dated 2000, further signed and dated verso, titled label versoimage size 40.5cm x 40.5cm, overall size 57.5cm x 57.5cm Framed and under glass. Artist's label verso.Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick'sTug at Crinan" (a 76 x 76cm oil) achieved £6000 (hammer). In our most recent auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the still growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.

* PHILIP BRAHAM (SCOTTISH b. 1959),SIC TRANSIT GLORIA SCOTIAE (SO PASSES AWAY THE GLORY OF SCOTLAND)oil on canvas, signed, titled and dated 1990 versoimage size 97cm x 127cm, overall size 103cm x 134cmFramed.Note: A graduate from Duncan of Jordanstone College of Art and Design, Philip Braham first came to prominence in the 1980s with the rise of figurative painting in Scotland, which culminated in "The Vigorous Imagination" an exhibition at the Scottish National Gallery of Modern Art in 1987. His career includes 22 solo exhibitions to date; in addition to numerous group shows both nationally and internationally. Among the awards received are the prestigious Royal Scottish Academy Guthrie Award for painting and the Royal Scottish Academy Morton Award. Recent exhibitions include solo shows at Raab Gallery Berlin, The Scottish Gallery and at the Royal Scottish Academy for the Edinburgh International Festival contribution in 2010. A longstanding interest in continental aesthetics informs his pedagogical role as Course Director for Art, Philosophy and Contemporary Practices at the University of Dundee. Philip Braham is represented by the prestigious Scottish Gallery (Edinburgh) and his most recent highly successful solo show "Closer to Home" at The Scottish Gallery (his sixth at the venue) was in January 2021. It was subsequently announced that this exhibition would also be presented at Perth Museum & Art Gallery from 30th April to 5th June 2021.

* WILLIE RODGER RSA RGI (SCOTTISH 1930 - 2018),BLUE STOCKING SERIESwoodcut and linocut on paper, each signed, titled and numberedimage size 28cm x 22cm each, overall size framed together 51cm x 189cmMounted, framed and under glass.Note: The Royal Scottish Academy website describes Willie Rodger as "one of the most significant artist-printmakers in recent Scottish art history". Born in Kirkintilloch in 1930, Rodger studied Graphics and Printmaking at Glasgow School of Art from 1948 to 1953. He received a rigorous education from a course that, at the time, only accepted the most skilled draughtsmen. By graduation Rodger had already sold two prints to the Victoria and Albert Museum, London, and went on to a career in advertising. However, he became disillusioned with the cut and thrust of the commercial world and an opportunity to change careers and return to Scotland came about with a teaching vacancy at Lenzie Academy, then as Principal Teacher of Art at Clydebank High School, a post he held until early retirement in 1987. He was elected to the Royal Scottish Academy in 1989 and awarded an honorary doctorate by the University of Stirling in 1999. In The Scottish Contemporary Art Auction of 28th February 2021 lot 562 "Reverie" by Willie Rodger established a new auction record for a single print by the artist selling at £1200 (hammer).

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),WINTER SUNSET, KILFINICHEN (ISLE OF MULL)oil on canvas, signed, titled and dated 2008 versoimage size 41cm x 41cm, overall size 64cm x 64cm Framed and under glass.Artist's label verso.Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick'sTug at Crinan" (a 76 x 76cm oil) achieved £6000 (hammer). In our most recent auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the still growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.Condition report: Condition of the picture is very good overall, with no visible signs of restoration, damage, or known issues.

* DAVID SHRIGLEY,CHOCOLATE IS NOT THE PROBLEMlithograph on 150g silk paperimage size 77cm x 57.5cm, overall size 83cm x 63cm Framed and under glass.Note: Original exhibition print made on the occasion of David Shrigley’s solo exhibition DON’T TOUCH THE WORMS at Copenhagen contemporary. Note 2: David Shrigley attended Glasgow School of Art from 1988-91 where he studied environmental art. He works in many disciplines including drawing, photography, painting, sculpture, animation and music. The variety of projects he is involved with are multi-faceted ranging from the video for Blur’s ‘Good Song’ to ‘Kingsley’ Shrigley’s mascot for the Scottish football team Partick Thistle to ‘Really Good’ a sculpture of a bronze fist with upraised, out of proportion thumb which he created for the Fourth plinth in Trafalgar Square. Shrigley was created an O.B.E. in 2020 for services to the visual arts. Recent notable exhibitions include those in Glasgow, Germany and Sweden and he was nominated for the Turner Prize in 2013. His work is held in a number of important public collections including the National Galleries of Scotland and Tate.

* MURIEL BARCLAY,VENICEoil on canvas, signed image size 126cm x 100cm, overall size 149cm x 124cm Framed.Note: In the inaugural Scottish Contemporary Art Auction staged by McTear's on 22nd November 2008, "Pink Tutu Tune" by Muriel Barclay sold for £7475 (premium) which was widely reported to be a record price for any maiden painting at public auction by a Scottish artist (past or present). Muriel Barclay is one of Scotland's most successful living artists and her exhibiting history is impressive. Her paintings are enthusiastically collected around the UK and auction appearances of her larger paintings, such as "Venice", are extremely rare. Collections include: Sir Arnold Clark, Lord Harris, The Sultan of Brunei, Alex McLeish, Sir Jack Harvey, HBOS, Biggart Baillie, Arisaig Partners, Ernie Els (golfer) and numerous other prestigious corporate and private collections worldwide. In The Scottish Contemporary Art Auction of 13th December 2020 "Peace Delegation" (a 77 x 87cm oil, lot 612) by Barclay, sold for £5500 (hammer).

* ALAN KING PAI (SCOTTISH 1946 - 2013),A LIFE OF CERTAINTYoil on panel, signed further titled, signed and dated 2001 labels versoimage size 38cm x 28cm, overall size 70.5cm x 60.5cm Framed and under glass.Handwritten artist's label verso.Label verso: The Gatehouse Gallery, Glasgow.Note: A very fine example of the work of the much missed Alan King, a frequent contributor and a great favourite in The Scottish Contemporary Art Auctions. McTear's has established a succession of UK auction record prices for Alan King's work in recent years and the current record is £3600 for Weavers of Truth, lot 275 27th November 2016. Although Alan was a much respected and successful artist during his lifetime, auction prices since 2013 have continued to rise, even though very few collectors have so far opted to sell their examples of his work. The red hat and stripey trousers are Alan King "trade marks".

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),TRAIGH BHAN, ISLE OF IONAoil on canvas, signed, further signed, titled and dated 2004 versoimage size 60.5cm x 60.5cm, overall size 85cm x 85cm Framed.Artist's label verso.Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick'sTug at Crinan" (a 76 x 76cm oil) achieved £6000 (hammer). In our most recent auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the still growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.

A Pair of contemporary dark wood side tables in an art nouveau form. [64x34x34cm]

Debauchery.- [Burghope (George)] Autarchy: or, the Art of Self-Government, in a Moral Essay, first edition, initial imprimatur leaf with corner repaired, advertisement leaf at end, foxed and browned, contemporary panelled calf, rebacked, joints rubbed, [Wing B5730], 8vo, Printed for Dorman Newman, 1691.⁂ Scarce work with sections on sensual pleasures, lusts of the flesh, gluttony, drunkenness, covetousness, health and long life etc.Provenance: F. Wichert (ink name on title and initials on rear pastedown dated 1719); Robert Althorp (ink name on title); Arnold Muirhead (bookplate).

Edmondes (Clement) Observations upon Caesar's Commentaries setting for the practice of Art Militarie in the time of the Roman Empire, 2 parts in 1 vol., first edition, each part with engraved title and woodcut portrait frontispiece of Caesar, 11 engraved plates, most double-page or folding, with final blank to first part but lacking final blank to second, a few plates closely trimmed, worming to lower margin, worm tract to text of second part, second part F2 lower corner chipped and creased without loss to text, 1 double-page plates torn without loss, bookplate to pastedown, contemporary calf, spine ends repaired, endpapers renewed, [STC 7490.3], folio, for Mathew Lownes, 1604.⁂ Rare first edition of this work that established Edmondes' reputation. Collation among copies appears to vary, the present example is substantially larger than other copies we have traced. Provenance: Thomas Weld, Lulworth Castle (bookplate).

Italy.- Lassels (Richard) The Voyage of Italy, or Compleat Journey through Italy, 2 parts in 1 vol., engraved additional title, woodcut initials and headpieces, with L12 and final 2ff., all blanks, some light marginal toning, but a very good copy generally, bookplates to pastedown, contemporary calf, neatly and sympathetically rebacked, [Wing L465], large 12mo, Paris [?but London], by John Starkey, 1670.⁂ Comprehensive guide book to the art and architecture of Italy; the author is believed to have termed the phrase "Grand Tour".Provenance: Lord Lilford, Lilford Library (bookplates).

Gentlemanly conduct.- [Caillieres (Jacques de)] The Courtier's Calling: Shewing the Ways of making a Fortune, and the Art of Living at Court, first English edition, initial blank leaf, engraved frontispiece, final errata leaf, contemporary blind-stamped sheep, spine a little rubbed and faded and with small hole, [Wing C207B], 12mo, Printed by J. C. for Richard Tonson, 1675.⁂ Very good copy of this scarce life-guide for 'noblemen' and 'gentlemen'. Provenance: Unidentified contemporary Ink inscription to front free endpaper: "I bought ye French book at an auction in Edinb." On initial blank leaf "Cost 8 pence from John Vallange March 1694" ?Dunbar family bookplate (motto 'In promptu'); Arnold Muirhead (bookplate).

Memory.- Herdson (Henry) Ars Memoriae, The Art of Memory Made Plain [Ars Mnemonica, sive Herdsonus Bruxiatus], first edition, second issue, with cancel-title to the "Ars Memoriae" which is placed first in this second issue but retains the original pagination ([65] -92), the "Ars Mnemonica" with A1 and A2 (one of which was the title to the 1651 first issue) cancelled and not replaced, "Ars Memoriae" with 2 blanks at end, woodcut ornament on title, woodcut initials and headpieces, closely shaved at head, touching a few page numbers, light foxing and browning, contemporary calf, rebacked and recornered, some rubbing and surface wear, [Wing H1546A], sm. 8vo, for William Shears, 1654.⁂ Rare, ESTC lists 5 copies only.

Botany.- Coles (William) Adam in Eden: Or, Natures Paradise. The History of Plants, Fruits, Herbs and Flowers, first edition, title in red and black, a little creased with some browning to lower margin, 3C1 margin holed without loss to text, 3P1 and final 2ff. margins frayed without loss to text, occasional soiling and light browning, contemporary reverse calf, rebacked and recornered, rubbed, later endpapers, [Hunt 269; Wing C5087], folio, by J. Streater, 1657.⁂ "This is Coles' complete statement of his beliefs in the Doctrine of Signatures [the identifying of the curative uses of plants according to the body part they most resemble] which he had first discussed in his controversial and ill-fated little Art of Simpling, London, 1656." - Hunt 269. See lot 169.

Metallurgy.- Barba (Albaro Alonso) The First Book of the Art of Mettals, In which is Declared the manner of their Generation; and the concomitants of them [- The Second Book of the Art of Mettals Wherin is Taught the... Refining of Silver by Quicksilver], 2 parts in 1 vol., second edition in English, engraved plate in second part showing a furnace and related vessels, part 1 I6 with rust-hole affecting 2 or 3 letters, some light soiling to titles, ink ownership inscription to head of preface, bookplate to pastedown, contemporary panelled calf, rebacked, later endpapers, [Duveen, p. 42; Ferguson I:70-71 note; Norman 115 (variant title); Wellcome II, p. 96; Wing B680 & B682], 8vo, for S. Mearne, 1674.⁂ Rare. Second edition of the Earl of Sandwich's translation of the first book on metallurgy in the Americas. "The first significant treatise on metals to be written in Spanish, and the only seventeenth-century work on its subject that was largely original" - Norman.Provenance: Robert Carl Sticht (1856-1922, metallurgist and mining engineer, a dominant figure in Tasmanian industry and a book collector of note, his bookplate to pastedown and ink ownership inscription).

Horology.- Holwell (John) Clavis Horologiae; or, A Key To the whole Art of Arithmetical Dyalling , 2 parts in 1, first edition of main text, second edition of appendix, with list of subscribers/advertisement leaf at end of appendix, 39 engraved plates in total (21 in first part, 18 in appendix), 5 folding, one bound upside down in appendix, title soiled and with small hole to upper margin, 18th century ink ownership inscription on paper pasted onto verso, browned, light water-staining to fore-edge of some plates and appendix affecting some images, slight worming to lower margin of a few leaves, contemporary mottled calf, rubbed, rebacked preserving old spine with red morocco label, recornered and with large patch on lower cover repaired, [Wing H2517a & H331; Tardy p.133; cf.Houzeau & Lancaster 11582, 1712 edition only], small 4to, Printed by Will. Bonny, for Tho. Howkins, 1686.⁂ Scarce. The appendix is a reprint of Francis Hall's (or Line's) An explication of the diall sett up in the Kings garden at London, an. 1669 with separate title dated 1685. It is a description of his pyramidical dial at Whitehall.

Cookery.- May (Robert) The Accomplisht Cook, or the Art and Mystery of Cookery, second edition, title with typographic border, engraved portrait frontispiece in facsimile, woodcut illustrations, lacks 2 folding plates, tears to O1 and T4, piece missing from T3 affecting 8 lines of text to verso, some slight worming towards end, mostly marginal, foxing, contemporary calf, rebacked, corners repaired, [Wing M1392; Bitting p.318], 8vo, Printed by R. Wood, for Nath. Brooke, 1665.⁂ The Crahan copy of this rare work which, despite the faults of this copy, nevertheless retains the charming woodcut illustrations which enhance the work, described by Elizabeth David as "a most beautiful piece of cookery literature." ESTC locates only 6 copies (only 2 of which are in N. America) and copies seldom appear at auction.

Alexandre Bida (French, 1813-1895)The Persian Barber signed 'Bida' (lower right)pencil and chalk46 x 37cm (18 1/8 x 14 9/16in).Footnotes:Alexandre Bida's technique, scratching back the black layer of graphite and creating a multitude of fine hatchings to reveal the white ground beneath, is ably demonstrated in the present lot. Creating a work in chiaroscuro, the work stands in contrast to many of the artist's contemporaries, who opted for rich colours to represent an exotic Orient, full of sensuality and eroticism.The present lot makes an interesting comparison with Café in Constantinople (1847, Cleveland Museum of Art), showing the same objects - a round table, coffee pots, the chibouk pipe- which Bida would have documented during his travels around Greece, Turkey and Syria. It was also the basis of an illustration in the Parisian journal L'Illustration, September, 1849, as well as a popular travel guidebook by Adolphe Laurent Joanne entitled Voyage en Orient, 1850. In both editions, the illustrations were made by a contemporary engraver and the barber is said to be Armenian instead of Persian.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Ludwig Deutsch (Austrian, 1855-1935)The Woodworker signed and dated 'L. Deutsch 1884' (upper right)oil on panel40.8 x 28.6cm (16 1/16 x 11 1/4in).Footnotes:ProvenanceWilliams & Sons, London.Private collection, UK.Thence by descent. The present lot is an important subgenre within Deutsch's art – that of the connoisseur or Arab artisan, workman, or shopkeeper admiring an array of local handicrafts. Deutsch acquired hundreds of decorative objets when abroad, and these souvenirs of travel furnished both his Paris studio at 11 rue Navarin and the Orientalist pictures he produced until his death in 1935. It is also known that the artist frequented the photography studio of G. Lékégian in Cairo. Deutsch's interest in these items, and the element of personalisation, makes it hard not to imagine that the figure in the present lot is a surrogate for the artist himself, contemplating the next treasure to add to his carefully curated collection. The man may be identified as a woodworker, due to the particular type of chisel he holds, and the mother-of-pearl wooden inlaid drawer. His expertise in other crafts (and particularly metalwork) is suggested by the inclusion of a pair of bellows on the wall inside his niche-like shop. Interestingly, the interior of the wooden drawer is adorned with floral motifs and red paint, more typical of Turkish furniture and decorative objects than Egyptian.The red script to the right of this figure and on the door jamb or frame is inscribed with Arabic texts. There is, at top, the number '81'; the letters at the bottom read 'rqm' (raqem) meaning 'number'. This may refer to the government designation of local Cairene houses and businesses, made for tax or ownership purposes. The long diagonal red line between these two inscriptions might be the word 'Masr', meaning 'Egypt', although this would be an odd place and context for it. The craftsman's shop or workspace itself occupies a niche within this inscribed stone façade, in typical Cairene market street fashion. The aquamarine colouring of the ablaq courses is unusual, however – this striped stonework, typical of the Mamluk era, was usually black and white, red and white, or a combination of these three colours. Against the wall on the left are architectural remnants and part of a mashrabiyyah screen. This latter type of woodwork was created without the use of nails or glue; turned wood pieces are fitted together like pieces of a puzzle, to create a beautiful and intricately patterned surface that was at once open and closed. Mashrabiyyah windows were used in the harem in particular for this very reason, as they allowed the women within to see out, while simultaneously protecting them from others' view.The detritus on the ground might include an aged mango pip in the foreground on the right, and its inclusion suggests Deutsch's love of incidental detail. Contemporary artists such as the British Orientalist John Frederick Lewis also delighted in such details – Lewis's signature style was an assortment of orange or tangerine peels, however, scattered across the dirt or stone floors that he painted.We are grateful to Emily M. Weeks, Ph.D. for writing the catalogue note. The painting will be included in Dr. Weeks's concise catalogue of Deutsch's works, currently in progress.For further information on this lot please visit Bonhams.com

A mixed lot to include Art Deco style figural ornaments by Past Times, a brass door knocker in the form of a lion, mixed glass to include storage jars and ceramics, Art Glass and specimen stones to include an Ammonite, a contemporary oil on canvas together with a reproduction French Divan Japonais poster, mixed prints and a continental white glazed terracotta lamp base with floral decoration and a 1936 caricature of a jockey racing, framed, Location RAM

‡James Tower (1919-1988) Sea Piece, 1985 tin-glazed earthenware large vase incised Tower 85 525cm high 57cm wide Provenance Contemporary Ceramics, Bonhams, 26th March 1992 Private Collection Literature Paul Rice and Christopher Gowing British Studio Ceramics in the 20th Century, 1989, page 153 this vase illustrated Timothy Wilcox The Ceramic Art of James Tower, Lund Humphries, page 165 catalogue number 186

ANTONI CLAVÉ I SANMARTÍ(Barcelona, 1913 - Saint Tropez, France, 2005). Untitled. Mixed media and collage on cardboard. Signed in the lower right corner. Size: 34,5 x 24,5 cm; 62 x 52 cm (frame). Antoni Clavé was a multifaceted artist who synthesised figuration with abstraction, the effects of trompe-l'oeil with the strength of matter, the incorporation of the object with the gestural stroke and the sources of tradition with the concerns of the avant-garde. He went into exile in Paris and became friends with Pablo Picasso, which led him to immerse himself in the world of collage and assemblage and to become a researcher of all kinds of textures and materials, which he used to create his works, as in the case of the one we are auctioning here. Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop a work marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He was already enjoying great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In 1952 he made the sets for the film "Hans Christian Andersen", by Charles Vidor, and was nominated for an Oscar. In 1954 he gave up decorating to devote himself to painting. In the 1960s he painted a tribute to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. Of particular relevance is the theme of the knight with his hand on his chest, a reference that would be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage, and inventing new ones such as "papier froissé", the result of a chance use of aerosol on crumpled paper. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to him that made him one of the most prestigious artists of his generation. In the 1980s he dedicated a series of works to Picasso under the title "To Don Pablo". His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennial in 1954 and at the Tokyo International Biennial in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.

BERNARDÍ ROIG (Palma de Mallorca, 1965). "Homage to Jan Gossaert", 1995. Oil on canvas. Frame made by the artist himself in wrought iron as a tray. Signed, dated and titled on the back. Size: 75 x 135 cm; 81 x 150 cm (frame). The work presents a composition that alludes to the Flemish painter Jan Gossaert (Maubeuge, ca. 1478 - Antwerp, 1532), better known by the pseudonym of "Mabuse". Vanitas becomes a recurring theme in Jan Gossaert's work, with works featuring skulls, the quintessential symbol of vanitas, accompanied by objects alluding to wealth, knowledge and military power, all of which disappear with death. On this occasion Bernadí offers a modernised composition in which the skull is accompanied by plants, a candelabrum and a vase, as well as a "+" sign that reinforces the symbolism of the vanitas. The Latin term "vanitas" designates a particular category of still life, of high symbolic value, featuring objects that allude to the fragility and brevity of life, the passing of time and death. Vanities denounce the relativity of knowledge and the vanity of mankind, subject to the passing of time and death. It is a genre that was particularly popular during the Baroque period, and its title and conception are related to a passage from Ecclesiastes: "vanitas vanitatum omnia vanitas" ("vanity of vanities, all is vanity"). The message it conveys is the futility of worldly pleasures in the face of the certainty of death, encouraging the adoption of a sombre view of the world. In the 17th century, these moralising still lifes became very frequent as an indispensable complement to preaching and devotion in Europe, in forms and with slightly different intentions in Catholic and Protestant areas. One of the most interesting young artists on the Spanish scene, Bernardí Roig has been awarded important prizes such as the Special Prize of the Fundació Pilar i Joan Miró, the Sotheby's Prize, the Egypt Biennial in 2001 and the official prize of the XXI International Biennial of Graphic Art in Slovenia. Since the mid-1990s, he has held solo exhibitions in leading galleries, museums and art centres such as the Miró Foundation (1995), the Totem il Cannale gallery in Venice (1996), the Museum of Contemporary Art and Design of San José in Costa Rica (1997), the Ludwig Foundation in Havana (1999), the Museo Jacobo Borges in Venezuela (2000), the Museo de Bellas Artes in Oviedo (2000), the Max Estrella Gallery in Madrid (2000), the Adriana Schmidt Gallery in Cologne (2000), the Claire Oliver Gallery in New York (2002) and the Ludwigsburg Museum in Stuttgart (2002). He has also taken part in the Venice Biennale (2001), the Egypt Biennale (2001) and the Arco fair in Madrid. He is currently represented at the AENA, Miró and La Caixa foundations, the Jacobo Borges and Sofía Imber museums in Venezuela, the Ministry of Culture in Mallorca, the Saikade Museum in Japan, the Gille Collection in Belgium, the Ludwig Foundation in Cuba and the Museum of Contemporary Art in Costa Rica.

FRANCISCO FARRERAS RICART (Barcelona, 1927).Untitled, 1964.Mixed media on paper adhered to board.Presents inscription on the back.Signed, dated and located on the back.Measurements: 83,5 x 58,5 cm; 85,5 x 60 cm (frame).Francisco Farreras Ricart began young to develop his artistic vocation thanks, at least at the beginning, to Antonio Gómez Cano de Murcia and Mariano Cossío, when he began to study in the School of Arts and Trades of Santa Cruz de Tenerife. He continued his apprenticeship at the San Fernando School in Madrid, where he obtained the title of Professor of Drawing in 1949, and in Paris, Belgium and Holland thanks to his study trips. At the end of the 50's his style was geometric, using thick materials; later, when he discovered silk paper, he developed the possibilities of this material with a large number of collages, above all, and his work could be seen, since 1954 when he began his professional artistic career, in numerous cities both in Spain and abroad (Madrid, New York, Munich, Logroño, Gijón, Elche, Lisbon, Oporto, Alicante, Berlin, Buenos Aires, Granada, Lahr in Germany, Mallorca, Geneva, California, etc.). It is also preserved in numerous private collections around the world and in institutions such as the Museo Nacional Centro de Arte Reina Sofia in Madrid, the Carnegie Institute of Pittsburgh in Pennsylvania, the Contemporary Art Center of Almada in Portugal, the Honolulu Academy of the Arts in Hawaii, the Chaux de Fonds Museum of Fine Arts in Switzerland, the National Museum of Modern Art in Paris, the Museum of Contemporary Art in Madrid, the Museum of Fine Arts in Bilbao, the Patio Herreriano Museum in Valladolid, the Museum of the 20th Century in Vienna, Austria, etc.

MANUEL ANGELES ORTIZ (Jaén, 1895 - Paris, 1984)."Sculpture", 1972.Oil on canvas.Signed and dated in the lower right corner. Titled on the back.Measurements: 46 x 38 cm; 58 x 50 cm (frame).In the exhibition dedicated by the Museo y Centro de Arte Reina Sofía in Madrid, it was pointed out that the work of Manuel Ángeles Ortiz is difficult to classify. This difficulty is appreciated even in this work, where the artist makes a game through the title and the support, thus inviting the viewer to reflect on the work. This same reflection is what he transferred to all his artistic work, for this reason it is difficult to classify it as part of a movement, or a specific aesthetic. During the 60's he created his work geometric head, he was interested in the human figure and compositional analysis. In this work you can appreciate these interests, but at the same time a surrealist heritage. The work of Manuel Ángeles Ortiz shows the same alternation of languages (late Cubism, line drawing and round and monumental volumes of classical inspiration, etc.), a symptom of the different approaches to a return to order, promulgated by different voices, from Cahiers d'Art to Jean Cocteau or Amédée Ozenfant. He was an independent artist, difficult to classify stylistically, as he did not stop experimenting throughout his career, although he rejected abstract painting. That is why he is attracted to surrealism for "its enigmatic lyricism, not its morbid aberrations of psychotic subjection", as he himself points out.Manuel Ángeles Ortiz was an essential artist in the renewal of art in Spain throughout the 1920s and until the Civil War in Spain. Representative of the Spanish School of Paris, Manuel Ángeles Ortiz began his training in Granada, in the studio of José Larrocha. He later completed his studies at the Escuela Superior de Artes Industriales in the city, and then moved to Madrid, where he continued his training in the studio of Cecilio Plá. In 1915 he made his debut in a collective exhibition, receiving very good reviews in the local press. At the beginning of the twenties he moves to Paris, where he will have in Picasso his main support and first enthusiast. There he had his first individual exhibition, held at the Quatre Chemins gallery in 1926. In 1932 he returned to Spain, but his anti-fascist stance led him to go first to Paris and then to Buenos Aires, where he became fully integrated in the artistic environment and lived until 1948, when he returned to Paris for good. From his first stay in Paris, Pablo Picasso's imprint on his work is profound. The same happens in Buenos Aires, his series of woods are not found objects, but pieces worked following his own intuitions. All this is linked to the tradition of the poetics of the primitive, developed by artists such as Benjamin Palencia, Angel Ferrant, or Alberto Sanchez, but also by Paul Klee, Jean Arp and Constantin Brancusi. From the fifties in his work persist the landscape and the human figure but approaches informalism. He is currently represented in the Reina Sofía National Museum in Madrid, the ARTIUM in Vitoria, the Patio Herreriano in Valladolid, the Contemporary Art Museum in Seville, the Fine Arts Museum in Grenoble, the Federico García Lorca, Mapfre and Telefónica Foundations and the Bargera Gallery in Cologne, among other public and private collections.

ANTÓN LAMAZARES SILVA (Lalín, Pontevedra, 1954). "Flor Mari" 1983 Signed in the upper central area. Titled and dated on the back Mixed media on cardboard. Measurements: 200 x 122 cm. A painter, sculptor and engraver, Lamazares has worked in Galicia, Madrid and the United States. After making himself known through several exhibitions held in Galicia, in 1980 he made the international leap and held an exhibition in Buenos Aires. He obtained grants and was selected for very restrictive exhibitions, such as the one held at the Museo de Arte Contemporáneo in Madrid. His work travelled to Brazil, Germany, France, the United States... and before he was thirty years old he was already a celebrity, an essential name in the panorama of young Spanish painting. He is represented in all the contemporary art museums in Galicia, as well as in the Museo Nacional Centro de Arte Reina Sofía, the Caixanova collection and various public and private collections abroad.

RAFAEL CANOGAR GÓMEZ (Toledo, 1935). "Imposta", 2007. Construction on handmade paper and painted in oil glued to board. Signed and dated lower right: "Canogar 07"; inscribed lower left: 'IMPOSTA'; date, signature and inscription on the back: "07 / Canogar / 'IMPOSTA'". Work catalogued on the artist's website. Exhibitions: - 2007. Rafael Canogar. Fragmentations. Oporto (Portugal), Galeria Sala Maior, 21 April-30 May. - 2009. Rafael Canogar Accademico di Spagna. Florence (Italy), Archivio di Stato di Firenze, 13 May-24 June. - 2010. Rafael Canogar. 75 Years/75 Works. Porto (Portugal) Centro de Congresos da Alfândega, 13-28 November. Bibliography: - BARBERO, Giovanna and DORFLES, Gillo: Rafael Canogar Accademico di Spagna. Roma, Verso l'Arte Edizioni, 2009 (Repr. colour p. 52, mixed media). - PAREDES, Tómas, BARBERO, Giovanna and GARCIA BERRIO, Antonio: Rafael Canogar. 75 años/obras. Museo de la Alfándega, Oporto (Portugal), 2010 (Repr. colour p. 163 and 258 with mixed technique). - VIVAS, Lola: Rafael Canogar. Fragmentações. Oporto, Galeria Sala Maior, 2007 (Repr. colour s/p., mixed media). Presents label of the Cordeiros Gallery. Sizes: 151 x 113 cm; 172 x 120 cm (frame). Based on an image where abstraction becomes aware of the compositional space, Canogar confronts grey, red and black, three recurrent tonalities in his production, which reveal an open debate towards socio-cultural concepts. This use of flat, aesthetically opposed colours, which draw from different primary colours, responds to the desire for opposition and contradiction that prevails in many of the artist's works. In fact, Canogar states: "My work wishes to reflect, in its form of birth, in its genesis, those two elementary and primary forces that have always accompanied man: constructive and destructive forces, or construction-deconstruction. Opposing forces and the struggle of opposites, as a structural part of my work; as the reality of man who lives immersed in his own contradictions". Co-founder of the group "El Paso" in 1957, during the 1950s he developed a fully informalist work, which in the 1960s developed into an increasingly complex narrative figuration. From the 1960s onwards he achieved international recognition as a visiting professor at Milles College in California to teach the art course 1965-66, and as a guest artist at the Tamarind Lithography Workshop in Los Angeles in 1969. Between 1972 and 1974 he was also invited by the D.A.A.D. in Berlin as an artist in residence. During his mature period, from 1975 onwards, Canogar invented a new iconography, his own and personal, which he expressed through the mask, the head, the face, as a representation of man who loses his individuality and becomes a plastic sign. His work was also recognised in Spain, and during the 1980s he was a member of the Advisory Council of the General Directorate of Fine Arts of the Ministry of Culture, of the Board of Trustees of the National Museum of Contemporary Art in Madrid, and a member of the Board of Directors of the National Heritage. Throughout his career, Canogar has held countless solo and group exhibitions. Among the personal exhibitions, several have been retrospectives, including: Museo Nacional de Arte Contemporáneo and Biblioteca Nacional de Madrid, Musée d'Art Moderne de la Villa de Paris, Sonia Heine Foundation in Oslo, Konsthalle de Lund in Sweden, Paris Art Center, Bochum Art Museum in Germany, Istituto di Storia dell'Arte de Parma, Museo de Bellas Artes de Bilbao, Fundación Casa del Cordón de Burgos, Museo de Santa Cruz de Toledo, Museo Reina Sofía in Madrid, etc.

MODEST CUIXART I TÀPIES (Barcelona, 1925 - Palafrugell, Girona, 2007). "Ratacat", 1962. Oil, collage and encaustic on canvas. Attached certificate issued by Notar S.A. in 1988. Work exhibited in the exhibition: Modest Cuixart; The Crucial Years 1955-1966. Juan March Foundation, Mallorca, 2020. Work reproduced in the catalogue of the Fundación Juan March Mallorca. With the label of the René Métras Gallery on the back. Provenance: Brok Gallery. Signed, dated and located on the back. Measurements: 82 x 69 cm. This work denotes the contemporaneity of which Cuixart was a part, despite belonging to a Spain dominated by Francoism. Both the aesthetic language and the use of the encaustic technique show us the artist's knowledge of the great currents of the time. He applied to his work the precepts of Informalism that were being developed in France and his mastery of the encaustic technique that was being popularised by the American artist Jasper Johns. As the Juan March Foundation rightly points out, "From 1958 onwards, (Cuixart) resorted to his characteristic dripping of metallic iridescence on dark backgrounds, which evolved into a kind of spatialism. At the beginning of the 1960s, the material and textural elements of Lyon's Informalism hybridised with the magicist and sign-like graphics of Dau al Set. His plastic preoccupation with the human condition meant that his interest in matter was progressively replaced by an intense irruption of the existential". Cuixart initially studied medicine, but soon abandoned his studies to devote himself to painting, and entered the Academia Libre de Pintura in Barcelona. In 1948 he took part in the founding of the group Dau al Set, together with Brossa, Ponç, Tàpies and Tharrats, among others. Concerned with the plastic value of the sign, his work has from the beginning a strong kinship with surrealism, as well as a great sensitivity towards the expressive power of colour. Towards 1955 he immersed himself in material informalism, which led him to use "grattage" in works with a certain orientalist flavour. In 1959 he won first prize at the São Paulo Biennial and exhibited at the Documenta in Kassel, and the following year he took part in an exhibition of Spanish avant-garde works at the Tate Gallery in London and the Guggenheim Museum in New York. Cuixart introduced collage into his work in 1962, which gradually led him towards pop art. Enriched by all these experiences, he returned to flat painting, achieving a very personal critical realism, which synthesises expressionism with dramatically transformed figuration, always valuing chromatic qualities. In the seventies he exhibited in numerous national and international capitals, such as Paris, Madrid, São Paulo, Amsterdam, Tokyo, Basel, Barcelona and Milan, among others. In the following decade, Cuixart gradually freed his painting from its aggressive aspects to give it a more lyrical tone. He also took part in a group exhibition at the Palais de l'UNESCO in Paris, was awarded the Cross of Saint George by the Generalitat de Catalunya and the Cross of Isabella the Catholic. In 1988 he holds an anthological exhibition in Japan, in the cities of Kobe and Tokyo. He continues to work with exuberant colours and forms, and reincorporates a more material figuration into his work. In 1998 the foundation named after him was created in Palafrugell, and the following year he was awarded the Gold Medal for Merit in Fine Arts by the Ministry of Culture. He is represented in the Museo Nacional Centro de Arte Reina Sofía, the Tate Gallery in London, the Museo Nacional de Arte de Cataluña, the Contemporary Art Museums of Madrid, Barcelona and Saint-Etienne (France), the Patio Herreriano in Valladolid, the Museo de Grabado Español Contemporáneo in Marbella, the Museo de Arte de la Universidad de São Paulo, the Museo de Arte Abstracto in Cuenca and the Museo del Ampurdán, among many others.

JAMES COY (c.1750-c.1780)A View based on the Dargle River Landscape, County WicklowOil on canvas, 54.5 x 78cmProvenance: Private collection, acquired by the present owners circa 2000.The short-lived James Coy was taught by George Mullins, closely associated with Thomas Roberts and apprenticed to Robert Carver who offered to take him to London when he moved to the metropolis in 1769. Instead, however, he stayed in Dublin and that year began to exhibit with the Society of Artists in their new exhibition room on William Street. Coy’s initial exhibits were of ‘ideal’ landscapes with generic titles which echo those favoured by his master, Carver, for example ‘a landscape ruins and figures’. His Landstorm, another 1769 exhibit, was, no doubt, inspired by works of similar subject matter by Roberts. The following year, however, his exhibition of a painting of Marino anticipated by two years, Roberts’s well-known portrayal of Lord Charlemont’s famed demesne (Whitworth Art Gallery, Manchester).Coy’s exhibits in 1772 clearly reflect a sketching trip to Wicklow and included view of Tinnehinch (a subject also painted by Roberts and Jonathan Fisher) but also views more associated with their older, and London-based, contemporary George Barret including a view of Powerscourt Waterfall. This work was singled out for praise in the press, an anonymous critic writing how it conveyed ‘the strongest idea of the subject’ and even suggesting that it was ‘in every respect the best of this view, so often attempted’.  Also included by Coy in the 1772 exhibition were two views of the Dargle River, which rises in the Wicklow Mountains and having formed, at Powerscourt, the highest waterfall in Ireland flows through the Glencree Valley before meeting the sea at Bray. The river’s enclosed, rocky landscape, with dramatically shifting light effects, accorded perfectly with the nascent romantic sensibility that was developing among artists in Britain and Ireland and made it a site of picturesque pilgrimage. It is tempting to date the present work to this juncture in Coy’s short career. Clearly inspired by the Dargle scenery (described by one contemporary visitor as ‘most exceedingly Romantick and beautiful’) it may have been based on sketches made on the same trip, though, following the example of Carver and Roberts, he introduces vaguely classical buildings.  Coy was clearly a young artist with a rising reputation but sadly he died, aged only thirty, the ‘result of a chill’ caught while sketching outdoors at Westport, County Mayo, hence the great rarity of his work today.

A group of art exhibition catalogues and pamphlets, including 1977 Hayward Annual, 1977 Silver Jubilee Exhibition of Contemporary British Sculpture, Marlborough Fine Art Exhibition 1975 John Piper [5]

ROBERT WELCH: a silver Alveston pattern table service of flatware and cutlerymajority maker's mark for Robert Welch, Sheffield 1973 - 1975Placings for six, comprising: table forks (one for Old Hall Tableware), dessert forks, dessert spoons, fish forks, fish knives, soup spoons, fruit spoons, fruit forks (marks for Old Hall Tableware, Sheffield 1967), four serving spoons, table knives (four for Old Hall Tableware, Sheffield 1967) and dessert knives, with stainless steel blades, weight excluding knives with stainless steel blades 87oz. (64)Footnotes:ROBERT RADMAN WELCH, MBE, RDI (1929 – 2000)Robert Welch was born 21 May 1929 in Hereford.He trained in drawing, painting and silversmithing under Victor Moody at the Malvern School of Art and under Cyril Shiner and R G Baxendale at Birmingham College of Art. He was a contemporary of Gerald Benney and David Mellor studying at the Royal College of Art under Professor Robert Goodden.Studying in Stockholm influenced Welch's designs, with clean lines and functional designs in stainless steel, particularly those designs by the Gense factory.In 1955 he became a design consultant for J & J Wigan the only British manufacturer of stainless steel tableware, and the 'Old Hall' range of tableware. His modern designs were functional in stainless steel and silver.In the same year he established his own studio and workshop in Chipping Campden and the old workshops of C R Ashbee.Like David Mellor, Welch had a diversity of design work produced in varying materials.He was elected a Royal Designer for Industry in 1965. Robert Welch lived at Alveston near Stratford. Naming this cutlery design after his home, designed in 1961 and in 1965 this one him the Design Centre Award. This was Welch's first major commercial success.Robert Welch's most important commissions are in the Victoria & Albert Museum, The British Museum, the Museum of Modern Art, New York, Canterbury Cathedral and No.10 Downing Street.Robert Welch Designs is still family owned with shops in Chipping Campden and Warwick.For further information on this lot please visit Bonhams.com

After the Antique: A good Italian carved white marble of the Crouching Venus on verde antico pedestalsigned Galleria G. Manetti, Roma, probably mid 20th centurythe crouching goddess with her hair dressed in an Apollo's knot, the canted rectangular base with beaded border on draped integral plinth, signed to one side GALLERIA G. MANETTI, ROMA, MADE IN ITALY, the pedestal with moulded circular revolving plateau top above a fluted tapering column and lotus baluster support, raised on a waisted socle base and integral canted plinth foot, the figure 87.5cm high approximately, the pedestal 106cm high approximately (2)Footnotes:Provenance:Sothebys, 19th century Sculpture, 11th July 2018, sale 18230 (lot 9).The Crouching Venus is a Hellenistic model of Venus surprised at her bath and is found in a number of variations, perhaps the most famous one being the example first fully recorded at the Villa Medici in 1704 which can be traced back through references in more rudimentary inventories of the sculpture collection to at least 1670 and even as far back as 1598. Early commentators considered the subject to be the Birth of Venus but later the goddess was generally thought to be bathing.This figure was taken to Florence in 1787 and was placed in the Uffizi where it remains today known as the Uffizi Venus. Originally thought to be a copy of a statue by Diodalses and referred to by Pliny, more recent scholars relate it to Pergamene sculptures, such as the Arrotino. In the majority of known versions of the subject of Venus, the goddess crouches with her right knee close to the ground, turns her head to the right and reaches her right arm over to her left shoulder to cover her breasts. However the number of copies that have been excavated on Roman sites throughout Italy and France since the Renaissance period suggest that she was a very popular subject in the ancient world hence why variants appear frequently. In addition, the antique examples of the Crouching Venus in prominent art collections subsequently influenced later sculptors including famously, Giambologna and these figures were also drawn by contemporary artists such as Martin Heemskerck, who made a drawing of the Farnese Crouching Venus which is now in Naples.Related Literature:F. Haskell and N. Penny, Taste and the Antique: The Lure of Classical Sculpture 1500-1900, New Haven and Yale, 1981, p. 321-23.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Etel Adnan (Liban, née en 1925)La Montagne encre de Chine sur papier arches, encadrésigné 'Adnan' (en bas à droite)exécuté en 202056 x 76cm (22 1/16 x 29 15/16in).indian ink on arches paper, framedsignedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabePeintre et poétesse, née à Beyrouth en 1925, Etel Adnan est libanaise et américaine. Elle poursuit des études de philosophie à la Sorbonne, à Berkeley et à Harvard, et c'est en 1960, alors qu'elle écrit de la poésie, des essais, des pièces de théâtre et enseigne la philosophie de l'art, que se tient sa première exposition de peinture. Après avoir longtemps vécu en Californie, Etel Adnan rentre à Paris où elle travaille et réside aujourd'hui. Grâce à la Donation Claude et France Lemand, le Musée de l'Institut du monde arabe compte désormais l'une des plus importantes collections d'œuvres d'Etel Adnan, regroupant des oeuvres de 1970 à 2018.Le Mont Tamalpaïs est la montagne magique d'Etel Adnan, le centre de son être. Sa rencontre avec cette montagne sacrée l'a éveillée à la contemplation de la nature, à la méditation et à l'art de la peinture. La lumière et les couleurs changeantes, la brume, le brouillard et la neige sont sources d'émerveillement, de nouvelles sensations esthétiques et d'élévation spirituelle. « Debout sur le Mont Tamalpaïs, je participe aux rythmes du monde. Tout semble juste. Je suis en harmonie avec les étoiles. Pour le meilleur comme pour le pire. Je sais, je sais. »-Etel AdnanEtel Adnan was born in 1925 and raised in Beirut, Lebanon. Her mother was a Greek from Smyrna, her father, a high-ranking Ottoman officer born in Damascus. In Lebanon, she was educated in French schools. She studied philosophy at the Sorbonne, Paris. In January 1955 she went to the United States to pursue post-graduate studies in philosophy at U.C. Berkeley, and Harvard. From 1958 to 1972, she taught philosophy at Dominican College of San Rafael, California. Years after Adnan established herself as writer and literary critic, she discovered her gift as a visual artist. In her art practice, Adnan has focused mainly on abstraction, moving fluidly between long, accordion-like folio creations which she produced in the 1970s (Leporellos, or concertina fold bookworks), landscapes created and recreated in drawings, watercolour, ceramics, tapestry, and oils, as well as illustrations of poetry. For her, abstraction was a solution, a language that 'doesn't have a language problem' since without doubt her canvases speak universally.Adnan painted her life, her dislocation, a new non-verbal vocabulary. It should not be forgotten that despite her trajectory of multidisciplinary success, Adnan was nevertheless part of a generation of hardy contemporary Lebanese artists such as Huguette Caland and Saloua Raouda Choucair who despite struggles, were triumphantly inspired by the heritage of their roots and similarly able to achieve an individual and authentic personalised style. These artists overcame challenging forces to establish reputations wherever they were, and Adnan was no exception.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Khaled Takreti (Liban, né en 1964)Beirut acrylique sur toilesigné et daté exécuté en 2020150 x 120cm (59 1/16 x 47 1/4in).acrylic on canvassigned and datedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeNé à Beyrouth en 1964, et formé à l'architecture à l'Université de Damas, Khaled Takreti a influencé toute une génération de peintres arabes contemporains. Il commence à exposer son travail au milieu des années 1990 et est rapidement reconnu pour son approche innovante du portrait. En décryptant l'image sociale moderne, mêlée à des souvenirs de vie personnelle, il introduit un style de peinture sans précédent en Syrie.Basé à Paris depuis 2006, Takreti a été exposé internationalement et a été présenté dans les plus importantes biennales et foires du monde, comme la Biennale d'Alexandrie et Art Hong Kong. Ses œuvres sont conservées au Musée national syrien, à la Galerie nationale jordanienne des Beaux-Arts et au Mathaf : Musée arabe d'art moderne, entre autres collections privées et publiques.Born in Beirut in 1964, Khaled Takreti is a leading Syrian artist whose Pop aesthetic has influenced a subsequent generation of contemporary Arab painters. Originally trained as an architect at the University of Damascus, he began exhibiting his work in the mid 1990s. Recognised for his innovative approach to portraiture, which merges a personal narrative in the form of a visual diary with explorations of the modern social image, he introduced a painting style that was without precedent in Syria. Based in Paris since 2006, Takreti has exhibited internationally in solo and group exhibitions and has been featured in biennials and art fairs such as the Alexandria Biennale and Art Hong Kong. His works are housed in the Syrian National Museum, the Jordanian National Gallery of Fine Arts, and Mathaf: Arab Museum of Modern Art, among other private and public collections.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Mahmud Obaidi (Irak, né en 1966)Beirut techniques mixtes sur toilesigné et daté exécuté en 2020200 x 200cm (78 3/4 x 78 3/4in).mixed media on canvassigned and datedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeMahmoud Al Obaidi est un artiste contemporain irako-canadien né en 1966 à Bagdad. Après avoir quitté l'Irak en 1991, il obtient sa maîtrise d'arts appliqués à l'Université de Guelph au Canada et est diplomé en nouveaux médias et en cinéma à Toronto et à Los Angeles. Depuis sa première exposition personnelle internationale en 1995, son travail a été exposé dans de nombreux musées et galeries à travers le monde, dont le Musée national de Bahreïn, Manama ; Musée de l'Institut du Monde Arabe, Paris ; Mathaf : Musée arabe d'art moderne, Doha ; Galerie nationale des beaux-arts de Jordanie, Amman ; Station Museum of Contemporary Art, Houston, Texas ; et Musée d'Art Contemporain de Baie-Saint-Paul, Québec; entre autres.Mahmoud Al Obaidi is an Iraqi-Canadian Contemporary artist, who was born in 1966 in Baghdad. After leaving Iraq in 1991, he obtained his MFA at the University of Guelph in Canada, and completed diplomas in new media and film in Toronto and Los Angeles. Since his first international solo exhibition in 1995, his work has been exhibited in a number of museums and galleries around the world, including the National Museum of Bahrain, Manama; Musée de l'Institut du Monde Arabe, Paris; Mathaf: Arab Museum of Modern Art, Doha; Jordan National Gallery of Fine Arts, Amman; Station Museum of Contemporary Art, Houston, TX; and Musée d'Art Contemporain de Baie-Saint-Paul, Quebec; among others.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Najia Mehadji (Maroc, né en 1950)Ligne d'espoir pour Beyrouth acrylique sur toilesigné, daté et titré au dosexécuté en 2020180 x 190cm (70 7/8 x 74 13/16in).acrylic on canvassigned, dated and titledFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeNajia Mehadji est née à Paris et y a vécu son enfance et son adolescence, séjournant régulièrement à Fès dont sa famille est originaire. Elle est diplômée à la fois de l'Université Paris 1, où elle a soutenu en 1973 son mémoire sur Paul Cézanne, et de l'Ecole des Beaux-arts de Paris. Elle expose dès les années 80 dans des galeries parisiennes et, à partir de 1985, décide de partager sa vie entre son atelier de Paris et celui du Maroc, près d'Essaouira.Dès les années 80, son œuvre effectue une synthèse entre un art contemporain qui renouvelle la peinture et des éléments de l'art islamique tels que la coupole, le polygone, le floral, l'arabesque ou la calligraphie, au bénéfice de nouveaux concepts et de nouvelles formes au sein desquels l'artiste invente son propre style.Najia Mehadji est l'une des artistes marocaines les plus connues sur la scène internationale. Ses œuvres ont fait l'objet d'expositions dans des lieux prestigieux, dont le Musée national d'art moderne Centre Georges-Pompidou, Paris. Sa carrière d'artiste a été couronnée en 2018 par une très importante rétrospective au Musée d'art moderne de Céret (France). Ses œuvres font partie de nombreuses collections dont la Société Générale (Maroc), Attijariwafa bank (Maroc), le MACAAL (Maroc), le Centre Georges-Pompidou (France), l'Institut du Monde Arabe (France), le Musée des Beaux-Arts de Caen (France), le Musée des Beaux-Arts de Amman (Jordanie).« Toutes ces séries se situent entre le dessin et la peinture, l'abstraction et la figuration, la couleur et la lumière, le dehors et le dedans, le mouvement et le suspens, le sensible et le symbolique, le geste et l'idée, le géométrique et l'organique, la forme et le flux, la contrainte et la liberté, l'intuition et la réflexion, la perception et la mémoire - l'Orient et l'Occident. »-Najia Mehadji'Les peintures Ligne d'espoir pour Beyrouth ont été réalisées à la suite de la terrible explosion d'août 2020, qui a détruit une partie de la ville. Du fond noir jaillit une ligne continue, turquoise, très lumineuse dont les méandres dessinent une forme triangulaire qui suggère celle du cèdre, symbole du Liban.'-Najia Mehadji, Note d'atelierDepuis octobre 2018, le Musée de l'Institut du monde arabe détient une très importante collection d'œuvres de Najia Mehadji, grâce à la Donation Claude et France Lemand. Najia Mehadji was born in Paris in 1950. She lives and works in Paris (France) and Essaouira (Morocco). By the 1970s, Mehadji's oeuvre was already marked by a 'tangible abstraction' that derived simultaneously from contemporary music and from her work on the body in the experimental environment of the Université de Paris VIII. During this period she presented several performances that incorporated drawing and sound; she also contributed to the feminist review Sorcières, which published her early drawings.In 1974 she obtained a master's degree in visual arts and art history from the Université de Paris I, and also attended the École des Beaux-Arts in Paris.In the 1980s, Mehadji began to investigate the materials of pictorial practice. She decided to employ unusual media such as gesso and transparent paper on large pieces of raw canvas in order to generate symbolic, highly architectured, geometric forms.In 1985 she spent a year in Essaouira, Morocco, on an extramural scholarship from the Villa Medicis. Mehadji would later return there with increasingly frequency, producing her Icare series in Essaouira. This cycle came to a close in 1994 with the Coupole series, which explicitly referred to Islam and signaled her interest in transcultural architectural forms.In 1996, Mehadji changed technique and hence style, adopting large oil pastels that enabled her to draw long, continuous lines on raw canvas, generating spheres of pure reds or yellows, which yielded three series known as Gradients, Chaosmos, and Souira.In 1997 she taught drawing for a year as a guest artist at the École Nationale des Beaux-Arts de Paris. Her recent works display a symbolism related to nature, notably to the cosmos and the plant kingdom, establishing a logical counterpoint to the geometric forms of her early career. Hence the 'structures of flux' as exemplified by the Fleur-flux series, in which Mehadji revisits the universal symbol of the pomegranate, whose stylized flower runs throughout her canvases, drawings, and watercolors.Her interest in floral and cosmic themes can also be seen in three series titled Pivoines, Vanités, and Volutes. Since 2005, Mehadji has been producing digital works that incorporate details from engraved plates by Goya.Since October 2018, the museum of the Institut du Monde Arabe now houses a very important collection of works by Najia Mehadji thanks to the Claude and France Lemand donation.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Assadour (Liban, né en 1943)19h30 GMT huile sur toilesigné 'Assadour', daté '2009' (en bas à droite), signé, daté et titré au dos, exécuté en 2009114 x 146cm (44 7/8 x 57 1/2in).Footnotes:ProvenancePropriété de la collection de Claude et France LemandAcquis directement auprès de l'artiste par le ci-dessusLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des artistes et de l'Institut du Monde Arabe'Né au Liban en 1943, Assadour quitte Beyrouth à l'âge de 20 ans, avec une bourse pour étudier la gravure et la peinture, d'abord en Italie puis à Paris. Longtemps connu comme un virtuose et maître de la gravure contemporaine, il a développé parallèlement une œuvre riche et vaste de gouaches sur papier et d'huiles sur toile, rares et très recherchées, car Assadour travaille beaucoup, mais produit peu de peintures sur toile. Dans ses gravures comme dans ses peintures, les figures humaines et les figures géométriques de base ont toujours été intégrées à l'esquisse d'un paysage urbain, avec des constructions architecturales qui essaient de mettre de l'ordre dans le chaos du monde tel qu'il l'a ressenti au Liban et tel qu'il le voit depuis toujours.Au cours des dernières années, il a amorcé un changement important dans sa pratique picturale. La couleur dominante a changé, le gris bleu et noir remplace désormais l'orange ou se marie aux multiples nuances des autres couleurs, crée des compositions aux multiples surfaces contrastées, avec une mise en lumière parfaite et maîtrisée. Le principal changement est dans la structuration même de l'espace : les grandes figures humaines occupent désormais la place centrale de l'espace pictural et ont remplacé les grandes formes architecturales qui organisaient l'espace urbain chaotique, et les multiples figurines anonymes que l'artiste dispersait dans l'espace de ses œuvres ont pratiquement disparu.'Claude Lemand 'Assadour le secret, prince du cryptage, à la nature retenue mais ardente, apparaît tel le plus méticuleux maître d'images, qu'il imbrique, démêle, coagule, disjoint encore et finalement confond en une même substance. Ses agencements prodigieusement impénétrables ne délèguent rien au hasard. Tout est si précis dans ses chaos calculés qu'il ne semble pas tant détruire tous les codes que les substituer par les siens.' Gérard XurigueraAssadour was born in 1943 in Beirut and left his homeland in 1963 to study abroad. He obtained a scholarship to go study engraving and painting in Italy and subsequently in Paris. Assadour is well-known as a master of contemporary engraving and yet he has also produced a rich and prolific oeuvre of temperas on paper and oils on canvas. The latter are rare and sought-after as Assadour executed very few paintings on canvas. He participated in many exhibitions throughout Europe, Korea, Japan and Lebanon, and his work has been displayed in international art fairs as well as in retrospective shows in Museums in Germany and Italy. Assadour managed to develop his own artistic style by finding inspiration in two art movement, the Bauhaus' Constructivism and the Parisian Surrealism.''Assadour the secret, prince of encryption, with a tempered yet passionate nature, appears as the most meticulous master of images, which he interlocks, untangles, clots, separates again and finally fuses into one same substance. His layout is ingeniously inscrutable yet nothing has been randomly placed. Everything is so precise in this chaos which is very well thought out, that Assadour does not seem to destroy all the codes but rather substitutes them with his own.' - Gérard XurgueraClick for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Hiba Kalache (Liban, née en 1972)Even if a moment later, everything would be altered technique mixte sur toilesigné, daté et titré au dosexécuté en 2020190 x 175cm (74 13/16 x 68 7/8in).mixed media on canvassigned, dated and titledFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeDepuis la destruction de sa Beyrouth natale provoquée par l'indigence politique, Hiba Kalache, née à Beyrouth en 1972, s'est temporairement réfugiée à San Francisco. Nourrie de littérature, l'artiste 'manifeste' avec des dessins, des peintures et des sculptures complexes dans une œuvre très biographique : « Je fais de l'art une réponse à mon environnement immédiat, comme une envie et une tentative de naviguer dans ses couches et ses complexités ». Brassant mémoire collective et histoire personnelle, décortiquant l'imbrication des traumatismes d'une société déracinée et ses conflits intérieurs, Hiba Kalache sollicite le spectateur de regarder au-delà des éclaboussures colorées et sophistiquées sur papiers ou toiles (parfois sans cadre et non tendus), pour scruter le chaos dévorant qui ronge leurs surfaces.'Comment pouvons-nous vaincre, comment pouvons-nous résister, comment continuer à créer en tant qu'artistes et témoins nus d'un présent horrible, comment raconter l'inconnu à plusieurs niveaux, comment survivre, littéralement ne pas étouffer et mourir (moralement, émotionnellement) sous un pouvoir abusif qui nous extermine lentement, quotidiennement », poursuit-elle dans son dialogue avec Singular's. Contre-point à ce désespoir, celle qui revendique aussi ne pas vouloir « se compliquer la vie », sait aussi capter « la banalité des rituels quotidiens'-Hiba Kalache, I Love You Because...'La plupart de mes titres, depuis début 2018, sont principalement des extraits (ou des fragments de phrases) de lectures que je fais à un moment précis – des romans qui m'intriguent généralement et qui évoquent des relations spécifiques et étroites avec mes intérêts, mes préoccupations et mes enquêtes. Pour la série 'Lemonade, everything was so infinite' (Limonade, tout était si infini), je me suis concentrée sur Agua Viva, de Clarice Lispector. Le livre s'est infiltré à travers mon processus artistique et il reflétait ou réverbérait directement ma propre pensée et mon processus technique, en particulier l'abstraction, la fragmentation du style d'écriture et du contenu conceptuel du livre.'-Hiba Kalache, It All Seemed To Be Piling Up Effortlessly, Until..., 200Born in Beirut, Hiba Kalache is an interdisciplinary artist whose practice spans installation, drawing, painting, and sculpture. Kalache draws on her daily life for her materials and process. She has used extra-artistic materials in her work, including food material, such as butter; dough; spices; rice; cake icing, as well as stockings, glass, metal wire, and drying machine lint. Kalache interrogates the separation between the private and public spheres, and more specifically, what she calls, 'the banality of daily rituals', as well as one's definition of 'home' and social belonging. Her recent interests include the relationship between texts and images, and the possibility of intermedial translation, as well as allegories of redemption and propositions of futurity in an era of perpetual presentism.In 2005, Kalache received a Masters of Fine Arts from California College of the Arts (CCA) in San Francisco. She has since exhibited in Beirut, Berlin, Brussels, Istanbul, New Orleans, Oakland, San Jose (USA), San Francisco, and Tehran. Her work has also been shown at art fairs including Art Dubai, Drawing Now (Paris), and Gwangju Art (South Korea). Recent group exhibitions include Mimesis Expression Construction (2016) curated by Octavian Esanu at the American University of Beirut's Rose and Shaheen Saleeby Museum, Heartland (2015) curated by Joanna Chevalier at the Beirut Exhibition Center, and Under Construction, Exposure (2014) curated by Marie Muracciole at the Beirut Art Center. In 2012, she had solo shows in Beirut with The Running Horse Contemporary Art Space, and the FFA Private Bank. In 2017, she taught fine arts at the Lebanese American University.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Chaouki Choukini (Liban, né en 1947)To Beirut - A Beyrouth - Li Bayrût bois d'irokosignéexécuté en 2020153 x 65 x 30 cmiroko woodsignedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeChaouki Choukini est né en 1946 à Choukine, au sud du Liban. Il suit la formation de l'Ecole supérieure des Beaux-Arts de Paris de 1967 à 1972 et remporte le Prix de la Jeune Sculpture en 1978.De 1985 à 1987, il occupe le poste de professeur de sculpture à l'Université libanaise de Tripoli, et de 1989 à 1991, il est professeur de sculpture à l'Université jordanienne de Yarmouk. Depuis, il vit et travaille en France. Chaouki Choukini est exposé lors de nombreuses expositions, dont celle de l'Institut du Monde Arabe en 1991. Il obtient le Prix de la Fondation Taylor en 2010 et participe avec 7 de ses sculptures à l'exposition de l'IMA, Le corps découvert, de mars à août 2012.En 2015, l'Académie Française des Beaux-Arts lui décerne le Prix Pierre Gianadda de la Sculpture, pour récompenser l'ensemble de son oeuvre.'Ce libanais venu en France directement depuis son village du Liban-Sud, sculptait alors dans le bois d'étranges constructions, imaginaires et sobrement baroques, dont l'évidence formelle, pourtant à la limite de l'onirisme, s'imposait : c'était tout à la fois des monuments chimériques, des damiers pour jeux de hasard anthologiques, des figurines imbriquées et impliquées dans une sorte de 'grand jeu' métaphysique. La musique muette des sculptures de Choukini est un défi à l'absurde canon qui tonne ici ou là pour tuer, mais il n'y parviendra pas, l'âme et le corps du Liban, montagne dure et tendre comme les sculptures et le sculpteur dont je parle.'- Salah Stétié'When I was younger, I used to go to my grandfather's house during school holidays in a village called Choukine in the south of Lebanon, where I would contemplate mountains, trees, valleys, wells — unlike the views of Beirut. This led me to develop my love of nature, which influences my work. My expression of a landscape is not an exact representation of nature — I'm turning it into something metaphysical, imaginary and with an element of mystique.'- Chaouki ChoukiniChaouki Choukini's sculpture offers a window back to what he refers to as the 'landscape of childhood', to people and places, and to memories of South Lebanon. Choukini piles block upon block on top of each other, creating cityscapes and mountains, and revealing abstracted, silent faces. It is this tension – between corners and edges, form and function, and, most importantly, positive and negative space – that has come to define his work.Born in 1946 in Choukine, Lebanon, Chaouki Choukini received his degree from the Ecole Nationale Superieure des Beaux-arts de Paris, in 1972. He was awarded the Prix de la Jeune Sculpture in 1978 followed by the Taylor Foundation Prize in 2010. Most recently in 2015 he was awarded the Prix de la Fondation Pierre Gianadda, from the Academie De Beaux-Arts de l'Institut de France.Choukini has participated in various solo and group exhibitions including Beloved Bodies, Barjeel Art Foundation, Sharjah, UAE (2017), Poetry in Wood, Green Art Gallery, Dubai, UAE, (2016), Portrait of The-Non-Existent-Bird, Museum of Issoudun, France (2014); Tajreed (Arab Abstract Art), Contemporary Art Platform, Kuwait (2013); Le Corps decouvert, Arab World Institute, Paris, France (2012); International Aswan Sculpture Symposium, Cairo Biennial, Egypt (1997); Paris Sculpture, Centre de Sculpture Contemporaine, Paris, France (1973). His works are in several important collections including Musee d'Art Contemporain de Val-de-Marne, France; Arab World Institute, France, Mathaf, Arab Museum of Modern Art, Doha, Centre National Des Arts Plastique, France, Barjeel Art Foundation, Sharjah, UAE and Sharjah Art Foundation. He lives and works in Paris, France.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

PETER J RODJERS (BRITISH CONTEMPORARY) 'DECO DOWNPOUR', an art deco cityscape at night, signed bottom left, watercolour on paper, approximate sizes: image 50cm x 50cm, frame 71cm x 71cm (condition: small chips and scratches to frame) (ARR)

Contemporary pressed metal Gothic wall art panel, 120 x 120cm

Collection of six contemporary pressed metal wall art panels, each of square form, 29 x 29cm (6)

Vasenobjekt Samuel J. Herman, 1977 Farbloses Glas. Farbpulver und Oxide ein- und aufgeschmolzen. In Vibrogravur signiert und datiert: Samuel J. Herman 1977 SA 1817. H. 22,5 cm Lit.: R. & L. Grover, Contemporary Art Glass, New York 1975, Abb. 170 ff. - Die Sammlung Wolfgang Kermer, Glasmuseum Frauenau, Abb. 157

'Artifact Still Life (Burial) William Morris, 1990 20-teiliges Objekt der ''Artifact Series''. Farbloses Glas mit kobaltblauer Pulverein- und Goldfolienaufschmelzung, formgeschmolzen, weiße körnige Substanz aufgeschmolzen, teils irisiert. 2 Teile in Gravur signiert und datiert: William Morris 1990. H. 37 cm; B. ca. 80 cm (variabel) Lit.: ''William Morris Glass - Artifact and Art'', University of Washington Press, Seattle & London 1989, S. 72/73 - ''Contemporary Crafts and the Saxe Collection'', The Toldedo Museum of Art, Toledo 1993, Plate 37.Bitte beachten Sie, dass dieses Objekt regelbesteuert ist. Fu?r Kunden innerhalb der EU wird auf den Zuschlag zuzu?glich 26 % Aufgeld,die gesetzliche Umsatzsteuer von derzeit 19 % erhoben. Ausgenommen hiervon sind Käufer aus dem Drittland, der Schweiz sowie Händler innerhalb der EU mit Umsatzsteuer-ID-Nr.. Please note that this item is calculated with standard taxation.EU customers have to pay the hammer price plus 26 % premium and value added tax (19%).Excluded from this are buyers from non-EU countries, Switzerland and EU Dealers with valid VAT no.

Vasenobjekt Samuel J. Herman, 1971 Farbloses Glas, mit Farb- und Oxideinschmelzung zwischen den Schichten. In Vibrogravur signiert und datiert: Samuel J. Herman 1971 ISA 1137. H. 18 cm Lit.: R. & L. Grover, Contemporary Art Glass, New York 1975, Abb. 170 ff. - Die Sammlung Wolfgang Kermer, Glasmuseum Frauenau, Abb. 157

Pyramide Colin Reid, 1994 Cire-perdue Gussverfahren. Farbloses Glas mit Pulvereinschlüssen in Graphit und Grün, sandgestrahlt, geschliffen und poliert. In Gravur signiert und datiert: Colin Reid 1994 R 623. 22,5 x 27 x 26 cm Lit.: 'Zeitgenössische Glaskunst', MUDAC, Lausanne 2006, Abb. 253 - S.K. Frantz, Contemporary Glass, Ney York 1989, S. 188 - Dan Klein, Glass - A Contemporary Art, London 1989, S. 162 - Ausst.-Kat. ''Contemporary European Sculptures in Crystal and Glass'', Abb. 146 - Contemporary Crafts and the Saxe Collection, The Toledo Museum of Art, Hudson Hills Press, New York 1993, plate 46

Vase Joel Philip Myers, 1979 Opakweißes dickwandiges Glas, mit eingeschmolzenen, sich teils überlagernden mehrfarbigen Glasplättchen, sandgestrahlt. Oberhalb des Standes sowie auf der Standfläche in Diamantriß signiert und datiert: Joel Philip Myers 1979. 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

Tom Wesselmann (1931-2004)Cut Out Nude (Green) 1965 signed and dated 65acrylic, pencil and paper collage laid on board43.1 by 57.5 cm. 16 15/16 by 22 5/8 in.Footnotes:ProvenanceSidney Janis Gallery, New York (#11266)Private Collection, USBarbara Mathes Gallery, New York (CA1833)Guy Pieters Gallery, Knokke Acquired directly from the above by the present owner in 1995In the late 1950s, Tom Wesselmann began a series of small collaged nudes in interior settings, composed from magazine cuttings. From 1961, these provided the compositional basis for his acclaimed and iconic Great American Nude series. Wesselmann's nudes, with their simplified curves and passages of rich colour are arguably the most widely recognised pieces, not only of his extensive and celebrated career, but epitomise the American Pop avant-garde that defined a generation championing progressive attitudes in the midst of the glamourisation of Hollywood and the proliferation of televisual and print media. In this present work, Cut Out Nude (Green) from 1965, the enticing image of a brunette woman, languishingly posing with her arms stretched over her head is rendered in piquant clarity in painted, collaged elements. She appears to us as an idealised and attractive female form, a modern Venus. Her relaxed pose suggests she is completely at ease in her nudity with visible tan lines and a wide joyful smile, reclined in an intimate display evoking historical depictions of women in their private spaces. This is not a figure that is submitting to the viewer, but instead appears to be relishing the attention and freedom her position allows. Wesselmann is not concerned with surface or sculpting – there is no hint of dimension to his nude – but rather we are presented with flat forms and brilliant colours, so definitive of iconic works produced at the height of Pop Art in the 1960s.He often intentionally left the faces of his models blank, avoiding the suggestion of a portrait and allowing his viewers to be open to individual interpretation and leave room for the imagination. The only features Wesselmann includes here are those essential to sensual simplification such as lips and nipples, poignantly identified in bright red, believing that any intonation of personality would interfere with the forthrightness of the subject.Wesselmann consistently referenced the classical representation of the nude throughout his figurative painting. In the present work, the one-dimensional, central figure of the nude is illuminated with a bright green palette and flattened composition. His theme has strong art historical credentials in the motif of the sleeping Venus, evolving into the reclining Odalisque, that adorns the walls of the world's greatest museums in the paintings of Ingres, Manet and Matisse. The latter's influence on Wesselmann was especially profound, identified in his own fluid and supple forms. Wesselmann's voluptuous reclining nudes put a new spin on Matisse's Odalisques, yet we can clearly identify inspiration from the sensuousness of Matisse's forms and vibrant palette. Invigorated by the shifting, luxurious forms of Matisse; Wesselmann shunned the almost clinical eye of his Pop contemporaries in favour of colours and subjects that were at once recognisable and ideal.Wesselmann approached and revived the theme of the artist's muse in a completely novel way. His Great American Nudes as modern odalisques represent the most exceptional examples of his iconic visual language and capture the cultural energy of Post-War America that was going through significant shifts in second wave feminism, sexual liberation and hippie movements. The Great American Nudes established Wesselmann as a master of colour and collage, whose deft manipulation of art historical and contemporary symbols distinguished him as one of the leading American Pop artists of his time.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Frank Stella (B. 1936)La prima spada e l'ultima scopa 1983 synthetic polymer paint on aluminium honeycomb panels and acrylic panel 379.7 by 346.1 by 86.4 cm. 149 1/2 by 136 1/4 by 34 in. This work was executed in 1983. Footnotes:ProvenancePrivate Collection, USSale: Phillips, New York, Contemporary Art Evening Sale, 14 May 2015, Lot 41Private Collection, TurkeyAcquired directly from the above by the present ownerThere is but a handful of artists whose careers capture, define, and redefine the art of an era – thought leaders and virtuosos whose work rewrites the terms of engagement. It could be said of Picasso's cubist leap, Le Corbusier's architecture, Pollock's drips on floor-strewn canvas, The Beatles Please Please Me. For Frank Stella, since his arrival in New York in 1958, his work has steered the course of contemporary art practice through sequential breakthroughs, with his greatest evolution emerging in 1983 after his residency at the American Academy in Rome. Presented here is one of Stella's first and most magnificent works of this period, La prima spada e l'ultima scopa from 1983. A monumental feat of sculpture and painting, the present work draws upon a plethora of references, sources, and historical allusions that culminate in a complex work of sheer brilliance. As part of Stella's Cones and Pillars series (1984-1987) – examples of which reside in the Tate Collection, London (Salta nel mio Sacco, 1984), the National Gallery of Art, Washington (La scienza della fiacca, 1984), and the Centre Pompidou, Paris (La vecchia dell'orto, 1986) – La prima spada e l'ultima scopa is one of the finest, museum-quality examples to come to market. It embodies Stella at his most confident and unhindered, weaving passages of expressive brushstrokes into a lattice of polygonal supports that conjures Romanesque architecture, Russian Constructivism, the swirling strokes of De Kooning, as well as Stella's own shaped canvases of the 1960s. Born in 1936, Stella's ascendancy to the New York avant-garde was swift and prodigious. After majoring in history at Princeton – where he befriended art critic Michael Fried – his practice emerged seemingly fully-formed, producing his pioneering Black Paintings throughout 1959. Such was the impact of his arrival and this debut sequence of works, made freehand in household paint, curator Dorothy Miller included the 23-year-old Stella's works in 16 Americans at MoMA, opening in December of 1959. It was a ground-breaking exhibition that flexed American art and its youthful talent as the pinnacle of global creative freedom and endeavour. Stella's inclusion alongside the likes of Robert Rauschenberg, Jasper Johns, Ellsworth Kelly, and Louise Nevelson, sealed the artist's place amongst this burgeoning generation who inherited the mantle from a diminishing group of Abstract Expressionists. Whilst Stella's earliest works were significant and impactful for their searing simplicity, devoid of colour and composition, his paintings remained tacitly in-step with the critical recourse of the time. Visual art had emerged from the Greenbergian school prizing the painting qua painting, believing that the nature of a work of art is bound in its constituent parts: paint and support. Stella took this to its limit with his very first step, which, in many people's eyes, signalled the end of Abstract Expressionism and the birth of American Minimalism. As Donald Judd remarked of Stella's influence on his own practice: 'the order is not rationalistic and underlying but is simply order, like that of continuity, one thing after another. A painting isn't an image. The shapes, the unity, the projection, order, and colour are specific, aggressive, and powerful' (Donald Judd, Donald Judd: Writings, New York: 2016, p.141).Marking a hugely critical step away from academic painting and out of the shadow of Minimalism, what Stella's work achieved in the 1980s is a grand synthesis of his experience, ambition, and ceaseless curiosity that culminates in the true maturation of Stella's ultimate style and method. In residence at the American Academy in Rome between 1982-1983, the artist used this opportunity to delve deep into the legacy of the Baroque period and the lives and careers of Caravaggio, Rubens, and Velázquez. Studying their use of light, colour and hue, picture planes and sequential, overlapping passages of a painting's composition, Stella suffused a maximalism and grandeur that can only be described as monumental in La prima spada e l'ultima scopa. Considering the influence of Caravaggio on his practice and what he considered to be a crisis in abstract painting, Stella would go on to deliver a series of lectures at Harvard on the 16th century Milanese painter in 1983-1984, before publishing both an eponymous book, Caravaggio, and Working Space, in 1986, taking aim at contemporary painting's need to develop a pictorial space as potent as Caravaggio's – allowing a painting more 'real' space to suggest extension and unrestricted motion. La prima spada e l'ultima scopa captures this newfound verve with consummate mastery. Through arching projections and intersecting facets, the present work is an operatic display of how a painting can stitch, not only illusionistic space together, but the real space of multiple, sculptural planes. Few painters have attempted such a break from the canon – fewer still have succeeded. Stella remains painting's greatest originator of the postmodern period. As his friend and prominent critic, Michael Fried, commented: 'the visual illusionism in Stella's new pictures goes beyond advanced sculpture in the direction of [...] opticality and illusiveness. [...] Because sculpture is literal it can, in the end, be known; whereas the shapes that constitute Stella's new paintings, and the new paintings as experienced wholes, cannot' (Michael Fried, Art and Objecthood: Essays and Reviews, Chicago: 1998, p.96). This unbounded creativity marks one of the most significant passages of Stella's career, and indeed of twentieth century art. One of the earliest works from his Cones and Pillars series (1984-1987) – often cited as a reference to Paul Cézanne's assertion that a painter should organise nature into cylinders, spheres, and cones – in La prima spada e l'ultima scopa, Stella investigated the potentialities of abstract painting still further through their descriptive function. In 1983, the artist was working on a series of prints entitled Illustrations after El Lissitzky's 'Had Gadya'. In Lissitzky's artistic implementation of the traditions of Jewish Passover, Stella recognised that he had 'attempted something few abstract painters have ever tried to do: address a narrative' (the artist in: Michael Auping, Frank Stella: A Retrospective, New York: 2015, p.32). Upon meeting Italo Calvino at one of his Harvard addresses in 1984, Stella found the Italian fables of Calvino the perfect narrative vehicle for his Cones and Pillars works, titling all of them post-production after the short stories in the Italian's 1956 collection. La prima spada e l'ultima scopa (here meaning 'the first sword and the last broom') tells the story of a wager between two merchants, who send their eldest son (the first sw... This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on 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.For further information on this lot please visit Bonhams.com

Banksy (B. 1975)Bomb Love 2002 tagged on the turnover edgespray paint on canvas25.4 by 20.3 cm.10 by 8 in.This work was executed in 2002. Footnotes:This work is accompanied by a certificate of authenticity issued by Pest Control Office.ProvenanceSanta's Ghetto, LondonSimon Finch, London Acquired directly from the above by the present owner in 2004Bomb Love is pure Banksy: provocative, bitingly satirical and yet tender. Always a vicious opponent of mass media and casual consumerism the sense that today's youth are being sold aggression instead of innocence, war instead of play explodes from the canvas in a flash of bubble-gum pink. The little girl sporting a ponytail tightly hugs onto the cumbersome military weapon as if it were her favourite cuddly toy and this is redolent of his Girl and Balloon in its whimsicality, and Kids on Guns in its wistful agony. All three images are stone cold classics by the artist coming from the zenith of the artist's most celebrated period. The image that first appeared as a black-and-white stencil on the streets of East London in 2001 has since become an iconic Banksy motif which is highly sought after by collectors. Executed on canvas and tagged with the artist's distinctive signature, Bomb Love from 2002 is executed onto a rosy base colour reminiscent of infanthood that enhances the motif and gives the work itself an innocent and naïve quality. Bomb Love is fresh to the market and whilst the artist later executed a print version of the popular subject, works on canvas from the series are rare at auction with the last comparable work having been offered over a decade ago. Banksy's works intend to shock, yet they also aim to engender thought-provoking discourse through their simple visual elements. The proximity of someone so vulnerable, yet so close to danger, is undoubtedly compelling, and through Banksy's clever dichotomy, the artist is sending a message of optimism to the universe, with the aspiration that one day love will overcome war. The image appeared in his autobiographical book Wall and Piece, alongside the caption 'I like to think I have the guts to stand up anonymously in a western democracy and call for things no-one else believes in – like peace and justice and freedom' (the artist in: Wall and Piece, London 2005, p. 29). Bomb Love is charged with a veiled anti-war sentiment and through his rendering, Banksy is tackling international concerns, and critiquing the government and the media for the rose-tinted glasses worn during periods of brutal warfare.This evident juxtaposition of the fragilities of childhood, closely intertwined with the atrocities of war, is an ironic combination of subject matters common in Banksy's Street art. The depiction of a young child heightens the emotions of love, loss, and hope and there is seemingly an appetite amongst collectors for this powerful motif of lost innocence. Earlier in 2021 an original of Girl with Ice Cream on Palette from 2004 sold for £1,100,000 in Bonhams' Post-War and Contemporary sale in London. The artist's empathetic and consistent dialogue within a contemporary global crisis is to be admired and there is an attractive irony to Banksy's compassion. The hybrid street artist and social activist rose to prominence in the 1990s as a graffiti maverick, rejecting any form of government control. Banksy's close encounters with the police in his early years led him to adopt his signature stencils; spraying onto a ready-made template allowed the artist to execute his works quickly, whilst sheltering behind his concealed identity. According to Banksy, 'all graffiti is low-level dissent, but stencils have an extra history. They've been used to start revolutions and to stop wars' (the artist in: Tristan Manco, Stencil Graffiti, London 2002). Despite the use of stencilling by other notorious street rebels, such as Blek le Rat and Shepard Fairey, Banksy has placed himself in a category of his own and has superseded any expectation of graffiti subculture's success. His outlaw status and anti-establishment street art are the essence of his prolific career and practice. He is perhaps the most important artist to emerge in Britain since the turn of the millennium and this signature work can be seen as a signature example of the artist at his very best.Banksy's ever-growing popularity is testament to his remarkable ability to react and adapt to the contemporary art market, and the world at large. He repeatedly appears in the public eye, and in August 2021 the artist was recognised for the undertaking of his A Great British Spraycation, in which he installed several graffiti pieces across the English coastline, bringing joy and whimsy to local neighbourhoods. He continues to construct his own narrative, and his decision to stay anonymous despite his international attention, makes Banksy an intoxicating enigma.Executed in 2002, Bomb Love is a prime model of Banksy's enduring anti-war art of the last two decades, and in keeping with the context of the sale, the work will be accompanied alongside another highly evocative Banksy piece from the same year, Rude Copper.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

Christo (1935-2020)Running Fence (Project for Sonoma and Marin County State of California) 1974 signed, titled, dated 1974 and dedicated For Paul Wembercharcoal, pencil, coloured pen, staples, photograph, glue and fabric collage on card laid on board, in a Perspex frame29 by 40.4 cm. 11 7/16 by 15 7/8 in. Footnotes:The authenticity of this work has been confirmed by the Christo and Jeanne-Claude Studio.ProvenancePaul Wember Collection, Germany (a gift from the artist) Sale: Sotheby's, Paris, Contemporary Art, 28 May 2009, Lot 102Acquired directly from the above by the present ownerThis 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

Yves Klein (1928-1962)Untitled Blue Monochrome (IKB 53)1959 signed and dated 59 on the reversedry pigment and synthetic resin on stonewareDiameter: 24.5 cm. 9 5/8 in.Footnotes:ProvenanceRené de Montaigu Collection, FranceSale: Tajan, Paris, Succession René de Montaigu, 13 June 1995, Lot 20 Private Collection, FranceSale: Cornette de Saint Cyr, Paris, Art Contemporain, 29 January 2001, Lot 61Acquired directly from the above by the present ownerLiteraturePaul Wember, Yves Klein Catalogue Raisonné, Cologne 1969, p. 72, description of the work listedRadiant in colour and sublime in form, Untitled Blue Monochrome (IKB 53) from 1959 is a truly captivating work by the acclaimed French artist Yves Klein. Born in Nice in 1928, Klein's influence on the landscape of contemporary art has been extraordinarily profound. Despite a fatal heart attack at the young age of 34, Klein had a remarkably active career creating a vast body of work that continuously pushed the boundaries between painting, sculpture and thought-provoking performance art. Klein's exhibition The Void, at Iris Clert Gallery in 1958, held only a year before the present work was created, was a revolutionary conceptual masterpiece where the artist presented a completely empty gallery space in Paris. Thousands of visitors attended the exhibition and expected to see his latest paintings, but instead they were confronted with an empty room and provocative bare white walls. Klein's pioneering Anthropometries also shocked the art world at the time. The artist engaged nude female models covered in paint and used them as human paint brushes, creating impressions of their bodies and working their flesh directly onto the surface. Whilst incredibly controversial and daring at the time, Klein endeavoured to create a more religious, intellectual, and immersive theatrical experience in his practice.Untitled Blue Monochrome (IKB 53) was executed at a pivotal moment in Klein's career. His monochrome paintings which originally began in various colour tones - vibrant oranges, deep purples and exuberant greens – had been exhibited for the first time at the Club des Solitaires in Paris only four years earlier in 1955. Quoted in the exhibition catalogue, Klein discusses his journey to this crucial monochrome series and the assertive experience of his paintings which was achieved through uniformity: 'After passing through several periods, my pursuits have led me to the creation of uniformly monochrome paintings. Using multiple techniques, after appropriate preparation of the foundation, each of my canvases is thus covered by one or more layers of a unique and uniform colour. No drawing and no variation of hue appear there is only strictly uniform colour. In such manner, the dominant force asserts itself upon the entire painting.' (the artist in: Yves Klein Yves Peintures, Paris 1955, p. 33).Two years later in 1957, Klein finalised the fabrication of the deep and intense ultramarine pigment that he would patent in his name. It is this emotive blue that would dominate his oeuvre and form the basis of his monochrome abstraction, sublimely realised in Untitled Blue Monochrome (IKB 53). In the present work, layers of powdery International Klein Blue pigment, otherwise known as IKB, saturate the stoneware in a rich variation of colour, drawing the eye over the striations that mark the concave plane. The viewer is drawn into the surface starting from outer edges and circling inwards. Few artists have been so closely affiliated to one colour as is the case with Klein and the electric IKB. As a result, the two are inextricably linked and synonymously bound to each other. Klein believed the purpose of colour was to strip back the materiality of the canvas or the surface, creating a doorway to a higher experience that transcends the mere physical. His powdery IKB pigment represents a physical representation of a cosmic force or an otherworldly experience which is dependent on the light, the individual viewer and their own sensibility. Indeed, this cosmic energy is palpable when you are placed in front of Klein's monochromes. Regardless of the size or the form; whether applied to canvas, ceramic or to the ethereal anthropomorphic Sculpture-Eponges, you are immediately drawn to the velvety colour, losing yourself to the limitless plane and thereby experiencing infinite freedom as his works act as a conduit into a deep void, unhindered from a specific narrative. Transfixing the viewer and artist alike, IKB evoked the transcendental experience of Klein's childhood spent in Nice, from gazing up towards the luminosity of the limitless sky and out towards the endless azure Mediterranean Sea. This release of the body and mind presents a certain spirituality to Klein's work that was evident throughout his life. Before devoting himself to his artistic practice, Judo was Klein's first love. He travelled to Japan in 1952 and trained as a judoka for a period of fifteen months. Klein's interest in Eastern philosophy was also piqued on this trip, studying Zen Buddhism where the tenets of emptiness and the disavowal of the self can be seen in many of his works. With his interest in Zen Buddhism and combined with his Catholic faith, Klein was rather philosophical and interested in religious iconography. He would often use gold and rose along with his signature colour in his works, recalling the holy trinity. Gold for the Father, blue for the Son and pink for the Holy Spirit. Untitled Blue Monochrome (IKB 53) was originally held in the esteemed collection of the prominent collector and businessman René de Montaigu. Born in Paris in 1897, Monsieur de Montaigu was incredibly passionate about the arts, acquiring works by many of the leading artists of the Twentieth Century such as Ellsworth Kelly, Jean Dubuffet, Christo, Lucio Fontana, Georges Mathieu and Yves Klein. Many works from his collection have been admitted into international institutions; one such example is the Wisteria Dining Room, Paris, now in the collection of the Metropolitan Museum of Art, New York. An entire room complete with walnut wall panels and intricately painted murals, the Wisteria Dining Room is a celebrated example of Art Nouveau design and architecture and was conceived by the French Symbolist artist Lucien Lévy-Dhurmer. A generous patron, René de Montaigu was a founding member of the 'Association of Friends of the Centre Pompidou' in Paris and gifted a painting by the German artist Wols to the museum in 1979.Harmonious in form and size, Untitled Blue Monochrome (IKB 53) presents a wonderful opportunity to acquire an incredibly rare work from the artist's oeuvre. Residing in the collections of prominent international institutions including The Museum of Modern Art, New York, The Centre Pompidou, Paris, The Tate Modern, London, The Louisiana Museum of Modern Art, Humlebaek and the Tokyo Metropolitan Art Museum, Tokyo, Klein's legacy continues to endure and mesmerise through a world of endless colour and possibilities.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

Julian Schnabel (B. 1951)Avoiding Open Heart Surgery 1985 oil, fiberglass and burlap on linoleum254.5 by 249.5 cm. 100 3/16 by 98 1/4 in.This work was executed in 1985. Footnotes:This work is accompanied by a photo-certificate of authenticity, issued by the Julian Schnabel Studio, New York.ProvenanceWaddington Galleries, LondonPrivate CollectionSale: Sotheby's, New York, Contemporary Art, 2006, Lot 121 Galleria d'Arte Contini, VenicePrivate Collection, Italy Acquired directly from the above by the present ownerExhibitedLondon, Waddington Galleries, Julian Schnabel, 1985, p. 11, illustrated in colourLiteratureStuart Morgan, 'Letters to a Wound. An address prompted by recent exhibitions of work by Joseph Beuys, Eric Bainbridge and Julian Schnabel' in: Artscribe International, no. 55, Dec/Jan 1985-86, p. 32, illustrated in colourThis lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on 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.For further information on this lot please visit Bonhams.com

Larry Rivers (1923-2002)Last Veteran of the Civil War 1970 oil on canvas, painted wood, plastic, cloth and mixed media188 by 244 by 122 cm. 74 by 96 1/16 by 48 1/16 in. This work was executed in 1970.Footnotes:ProvenanceMarlborough Fine Art, New YorkThe Commemorative Art Collection of the Florists' Transworld Delivery Association, Michigan Bo Alveryd Collection, Sweden Private Collection, Sweden Thence by descent to the present owner ExhibitedNew York, Marlborough Fine Art, Larry Rivers: 1965 - 1970, 1970-1971 Chicago, Museum of Science and Industry, Each in His Own Way: the Commemorative Art Collection of the Florists' Transworld Delivery Association, 1971 Seattle, The Art Museum, American Art, 1973, p. 44, no. 55, illustrated in colourParis, Palais Galliera, 100 Tableaux Contemporains, 1974, n.p., no. 100, illustrated in colourSweden, Lunds Konsthall, Americans, 1977, n.p., illustrated in black and whiteLiteratureSam Hunter, Larry Rivers, New York 1969, n.p., pl. 245, illustrated in colourArt Media, LLC, 'What's the Flower Business doing in the Art World' in Art News, February 1972, n.p., illustrated in colourAmerican artist, Larry Rivers, created an innovative body of work during his oeuvre whose distinctive style formed a bridge between Abstract Expressionism and the beginnings of Pop Art. Coming of age during the rise of Abstract Expressionism in the 1940s and 1950s, and having initially studied under Hans Hoffman, the artist inherited the gesture, spontaneity, and extravagant painterly style of the New York School. Yet, he worked from a distinctively informed, if not postmodern, sensibility. Rivers began a lifelong fascination with reinterpreting the iconic imagery of American culture, throwing long-established clichés into question as he chose instead to render them in bold displays of richly textured paint. In some respects, Rivers's work foreshadowed Pop Art, his work has been labelled as 'proto-Pop', forming a link between Abstract Expressionism and the younger Pop artists such as Jasper Johns and Robert Rauschenberg, whom Rivers knew. This present work, Last Veteran of the Civil War, executed in 1970, was originally created for a floral messaging service for the 'The Commemorative Art Collection of the Florists' Transworld Delivery Association' which was a floral wire service, retailer and wholesaler formed in 1910 for the purpose of helping its customers to send flowers remotely on the same day. Here, Rivers presents to us a three-dimensional construction depicting a Civil War Veteran laid to rest in his coffin, overlooked by a stoic figure dressed in Confederate uniform alongside the Confederate flag and a panel illustrating a delicate floristry design. He seeks to call into question our understanding of the past and encourages the viewer to reflect upon their own interpretation of historic events. Upon its execution the work was proudly executed in an exhibition organised by the Museum of Science and Industry titled Each in His Own Way: the Commemorative Art Collection of the Florists' Transworld Delivery Association. The work initially received some criticism, with audiences believing that in comparison to his paintings of the subject, that this installation piece focused too heavily on the reality of morbidity. However, today we might praise Rivers for his progressive and bold interpretation of a subject in history, that remains a hallmark of his body of work. 'The Last Civil War Veteran' is a subject matter Rivers repeated many times throughout his career, albeit perhaps more recognised in his monumental painted canvases. He reportedly became interested in the subject of a lost generation of soldiers having seen a photograph in a 1959 issue of Life magazine of Walter Williams, who was believed to be the last surviving Veteran of the Civil War. It was reported that the artist Ray Parker sent this issue of Life to Rivers, accompanied by the word: 'Go!'. This set the stage for Rivers and began one of the artist's most significant, politically charged series for which he is widely recognised. Rivers was intrigued by mass-circulation imagery and contemporary perspectives on historical events. He was not so much a storyteller but an observer of the ways that stories are told, and this present work encourages the viewer to engage in the boldest demonstration of experience. An artist whose career defied traditional categorisation, Larry Rivers wanted his works to provoke and question. He would have known the political and social implications of featuring the Confederate flag, in his works, which underwent a divisive resurgence in the early 1960s. Yet, he instead depicts the Confederate flag, and here crated in faux flowers, as a piece of Americana, an emblem of history, or perhaps as a Pop icon. A retrospective of Larry River's work toured five American museums in 1965 and that same year he created a 76-panel multimedia work titled The History of the Russian Revolution. In 2002 the Corcoran Gallery of Art in Washington, D.C. held a major and most comprehensive retrospective of the artist; timely, as Larry Rivers was to pass away that same year. This present work has been widely exhibited since its execution and it is an absolutely signature piece to come to the market.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on 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.For further information on this lot please visit Bonhams.com

Three contemporary Glasform mushrooms with iridescent cups, art glass vase with pontil mark H19.5cm, signed David Wallace perfume bottle and collection of other other decorative glassware

A collection of contemporary Art and Sculpture hardback books including Philip Jackson, Michael Ayrton, John Trickett, Frederick Remmington and others

CARL RADKE FOR PHOENIX GLASS STUDIOS; a contemporary art glass 'Jack in the Pulpit' vase with internal linear decoration, signed to the underside, height 38cm.Additional InformationMinimal wear to the base, no chips or cracks.