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ROTH, DIETER1930 Hannover - 1998 BaselTitel: Unterhaltungsmusik I. Datierung: 1969. Technik: Portfolio mit 11 Farbradierungen auf gefärbtem, handgeschöpftem Bütten. Darstellungsmaß: Blatt: 79 x 56,5cm / 56,5 x 79cm Bezeichnung: Jeweils signiert, datiert und nummeriert. Zudem auf Dachpappe-Umschlag betitelt und nochmals nummeriert. Herausgeber: Divers Press, London (Hrsg.). Exemplar: 5/50. Provenienz:- Galerie art intermedia, Köln. Erläuterungen zum KatalogDieter Roth Deutschland Neuer Realismus Eat Art Nachkriegskunst Grafik 1960er Abstrakt Druckgrafik Farbradierung ROTH, DIETER1930 Hanover - 1998 BaselTitle: Unterhaltungsmusik I. Date: 1969. Techinque: Portfolio with 11 colour etchings on coloured, handmade laid paper. Depiction Size: Sheet: 79 x 56,5cm / 56,5 x 79cm. Notation: . Each signed, dated and numbered. Also on roofing paper cover titled and again numbered. Publisher: Divers Press, London (publisher). Number: 5/50. Provenance:- Galerie art intermedia, Cologne. Explanations to the Catalogue

PICASSO, PABLO1881 Malaga - 1973 MouginsTitel: Hibou a la chaise (fond ocre). Datierung: 1947. Technik: Lithografie über ockerfarbenem Fond auf Velin. Darstellungsmaß: 64 x 49cm. Blattmaß: 65,5 x 49,5cm. Bezeichnung: Signiert und nummeriert. Exemplar: 29/50. Rahmen/Sockel: Rahmen. Von dieser Auflage wurden jeweils 25 Exemplare mit und ohne ockerfarbenem Fond gedruckt.Provenienz:- Kunsthandel Michael Hertz, Bremen- Sammlung Helga und Walther LauffsLiteratur: - Bloch, Georges: Pablo Picasso, Catalogue de l'Oeuvre Gravé et Lithographié, Bd. 1, 1904-1967, Bern 1971 (2. Aufl.), WVZ.-Nr. 410, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Grafik 1940er Vögel Druckgrafik Lithografie Eule PICASSO, PABLO1881 Malaga - 1973 MouginsTitle: Hibou a la chaise (fond ocre). Date: 1947. Technique: Lithograph over ochre coloured ground on vellum. Depiction Size: 64 x 49cm. Sheet Size: 65,5 x 49,5cm. Notation: Signed and numbered. Number: 29/50. Frame/Pedestal: Framed. Of this edition, 25 copies each were printed with and without an ochre ground.Provenance:- Art dealer Michael Hertz, Bremen- Collection Helga and Walther LauffsLiterature: - Bloch, Georges: Pablo Picasso, Catalogue de l'Oeuvre Gravé et Lithographié, vol. 1, 1904-1967, Bern 1971 (2nd ed.), cat. rais. no. 410, ill. Explanations to the Catalogue

A set of 3 Art Nouveau brass fire irons and a pair of contemporary andirons

Glasse, Hannah. The Art of Cookery, Edinburgh: Alexander Donaldson, 1774. Octavo, worn contemporary calf with oxblood morocco title label lettered in gilt, contemporary owner inscriptions on title page, lacking the folding Bill of Fare at rear, sold as found with all faults

A SANCAI-GLAZED POTTERY FIGURE OF A BACTRIAN CAMEL, TANG DYNASTYChina, 618-907. Standing foursquare on a mostly unglazed square base, with its head raised upwards as if braying, the body covered in a transparent ochre glaze, the back with a molded caparison and glazed with green, cream and ochre.Provenance: Austrian private collection. Galerie Zacke, Vienna, 3 October 1998. Dr. Mons Fischer, acquired from the above. A copy of the original invoice from Galerie Zacke, Vienna, dated to 3 October 1998, accompanies this lot. A seasoned private collector of modern and contemporary art, Dr. Mons Fischer has also acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria.Condition: Some repair and touchups as generally expected from Tang dynasty excavations. Losses, fissures, and encrustations. Minor firing flaws, such as firing cracks, glaze flakes, glaze recesses, and dark spots. Drilled holes from sample-taking. Overall, very good condition.Scientific analysis report: A thermoluminescence report issued by Oxford Authentication on 11 February 2020, based on sample no. C120a60, sets the firing date of both two samples taken at 900 - 1500 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot.Weight: 6.0 kgDimensions: Height 58 cmLiterature comparison: A closely related but smaller sancai pottery camel in the collection of the Metropolitan Museum of Art, accession number 67.43.1. A related sancai camel is also in the collection of the British Museum, museum number 1915,0409.2.Auction result comparison: Compare with a closely related sancai pottery camel at Bonhams London in Asian Art on 6 November 2017, lot 326, sold for GBP 10,625.唐代三彩駱駝俑中國, 618-907年。雙峰駝俑，引頸翹首，四肢挺拔，體態昂揚。周身以黃釉為主，局部間以綠、白色釉。 來源：奧地利私人收藏。維也納 Zacke藝廊, 1998年10月3日。 Mons Fischer博士購於上述藝廊。隨附發票副本。Mons Fischer博士是一位經驗豐富的現代和當代藝術私人收藏家，從1980年代開始收藏中國藝術品，最終成爲奧地利中國藝術品重要收藏之一。 圖片：Dr. Mons Fischer 和他的妻子 品相：唐代出土物品中普遍預期的一些維修和修整。 缺損，裂縫和結殼。輕微的燒製缺陷，例如燒製裂紋，釉面開片，釉面内凹和黑斑。 因樣品採集鑽孔。總體而言，狀況良好。 科學檢測報告：隨附一份2020年2月11日出具的牛津熱釋光檢測報告副本， 采樣編號C120a60。檢測結果表明拍品為900-1500年前所制。 重量：6.0 公斤 尺寸：高58 厘米

FLOATING VILLAGE ON SUNSET' BY SOPHANNARITH (BORN 1960)Sophannarith Thou, one of Cambodia's most prestigious artists; born in 1960 and student from the Royal Academy of Fine Arts. In 2000 he was acknowledged as an "Honorable Painter" by the Ministry of Culture of the Kingdom of Cambodia.Oil on canvas, mounted on a stretcher. Painted in expressionistic style with a snapshot of village life. The lower left signed Sophannarith and the backside with a dedication - "To my friend Dr. Zelnik, Sophannarith".Published: From the collection of Dr. Zelnik, SOPHANNARITH, Icon of the Contemporary Cambodian Painting, p 149. Condition: Very good condition. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Dimensions: 110 x 58 cm

Laetitia Yhap (b.1941) Conversation, 1981 Liquitex on printed Vilene 58 x 76 cm Hastings Museum and Art Gallery is celebrating Laetitia Yhap’s 80 years of ‘Vital Life’ and work this year with an exhibition of her paintings and drawings chronicling the working lives of the town’s fisherman.* Born in London during the Blitz to an Austrian mother and Chinese father, Yhap studied at Camberwell School of Arts and Crafts and in 1962 travelled to Italy for a year on a Leverhulme Scholarship studying Renaissance art and architecture. On her return, she was a postgraduate student at the Slade School of Fine Art in London before moving to Hastings. She recalls: “I had arrived in Hastings in 1967 and was making large scale watercolour and tempera paintings which excluded the human presence. For me the only way to understand the extraordinary world and work of the fishermen, was to do it the slow way by drawing from direct observation out of doors. I did not possess a camera and it would not have occurred to me to use one. The first 18 months of research was spent entirely and exclusively drawing. Later, as I became familiar with the scene, I made paintings and more complete drawings could be developed. It was always important to me that the people I depicted were recognisable.” Yhap is represented in public collections including the Arts Council of Great Britain, the British Council, the Contemporary Art Society, the Government Art Collection, Hastings Museum and Art Gallery, Hove Museum and Art Gallery, New Hall Cambridge, the Nuffield Foundation, Rugby Museum, South East Arts Collection, Tate, Unilever, University College London and the Walker Art Gallery in Liverpool. * My Vital Life: Laetitia Yhap at 80 at the Hastings Museum & Art Gallery. The Covid-19 pandemic necessitated a digital version of the exhibition and the artist’s gallery tour can be viewed on the website. However, now selected watercolour paintings and drawings will be on view in Museum’s Walkway Gallery until 2 January 2022. 

Charlotte Snook Presentation of the Portrait of Maria de Medici, after Rubens, 2020 oil on board 30 x 25 cm Charlotte Snook is a British figurative painter who uses her knowledge of art history and a contemporary understanding of human nature to make images in jewel-like oils. She starts with Breugel, Poussin, Claude and 17th-century Flemish art, but her dislocated scenes are often filled with barely supressed, violent energy. Indeed, her work allows for the apocalyptic nature of the world. “They are concerned with a loss of paradise,” Snook told artist-curator Alan Rankle. “It’s all about the painting: light, colour, contrast, the composition and brushstrokes. I try to set a narrative without there being one.” Born in Middlesex, Snook studied at Hornsey College of Art and gained her MA in Painting at the Royal College of Art. In her academic career, she has taught at art schools and universities throughout England, and from 2001-09 was Senior Lecturer in Visual Communication (Foundation) at Central Saint Martins, London. She lives and works in Hastings. Snook’s work has been included in the Jerwood Drawing Prize (1995-99), the Hunting Prize and the Garrick/Milne Prize. Solo exhibitions include Rare Affairs at the Basement Gallery, Boise, Idaho, USA; Hastings Museum and Art Gallery; and St Anne’s Galleries, Lewes. 

Siobhan Stanley Still Life with Peppers, 2016 oil on canvas 40 x 50 cm Before Dublin-born artist Siobhan Stanley studied painting, she was a soloist with Sadler’s Wells Royal Ballet for 15 years prior to joining Rambert Ballet Company; she then spent eight years as an actor. So it was not surprising that, as a visual artist, she chose to position her contemporary themes and human subjects within the historical setting of Shakespeare’s world. However, instead of drawing directly on the plays, in the series Communion, Stanley has reimagined the lives of black merchants in Elizabethan society, a significant group but rarely painted at the time, to subvert formal representations of power and wealth. Since 2011, Stanley has studied painting in Italy at the Florence Academy of Art and at the Cecil Studios, at the London Fine Art Studio and the London Atelier of Representational Art. She has exhibited work at Leighton House, London, and at BlackShed Gallery, East Sussex. After many years in London, she is now based in Hastings. 

Titled, "Blooms in Yellow", oil on canvas, signed lower right. Renee Constantine DiNapoli is a local Sarasota artist and former faculty member of Ringling School of Art & Design. DiNapoli is noted for her contemporary florals and interior beachfront realism. Overall size: 37 x 54 in. Sight size: 30 1/2 x 48 in. Please note that all sales are final. No refunds will be given under any circumstances.

(See English version below)Susan Philipsz (Glasgow 1965 – lebt in Berlin). „Rosa“. 2001/2021Klanginstallation im Innenhof der KW Institute for Contemporary Art. 1-Kanal-Klanginstallation/Dauer: 1:40 Minuten. ( ). Auf dem beiliegenden USB-Anhänger signiert (eingeritzt).Auf dem bei­liegen­den Zertifikat vom 14. April 2021 signiert. Edition von 3. [3495] Wir berechnen auf den Hammerpreis 25% Aufgeld und auf Hammerpreis und Aufgeld die zum Auktionszeitpunkt geltende Umsatzsteuer.Susan Philipsz (Glasgow 1965 – lives in Berlin). ”Rosa”. 2001/2021Sound installation in the courtyard of the KW Institute for Contemporary Art. 1 channel sound installation/duration: 1:40 minutes. ( ). Signed (incised) on the accompanying USB pendant.Signed on the accompanying certificate dated 14 April 2021. Edition of 3. [3495] We charge 25% premium on the Hammerprice and VAT applies to hammerprice and premium.

(See English version below)Mappenwerk. 25 Years Artist Portfolio (Edition 2016). 2017Portfolio aus 12 Kunstwerken (Omer Fast, Carsten Höller, Joan Jonas, Renata Lucas, Teresa Margolles, Adam Pendleton, Santiago Sierra, Katharina Sieverding, Taryn Simon, Lucy Skaer, Mounira Al Solh, Klaus Weber), verschiedene Techniken, in originaler Leinenkassette. Kassette: 46,5 × 65 × 5 cm (Größen einzelner Werke variieren) ( 18 ¼ × 25 ⅝ × 2 in. (Größen einzelner Werke variieren)). 9 der 12 Blätter signiert, davon 4 datiert.Eines von 25 nummerierten Exem­plaren. Berlin, KW Institute for Contemporary Art, 2017. [3527] Wir berechnen auf den Hammerpreis 25% Aufgeld und auf Hammerpreis und Aufgeld die zum Auktionszeitpunkt geltende Umsatzsteuer.Portfolio. 25 Years Artist Portfolio (Edition 2016). 2017Portfolio from 12 Kunstwerken (Omer almost, Carsten Höller, Joan Jonas, Renata Lucas, Teresa Margolles, Adam Pendleton, Santiago Sierra, Katharina Sieverding, Taryn Simon, Lucy Skaer, Mounira Al Solh, Klaus Weber), various Techniken, in original linen-covered box. Box: 46,5 × 65 × 5 cm (Größen einzelner works variieren) ( 18 ¼ × 25 ⅝ × 2 in. (Größen einzelner works variieren)). 9 of 12 sheets signed, 4 of which dated.One of 25 numbered copies. Berlin, KW Institute for Contemporary Art, 2017. [3527] We charge 25% premium on the Hammerprice and VAT applies to hammerprice and premium.

§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) PALMA, MAJORCA Signed, dated on a label verso 1933, oil on board(61cm x 51cm (24in x 20in))Footnote: Provenance: Sir William and Lady MacTaggart and thence by family descent Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.

§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) CASSIS Signed, oil on board(48cm x 38cm (18in x 15in))Provenance: Lady MacTaggart and thence through the familyFootnote: Exhibited: 1922 Group Edinburgh, 1924 Scottish National Gallery of Modern Art, Sir William MacTaggart Retrospective Exhibition 1968, no.4 Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.

§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) FLOWERS AT NIGHT Signed, oil on canvas(76cm x 61cm (30in x 24in))Footnote: Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.

§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) STILL LIFE Signed, oil on canvas(76cm x 56cm (30in x 22in))Footnote: Provenance: Collection of Dugald McTaggart Lindsay. Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.

§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) EFFULGENCE Bronze(21.5cm x 13.5cm (8.5in x 5.25in))Footnote: Exhibited: Scottish National Gallery of Modern Art, J.D.Fergusson 2013, Ill. cat. 98, p.94 Note: This sculpture dates from c.1920 (cast date unknown) Effulgence: “great brightness; radiance; brilliance” Thanks in large part to the major retrospective of Fergusson’s work at the Scottish National Gallery of Modern Art in 2013-14, in which the work offered here for sale was exhibited, we are now more aware of the significant role sculpture played in Fergusson’s art practice. It is thought he created his first sculptural work as early as 1908 in Paris, and it continued to be a facet of his oeuvre for the next fifty years. The reason his sculptural works are so limited in number is simply due to the costs involved, as casting was an expensive process. He often had to wait for a direct commission and his sculptures therefore generally went directly in private hands, and are now only in relatively recent times re-emerging back onto the market and providing us with a fuller picture of his sculptural practice. Effulgence is one of the most well-known of Fergusson’s works in bronze. Created c.1920, arguably the most successful decade of the artist’s career, this piece represents him at his height of his creativity. A quintessential product of its era, it encapsulates Fergusson’s immersion within the artistic movements of the Parisian avant-garde, and evidences the Modernist fascination with ‘primitivism’ and the exotic. Though no doubt perceived as provocative by a contemporary audience, it is above all representative of sensuality. Depicting a dancer, this work distils the elements of the human experience that Fergusson held close: vitality, physicality, sexuality and freedom from convention. He did not create his masterpiece Eastre: Hymn to the Sun until 1924, and Effulgence might therefore be considered an important work in the developmental journey. Cast in the yellow bronze frequently favoured by the artist, we come to understand through Effulgence and Eastre that this choice of medium was very conscious; designed to evoke the light and warmth of the sun, and reference ancient Celtic and bronze age deities which celebrate Nature and fecundity.

ALEXANDER GOUDIE (SCOTTISH 1933-2004) LA VIE EN ROSE Signed, oil on canvas(152cm x 122cm (60in x 48in))Footnote: Note: The history of art is full of examples of significant relationships between artists and patrons: indeed, it is not an overstatement to say that they make the art world go round. Alexander Goudie, a leading Scottish painter of the 20th century Glasgow school, found a long-term supporter and lifelong friend in John Thomson, the prominent Glasgow architect and interior designer of the company Weddell & Thomson. Inspired by his trips to the city’s museums as a young boy, Thomson’s adult life revolved around his appreciation of art and aesthetics. When creating an interior, Thomson keenly encouraged his clients to decorate their walls with original artwork by contemporary Scottish artists. In this way, and through his own extensive personal collection, he was friend and patron to a great many of the artists active that time on the Scottish art scene, including David Donaldson, Alberto Morrocco and John Cunningham. Goudie’s work, however, clearly had a particular appeal for Thomson; reflected in the significant examples that featured in his collection. Thomson, now sadly deceased, spoke of the frisson of anticipatory excitement he would experience prior to his trips to the artist’s studio, and long convivial evenings biding at Goudie’s home with a drink in hand. Praising Goudie’s strong draughstmanship and vibrant palette, he credited the artist with converting him away from Victorian era artworks to the wave of talent on his own doorstep. Lyon & Turnbull are pleased to offer for sale one of the key pieces from the Thomson Collection, the monumental ‘La Vie En Rose. Both intimate in mood and dramatic in scale, it is a relatively early work and depicts the artist’s wife and muse, Mainee. It is a fine example of the most significant aspect of Goudie’s oeuvre: the portrait. Paisley born, the young Goudie went on to study under David Donaldson at the Glasgow School of Art. It was here that his work resolved to embrace the strong tradition of portraiture that the School boasts. Detectable in his aesthetic lineage are the influences of greats including Sir John Lavery and Francis C. B. Cadell. This is traceable in his the lushly applied paint and bravura brushwork. He too was drawn to sophisticated interiors, and created an aesthetic that cleverly walked the line between the contemporary and classical.

§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) NORWEGIAN FJORD Signed and dated '54, oil on board(24cm x 36cm (9.5in x 14in))Footnote: Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.

§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) AT GOSFORD, EAST Signed, inscribed on a label verso, oil on canvas(76cm x 63.5cm (30in x 25in))Footnote: Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.

A mid-Victorian lady's drawing-room friendship album, the property of and compiled by/& for Jenny Townsend [? of Attleborough House] from 2nd September 1862, gilt-illuminated and hand-scrivened vellum title-page: Album, within a Gothic architectural frame, eclectically illustrated and inscribed with a herbarium page with a pressed and dried marine botanical specimen, two b/w photographs of Attleborough From breakfast room and View from Hall door onto the garden with seated figures, photographic prints of European topography, well-executed watercolours and pencil drawings of still lives of flowers, portraits, topography, and typical genre subjects, a few earlier engravings, original verse, prose, and sentiments in ink MS, corresponding selections from literature, some sincere wishes of Townsend relations and friends, some stiff card leaves elaborately embossed as frames and enclosing tipped-in original art work (some in miniature) and parlour games & related ephemera, the majority of leaves colour paper, etc., contemporary blue roan gilt (rubbed), all-edges gilt, foliate endpapers, 4to, (1); another, probably the same owner as the last, partially-filled, including 3 herbarium leaves of dried and preserved botanical specimens, etc., finely bound in green morocco, each cover embossed with a scrolling foliate frame and enclosing gilt-blocked anthemions, within gilt dogtooth and fillet borders, gilt-lettered spine, all-edges gilt, foliate, endpapers, 4to, (1); another similar, Lilly Borton, 1853, with tipped-in printed and cut-card Christmas and greetings cards, contemporary leather, elaborately tolled in blind and gilt, 4to, (1), [3]

Art - The Portfolio: An Artistic Periodical, five volumes: 1882, 1884, 1886, 1887, & 1888, illustrated with full-page etchings and photogravures, in-text illustrations, contemporaneously bound en suite by C.S. Smith, Edinburgh, stamped, in gilt leather over green cloth gilt, all edges gilt, marbled endpapers, folios (35.7cm x 27cm), (5); Celebrated Pictures Exhibited at the Manchester Royal Jubilee Exhibition: Fine Arts Section [...], London: J.S. Virtue, 1888, illustrated with line engravings and etchings, contemporary green quarter-morocco over pictorial cloth (disbound, rubbed), medium folio (46.5cm x 35cm), (1); Ruskin (John), Modern Painters, five volumes (of six, lacking index), Complete Edition, Sunnyside, Orpington: George Allen, 1888, black-ruled title, full-page engravings, contemporary cloth, 4to, (5), [11]

Miscellaneous - Travel, Jephson (John Mounteney, F.S.A.), Narrative of a Walking Tour in Brittany, first and only edition, London: Lovell Reeve, 1859, fold-out map, lacking stereograph frontispiece, not accompanied by the set of stereographs which were separately sold, contemporary cloth, 8vo, (1); Beaton (Cecil), Chinese Album, first edition, London: Batsford, Winter, 1945-46, b/w illustrations, pictorial dustjacket over yellow cloth, 8vo, &, Near East, second printing, first edition, London: Summer, 1943, pictorial dustjacket over red cloth, 8vo, (2); The Beauties of the Bosphorus, one separate volume composed of pages 79-164, illustrated with 40 full-page steel engravings and 1 map, contemporary quarter-morocco gilt (rubbed, chipped), 4to, (1); Hacker (Louis M.), The Shaping of the American Tradition, two-volume set, first trade edition, Columbia University Press: 1947, cloth, 8vo, (2); Boughton (George H., A.R.A.), Sketching Rambles in Holland, London: 1885, illustrated, pictorial red cloth, 4to, (1); Howitt (William), Homes and Haunts of the Most Eminent British Poets, two-volume set, second edition, London: 1847, contemporary printed boards, all-edges gilt, 8vo, (2); Seymour's Humorous Sketches, London: [1878], pictorial cloth, 8vo, (1); The Bystander, January to June 1916, in two contemporary cloth binders, folio, (2); Seven Pillars of Wisdom, first public edition, London: 1935, cloth, 4to, (1); another copy, third impression, London: August, 1935, cloth, 4to, (1); Stoddard's Portfolio of Photographs, Chicago: The Werner Company, [n.d.], b/w plates, cloth, oblong 4to, (1); Wallace's Photographic Gems of Art, Springfield: 1896, cloth, oblong 4to, (1); Romany/Gypsy; British East Africa; Ethiopia; Dickens; etc., [32]

Periodicals - The Quarterly Review, fifteen volumes: March 1842, June 1842, October 1846, December 1847 & March 1848 (bound as one), September 1852, June & September 1855 (bound as one), October 1870, January 1871, July 1871, January 1872, January 1874, January 1875 (2), July 1877, & October 1877, mostly in contemporary wrappers (various states), 8vo, (15); The Art Journal, 1851, full-page engravings and in-text illustrations, contemporary quarter-morocco over cloth (rubbed, bumped), all-edges gilt, small folio, (1); The Gentleman's Magazine, April & May 1799, bound as one, engravings, paper wrappers, 8vo, (1); The New Monthly Magazine and Universal Register, 1819: Part I, January to June, various plates, contemporary quarter calf over marbled boards (disbound), endpapers en suite, contemporary local bookseller's ticket: R. Collinson, Bookseller, Mansfield, 8vo, (1), [18]

Whittock (Nathaniel), The Oxford Drawing Book, or the Art of Drawing, and the Theory and Practice of Perspective in a Series of Letters [...], Embellished with Upwards of One Hundred and Fifty Lithographic Drawings, Oxford: Bartlett and Hinton, [1825], contemporary marbled boards enclosing disbound contents, lacking back, oblong 4to, (1); Pyne [(William Henry)], No. 1, On Rustic Figures, in Imitation of Chalk, London: R. Ackermann, 1817, pp: [2], ii, 6 full-page sepia soft-ground copperplate engravings on laid cartridge paper, original wrappers dated 1813, 4to, (1); The Ladies' Monthly Magazine: The World of Fashion, two copies: No. 346, Vol. 29, October 1852, &, No. 431, Vol. 36, September 1832, plates, original wrappers, 4to, (2); Virtue's Picturesque Beauties of Great Britain, No. 8, [n.d., c. 1830], 4 plates over two sheets of steel engravings, accompanying letterpresses, original wrappers, 4to, (1), [5]

David Colwell (b.1944), ‘A’ Chair, ash with metal tubular rivets, designed 2010, branded ‘DC’ verso, 91cm high.91cm highFootnote: Ken Stradling was formerly Managing Director and Chairman of the Bristol Guild of Applied Art. Stradling joined “The Guild” in 1948 and over the next 50 years developed it as a major centre for the sale and appreciation of contemporary British and European design.Condition report: A few marks to lower front uprights, otherwise sound.

Charles Eames (1907-78) and Ray Eames (1912-88) for Herman Miller - Armchair Aluminium Group, Model 682, brown ribbed vinyl upholstered seat and back, open cast aluminium arms enamelled black, on a steel tri-form swivel base with pad feet, 62cm wide x 69cm deep x 88cm high.63cm wide, 70cm deep, 86cm highFootnote: Ken Stradling was formerly Managing Director and Chairman of the Bristol Guild of Applied Art. Stradling joined “The Guild” in 1948 and over the next 50 years developed it as a major centre for the sale and appreciation of contemporary British and European design.Condition report: Overall very good. Slight wear to base.

Verner Panton (1926-98) for Herman Miller, Series 2 stacking chair, designed 1960, manufactured by Vitra, 1968-1975, moulded polyester and fibreglass shell, sprayed white, moulded marks verso, 49cm wide x 48cm x 83cm high.Footnote: Ken Stradling was formerly Managing Director and Chairman of the Bristol Guild of Applied Art. Stradling joined “The Guild” in 1948 and over the next 50 years developed it as a major centre for the sale and appreciation of contemporary British and European design.Condition report: Some light marks and surface scratches around edges sides and top, horizontal surface crack running approximately three quarters of the width of the chair just below seat. Further marks and scuffs near base at front.

J.P. Hully for P.E. Gane & Co., cantilever bentwood framed armchair, 1935, bears label with registration mark for 1935. 60cm wide x 68cm deep x 82cm high.Footnote: J.P. Hully was in-house designer at P.E. Gane & Co.. He had previously worked at Bath Cabinet Makers before joining Gane's in 1933.This piece of furniture was previously in the collection of Ken Stradling, formerly Managing Director and Chairman of the Bristol Guild of Applied Art. Stradling joined “The Guild” in 1948 and over the next 50 years developed it as a major centre for the sale and appreciation of contemporary British and European design. At the same time, he began his own personal collection of design pieces, which now contains over 1,500 items and is considered of national importance.Condition report: Some light scratches and marks. Discolouration and wear to varnish to arms along with a few nibbles to edges. Darkening to rear of base. Upholstery replaced.

P.E. Gane & Co., Bristol, nest of four Modernist tables, rectangular tops raised on four square section supports with chamfered inside edges, the smallest united by ‘H’ frame stretcher, ivorine labels for P.E. Gane & Co., Bristol, the largest 69cm wide x 52cm deep x 61cm high.Footnote: This piece of furniture was previously in the collection of Ken Stradling, formerly Managing Director and Chairman of the Bristol Guild of Applied Art. Stradling joined “The Guild” in 1948 and over the next 50 years developed it as a major centre for the sale and appreciation of contemporary British and European design. At the same time, he began his own personal collection of design pieces, which now contains over 1,500 items and is considered of national importance.Condition report: Top of largest with significant water staining and rings, also lifting to corners of veneer and staining to outer edges of legs. Remaining tables all have signs of wear and use, including water staining and rings and staining to lower part of legs.

Hans Wegner for Getama, oak framed armchair and ottoman, designed circa 1955, slatted wooden back, sprung seat, with original dark green wool upholstery, braised marks to the underside GETAMA / GEDSTED / DENMARK / DESIGN HANS WEGNER, 76cm wide x 73cm deep x 96cm highQty: 2Footnote: This piece of furniture was previously in the collection of Ken Stradling, formerly Managing Director and Chairman of the Bristol Guild of Applied Art. Stradling joined “The Guild” in 1948 and over the next 50 years developed it as a major centre for the sale and appreciation of contemporary British and European design. At the same time, he began his own personal collection of design pieces, which now contains over 1,500 items and is considered of national importance. Condition report: Light scratches and some water spots and marks to arms and sides of seat frames. Water marking to edges of uprights on ottoman. Staining to seat cushion. Ottoman cushion missing.

Early 20th Century stained hardwood table by Fischel, Austria, rectangular top on brass capped square tapered supports, Fischel paper label to underside, 105cm wide x 70cm deep x 79cm high.Footnote: This piece of furniture was previously in the collection of Ken Stradling, formerly Managing Director and Chairman of the Bristol Guild of Applied Art. Stradling joined “The Guild” in 1948 and over the next 50 years developed it as a major centre for the sale and appreciation of contemporary British and European design. At the same time, he began his own personal collection of design pieces, which now contains over 1,500 items and is considered of national importance. Condition report: Top with scratches and indentations, Some light scratches and nibbling to legs.

Alvar Aalto (1898-1976) for Finmar, 'L' leg table, designed circa 1933, retailed by Finmar, ebonised laminated birch top on four laminated plywood down-curved rectangular supports, ivorine Finmar label to underside, 99cm wide x 61cm deep x 69cm high.Footnote: This piece of furniture was previously in the collection of Ken Stradling, formerly Managing Director and Chairman of the Bristol Guild of Applied Art. Stradling joined “The Guild” in 1948 and over the next 50 years developed it as a major centre for the sale and appreciation of contemporary British and European design. At the same time, he began his own personal collection of design pieces, which now contains over 1,500 items and is considered of national importance.Condition report: Scuffs, scratches and losses to ebonised top. Areas of wear to varnish and scratches to legs.

Alvar Aalto (1898-1976) for Finmar, 'L' leg side table, designed circa 1933, retailed by Finmar, the laminated birch top with ebonised sides, ivorine Finmar label to underside, 59.5cm wide x 41cm deep x 57cm high.60cm wide, 41cm deep, 57cm highFootnote: This piece of furniture was previously in the collection of Ken Stradling, formerly Managing Director and Chairman of the Bristol Guild of Applied Art. Stradling joined “The Guild” in 1948 and over the next 50 years developed it as a major centre for the sale and appreciation of contemporary British and European design. At the same time, he began his own personal collection of design pieces, which now contains over 1,500 items and is considered of national importance.Condition report: Top with numerous scratches marks and patches of wear to varnish, commensurate with age and use. Further wear along ebonised sides. Legs with marks, scuffs and scratches as well as some minor nibbles to the edges.

Niko Kralj for Thonet, Rex folding armchair, designed 1955, solid frame with moulded and perforated plywood seat and back, 57cm wide x 62cm deep x 87cm highFootnote: This piece of furniture was previously in the collection of Ken Stradling, formerly Managing Director and Chairman of the Bristol Guild of Applied Art. Stradling joined “The Guild” in 1948 and over the next 50 years developed it as a major centre for the sale and appreciation of contemporary British and European design. At the same time, he began his own personal collection of design pieces, which now contains over 1,500 items and is considered of national importance. Condition report: Overall wear and degradation to varnish. Splits, breaks and losses to plywood veneers, particularly on the top of the back rest and underside of seat. Plywood separating in areas of legs, stretcher and seat rails. We would recommend viewing this lot in person. Sold as seen.

19th century Continental (probably Transylvanian) wooden coat rack with painted floral decoration, dated 1840, 131cm x 31cm Footnote: This piece of furniture was previously in the collection of Ken Stradling, formerly Managing Director and Chairman of the Bristol Guild of Applied Art. Stradling joined “The Guild” in 1948 and over the next 50 years developed it as a major centre for the sale and appreciation of contemporary British and European design. At the same time, he began his own personal collection of design pieces, which now contains over 1,500 items and is considered of national importance. Since 2006 his collection has been in the care of a charitable trust, which provides public access through exhibitions at the Stradling Gallery in Bristol. Ken and the Trustees have taken the decision to sell a number of duplicate pieces, together with items outside the core collection, in line with their Acquisitions and Disposal policy, of which this is one.Condition report: Some losses to the paintwork but generally in good condition. Some signs of worm holes. One peg is broken off and missing.Due to ongoing Covid restrictions, bidders are able to view lots in this online-only sale on the specified viewing days, by prior appointment only. There is no viewing on the day of sale.Please therefore read the following:As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey.Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.

Erik Bulatov (Russian, born 1933)Study for Nonstop signed in Cyrillic and dated '88' (lower left)pencil and crayon on paper21.2 x 16.2cm (8 3/8 x 6 3/8in).(unframed)Footnotes:ProvenanceAcquired directly from the artist by a private European collectorThence by descentIn 1990, Erik Bulatov participated in arguably one of the most important and unique public art projects associated with the fall of the Berlin Wall. Commissioned by collector Sylvestre Verger, the project joined Eduardo Chillida, Arman, Daniel Burren, Richard Long, Dennis Oppenheim, Mimmo Paladino, Ilya Kabakov and Grisha Bruskin among other internationally acclaimed artists who were invited to use concrete fragments of the Wall as a support for their artistic expression of liberty. Constructed in 1961, The Berlin Wall served as a physical and ideological barrier between the German Democratic Republic and Federal Republic of Germany but also to divide the city of Berlin, along with its people, families and connections, becoming one of the most dramatic and painful symbols of the Cold War. Its deconstruction became an act of the fall of the Iron Curtain and excoriation of the opposing political systems existing in East and West Berlin. Whist many of the participating artists used a variety of media for the project, Bulatov's Nonstop presented a painted image of a 'stop' sign torn in half to reveal a blue circle indicating an open route behind, emphasized by white arrows in the centre of the composition. The work became a metaphor for an ultimate break from social and political boundaries towards freedom and expression. The offered studies for Nonstop, dated 1988, may be considered early, yet crucially important for understanding Bulatov's creative process and conceptions of the work. While the artist significantly changed the final composition, the use of sweeping arrows conveying a rushed movement forward were preserved by Bulatov in the final version of Nonstop. A figurative representation of the concrete blocks in the studies has associations with the concrete support used in the 1990 project, as well as with the overall notion of the ideological barriers of the Post-War era and those continuing to exist today. For a reproduction of Nonstop, 1990, see Ruth Addison, Snejana Krasteva ed., Erik Bulatov, Garage Museum of Contemporary Art, Moscow, 2016, p. 83.We are grateful to Sergey Popov for assistance in cataloguing the present lot.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

Erik Bulatov (Russian, born 1933)Study for the painting Stop signed in Cyrillic and dated '88' (lower right)pencil and crayon on paper21.5 x 16cm (8 7/16 x 6 5/16in).(unframed)Footnotes:ProvenanceAcquired directly from the artist by a private European collectorThence by descentIn 1990, Erik Bulatov participated in arguably one of the most important and unique public art projects associated with the fall of the Berlin Wall. Commissioned by collector Sylvestre Verger, the project joined Eduardo Chillida, Arman, Daniel Burren, Richard Long, Dennis Oppenheim, Mimmo Paladino, Ilya Kabakov and Grisha Bruskin among other internationally acclaimed artists who were invited to use concrete fragments of the Wall as a support for their artistic expression of liberty. Constructed in 1961, The Berlin Wall served as a physical and ideological barrier between the German Democratic Republic and Federal Republic of Germany but also to divide the city of Berlin, along with its people, families and connections, becoming one of the most dramatic and painful symbols of the Cold War. Its deconstruction became an act of the fall of the Iron Curtain and excoriation of the opposing political systems existing in East and West Berlin. Whist many of the participating artists used a variety of media for the project, Bulatov's Nonstop presented a painted image of a 'stop' sign torn in half to reveal a blue circle indicating an open route behind, emphasized by white arrows in the centre of the composition. The work became a metaphor for an ultimate break from social and political boundaries towards freedom and expression. The offered studies for Nonstop, dated 1988, may be considered early, yet crucially important for understanding Bulatov's creative process and conceptions of the work. While the artist significantly changed the final composition, the use of sweeping arrows conveying a rushed movement forward were preserved by Bulatov in the final version of Nonstop. A figurative representation of the concrete blocks in the studies has associations with the concrete support used in the 1990 project, as well as with the overall notion of the ideological barriers of the Post-War era and those continuing to exist today. For a reproduction of Nonstop, 1990, see Ruth Addison, Snejana Krasteva ed., Erik Bulatov, Garage Museum of Contemporary Art, Moscow, 2016, p. 83.We are grateful to Sergey Popov for assistance in cataloguing the present lot.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

Arkadi Petrov (Russian, born 1940)'Thank you for your purchase' signed in Cyrillic, titled and dated '1983', with attached photograph (verso)oil on canvas60 x 80cm (23 5/8 x 31 1/2in).Footnotes:The present lot is offered with catalogue J. Kiblitsky et al., Arkady Petrov - Paradise with the Kremlin, St. Petersburg, 2007.(2)ProvenanceAcquired by the present owner directly from the artist's studio in MoscowArkadi Petrov studied at the Surikov Art Institute in Moscow (1963-69) and is a well known artist of the 1970s. His work dealt with contemporary Soviet imagery that was still relevant in the post-soviet period. During the Soviet era his art fell into the 'forbidden' category, and he rarely was allowed to be exhibited. Never a formal nonconformist, Petrov created images of the day to day life, of the 'simple Soviet man' highlighting the stereotypes of Soviet society through a kitsch style not aligned with the official standards. These images of national mass culture look familiar and nostalgic and are appealing because of their simplicity, sincerity and a certain theatricality. Despite the toy-like figures and faces, Petrov manages to humanise his characters and by doing that, he brings the communist myth to life. In the present work Petrov depicts two women that look like typical women that work at the till. Lollipops and a bring coloured thank you sign decorates the background. The work does not aim to be either anti-Soviet or propagandistic, but simply evoke a nostalgic experience of the everyday life of a Soviet citizen, a contemplation of the good old past.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

A contemporary Art Forma sofa, 101cm high, 226cm wide, the seat 188cm wide and 65cm deep

A pair of contemporary Art Forma armchairs, 100cm high, 92cm wide, the seat 52cm wide and 66cm deep (2)

Kim Eshelman, "This Moment", unframed pastel on archival card, 11.75 x 15.5in, c. 2021. This Moment was recently featured in the May issue of LandEscape Contemporary Art Review, along with an in depth interview with the artist. Light and shadow create a dramatic yet airy landscape, while the limited palette helps create a sense of atmosphere and space. Located in USA, UK delivery £55.

Kim Eshelman, "The River Now", unframed pastel on mounted board, 16 x 12in, c. 2021. The River Now was recently featured in the May issue of LandEscape Contemporary Art Review, along with an in depth interview with the artist. This painting is typical of Kim’s use of vibrant color and ability to paint emotions instead of landscapes. Rich in texture, this piece was creating with layers of marble dust, pumice, and pastel. Found objects were used to scrape into the surface to create unique additional textures. Located in USA, UK delivery £55.

Kim Eshelman, "Market Day", unframed pastel on archivald card, 15.75 x 11.5in, c. 2020. Market Day was recently featured in the May issue of LandEscape Contemporary Art Review, along with an in depth interview with the artist. It gives a unique and fresh perspective on the traditional floral genre. It embodies the fresh vibrancy and joy of simple flowers through the use of pure chroma and expansive palette choices. Located in USA, UK delivery £55.

Kim Eshelman, "If I Entered", unframed pastel on archivald card, 15.75 x 11.5in, c. 2020. If I Entered was recently featured in the May issue of LandEscape Contemporary Art Review, along with an in depth interview with the artist. Bordering on abstraction, this painting showcases the artist’s ability to create a mood through mastering tonality and composition. Located in USA, UK delivery £55.

Blas de Prado (Camarena, Toledo, 1545 - Madrid, 1599)Blas de Prado (Camarena, Toledo, 1545 - Madrid, 1599) "The return of the Holy Family from Egypt with the Baptist" Oil on panel. 54 x 39 cm. As Professor Isabel Mateo explains, the scene takes place in a clear cloudscape in which the Holy Family appears, resting, while the adolescent John the Baptist offers the Christ Child a bowl of milk soup with pieces of bread. The figure of the Virgin Mary with the Child in her arms is at the centre of the composition. Blas de Prado was one of the most important Spanish painters of his time. Although the paintings by him that are preserved are few, the praise of his contemporaries and the prestige referred to in texts bear witness to this being the case. Through the paintings known to be by him, we can see a knowledge of contemporary Italian art in his training, especially the Roman School which can be seen in the models and composition as well as a certain interest in Venetian colour, akin to that of the painters at El Escorial. He was also a pioneer in genre painting, being Sánchez Cotán’s master.Blas de Prado’s Virgin of Villegas, which is kept in the Prado, and the Miracle of Saint Leocadia in the Church of Santa María in Talavera de la Reina, Spain, are comparable to our painting. In a carved and gilded period wooden frame. On the back is a label from the Junta de Incautación, Protección y Salvamento del Tesoro Artístico (Board of Seizure, Protection and Salvage of Artistic Treasure) which notes the provenance of the painting as: Agrupación S. M. The painting comes with a certificate by Professor Isabel Mateo.

Graham Isom (contemporary)CHELTENHAM GOLD CUP 1989 (DESERT ORCHID & YAHOO)signed by the artist and by the winning jockey Simon Sherwood in pencil to the lower margin, limited edition print numbered 218/550, published by Michael Stewart Fine Art Ltd, Bristol, 1989, mounted, framed & glazed, 85 by 96cm.

AN AMBER-GLAZED POTTERY FIGURE OF A LADYTang DynastyGracefully modelled standing with the hands held together at her waist under a long scarf flowing down from her shoulder, the hem of her high-waisted robe folded naturally revealing the tips of her upturned shoes, the waistband tied in a long trailing bow on the back, her hair in an elaborate coiffure above the full round face.39cm (15 2/8in) high.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價唐 陶胎褐黃釉仕女俑Provenance: James (1914-1990) and Marilynn Alsdorf (1925-2019), New YorkSotheby's New York, 22 March 1999, lot 362Published, Illustrated and Exhibited: Roger Keverne Ltd., Summer Exhibition, London, 2000, no.29.來源：紐約James（1914-1990）與Marilynn Alsdorf（1925-2019）伉儷舊藏紐約蘇富比，1999年3月22日，拍品編號362展覽著錄：Roger Keverne Ltd.，《夏季展覽》，倫敦，2000年，編號29The Alsdorfs operated an export and investment business based in Chicago, and James served as president of the Cory Corp., the largest manufacturer of glass coffee equipment that was later sold to Hershey Food Corporation. The couple were renowned art patrons, having built a wide-ranging collection across categories including Old Master Drawings, 19th-century Impressionism, mid-20th century Surrealism, Post War and Contemporary American art, Asian works of art, and more. Moreover, they were instrumental in founding and expanding the Museum of Contemporary Art in Chicago, the Art Institute of Chicago, and the University of Chicago's Smart Museum of Art.See a related figure, Tang dynasty, illustrated by S.G.Valenstein, The Herzman Collection of Chinese Ceramics, New York, 1992, no.16; see another example illustrated by J.Ayers, The Seligman Collection of Oriental Art, Volume 2, Chinese and Korean Pottery and Porcelain, London, 1964, no.D44, pl. XVIII.For further information on this lot please visit Bonhams.com

MYOCHIN MUNEKAZU: A SUPERB IRON ARTICULATED MODEL OF A SNAKEBy Myochin Munekazu, signed MunekazuJapan, late 19th century, Meiji period (1868-1912)The patinated russet iron snake constructed of close-fitting hammered plates joined inside the body, the head chased and engraved with scales and fitted with a hinged jaw opening to reveal the tongue and two rows of teeth, the eyes gilt, signed MUNEKAZU under the snake’s chin.LENGTH 135.5 cmWEIGHT 578 gCondition: Excellent condition with only minor surface wear.Provenance: European collection.The art of creating lifelike figures of animals in metal, known as jizai okimono, which developed during the Edo period, is an example of outstanding Japanese craftsmanship. Meticulously constructed with hammered plates of iron, these articulated figures were greatly sought after for decorative use. They were placed in alcoves alongside pieces of porcelain, pottery and hanging scrolls, and were the object of entertainment and discussion.Popular subjects for jizai okimono included insects, fish, crustaceans, and even dragons. This venomous snake is an outstanding example of such objects and was made by the famous Myochin family workshop, renowned for its production of Samurai armor, especially helmets and highly decorative embossed plate iron cuirasses. With its fearsome glowing gilt eyes, its ferocious and sharp teeth, and its rows of intricately assembled scales, it confronts the viewer face on, ready to attack. The naturalistic quality of this piece is astonishing.The present snake is signed Munekazu, the art name of Tomiki Isuke I (1853-1894) who tutored Kozan in Kyoto.Literature comparison: A closely related but earlier articulated iron snake by Myochin Munenobu, dated to the mid-18th century, is in the collection of the Victoria & Albert Museum, accession number M.38-1947, and another most likely later example by Myochin Muneyoshi is in the collection of the British Museum, museum number HG.207.Auction comparison: Compare a closely related but slightly longer snake (165 cm long) by the same maker at Christie’s, Asobi: Ingenious Creativity, Japanese Works of Art from Antiquity to Contemporary, 15 October 2014, London, lot 75 (sold for 98,500 GBP), and another (162.9 cm long) by Muneyoshi (Tanaka Tadayoshi, d. 1958) at Christie’s, Japanese and Korean Art, 18 April 2018, New York, lot 111 (sold for 250,000 USD).

JURAKU: AN EDO SCHOOL WOOD NETSUKE OF THE STORYTELLER NUMATA JUNSAIBy Juraku, signed Juraku 寿乐Japan, Edo, 19th century, Edo period (1615-1868)Carved kneeling in front of a low table with a book on top, his expression focused and mouth open as he recounts an epic war story. The front of the table is inscribed Ima, Gundan, Junsai (A contemporary war story, Junai). The underside is signed JURAKU. Asymmetrical himotoshi to the back and underside.HEIGHT 3.6 cmCondition: Excellent condition with only minor surface wear.Provenance: German private collection, acquired in Japan during the 1980s, while the present owner lived there.The subject of the storyteller Numata Junsai is a very rare one, one other example being a color woodblock print by Utagawa Kunisada (Toyokuni III) in the Los Angeles County Museum of Art, accession number M.73.37.610.

A LARGE CONTEMPORARY ART GLASS BOWL, flared circular form, indistinctly signed to base. 37cm diameterThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Some ingrained surface dirt. Very light surface scratching to interior. Overall good condition. 

Mark Millmore (b. 1956) 'Heron' a contemporary signed and numbered limited edition colour print. Mark Millmore is a fine artist, theatre designer, writer, web designer, art director, and conservationist. His company, Eyelid Productions, has designed software products and computer graphics for major film production companies and other clients. Numbered 54 / 200. Measures 67cm x 60. Framed and glazed.

Mark Millmore (b. 1956) 'Flamingo' a contemporary signed and numbered limited edition colour print. Mark Millmore is a fine artist, theatre designer, writer, web designer, art director, and conservationist. His company, Eyelid Productions, has designed software products and computer graphics for major film production companies and other clients. Number 93/200. Framed and glazed. Measures 67cm x 60.

Harry Craddock: 'The Savoy Cocktail Book', London, Constable & Company, 1930, 1st edition, signed and inscribed "Here's How! Harry Craddock", verso dedication page, this book formerly being the copy of Collis-Phillips Halpin, a contemporary and personal friend of Harry Craddock's, who worked as a cocktail bartender and dancer in London, including the Regency Club in Piccadilly Circus, with his contemporary pencil ownership signatures to verso and recto of FFEP, and his signature in shortened form "Phil" in pencil at head of dedication page. Later inscribed presentation by Collis-Phillips Halpin to the present owner on half title dated 1977 in blue ballpoint, and with his manuscript on page 284 giving the method of serving champagne and port, and beneath stated "My original cocktail "Emerald Isle" was afterwards bottled and sold as Green Goddess. Needless to say I was not given a prize, neither was my cocktail put on exhibition! Collis-Phillips Halpin". Illustrations and decorations printed in black and colours throughout by Gilbert Rumbold, orginal cloth backed art deco texturised boards in black, gold and green, later professionally rebacked preserving original backstrip. Together with Harry Craddock's sword stick (a/f), the poor condition attributed by Collis-Phillips Halpin owing to its use one evening by Harry Craddock to eject a gentleman who had become inebriated and abusive to other customers and who refused to leave a party of ladies alone, Harry reputedly hitting the man so hard across the shoulder that the blow broke the end of the stick completely. To those who saw the incident Harry Craddock apologised on behalf of the client and himself, and the American cocktail Bar erupted in cheers from the men and dainty clapping from the women. A unique association copy of an iconic work from the flamboyant Art Deco period heyday of London's Hotel and Cocktail Bar scene. Provenance Reverend Nigel Plastow, further information available on request (2)

Jane Austen: 'The Works of Jane Austen: Sense and Sensibility; Pride and Prejudice; Mansfield Park; Emma; Persuasion & Northanger Abbey', introductions by Austin Dobson, 6 volumes in 5, "Peacock Series", London, Macmillan, 1897-98, 5 tissue guarded frontispieces and 195 full page illustrations by Hugh Thomson and Charles E. Brock as called for, Mansfield Park and Northanger Abbey & Persuasion first Macmillan editions of 1897, Sense & Sensibility and Pride & Prejudice first Macmillan edition reprints of 1897, Emma second Macmillan edition reprint of 1898, uniform original red "cloth elegant" decorated in gilt, the upper covers and spines with elaborate Art Nouveau floral designs by Albert Angus Turbayne (1866-1940), one of the most distinguished figures of Victorian book design, endpapers with peacock design in yellow, all edges gilt, all housed together in the original publishers red cloth covered lidded wooden box (battered and worn, lid with 2 tape repairs and waterstaining, but a very scarce survivor nonetheless), the inside lid of the box with 3 labels affixed stating that the books were given as a wedding present, this believed to be near contemporary to the date of publishing in October 1898. Generally in clean, tight, VG condition externally and internally, each volume with small, neat "M.H.Browne" or "M.H.B." ownership signatures to verso of frontis or half title at head of page, bindings square, gilt generally bright, very slightly rubbed to boards/spines, corners minimally bumped/cloth worn, red cloth spines bright, not faded, top wrap of Mansfield Park dust wrapper worn with closed tears (but unusually still present owing to rarity of surviving wrappers). A wonderful set of Jane Austen's novels in the "Peacock Series", in the original "cloth elegant" designed by A.A. Turbayne

Three boxes of art exhibition catalogues, mainly contemporary / modern British art, some private press related etc., good quality. Gwen John and several Augustus John; 'The St Bride Notebook', Incline Press, 2003, wood engravings by Eric Ravilious, limited edition, (152/200), signed by Caroline Archer and numbered, original quarter cloth gilt, patterned paper covered boards, David Gentleman signed Christmas card, pen, ink and watercolour on card, signed verso Ronald Wilson, July 2003, several Taranman & Ashmolean Museum catalogues printed by Christopher Skelton at Wellingborough in limited editions, including Christopher Hewett collection, Nicolas de Stael, Charles Shannon, Charles Marq, Victor Segalen, etc.

A contemporary multicoloured art glass vase of globular form, with stand. Height 43.5cm overall.

Norah McGuinness HRHA (1901-1980) Melon on Terrace Table (1950) Oil on canvas, 55.5 x 89cm (21¾ x 35'') Signed; inscribed with title verso 'Terrace Table with Melon' Provenance: With Taylor Galleries, Dublin, March/April 1979, where purchased by the current owner. In the early 20th century Irish Art was steeped in tradition. The formation of the Free State in 1922 saw a nation scrambling to recapture its identity, focussing on academic depictions of rural life to separate them from an ever more modern Britain. For those artists who wished to escape this insularity, continental Europe provided the perfect opportunity. Like many Irish artists before her, Norah McGuinness travelled to Paris in 1929 to study under André Lhote and was immersed in the excitement of the European art scene. Under Lhote, McGuinness learned Cubism but, within her circles, she would have been exposed to Fauvism, Impressionism, Futurism and a myriad of ideologies in between. Leaving Paris, McGuinness took what she had learned and went to London where she briefly settled until WWII convinced her that it was time to return to Ireland. Arriving in Dublin alongside many fellow artists in the same position, McGuinness found a country devoid of new thought. Art remained in the clutches of academia, with the RHA acting as the sole exhibition space for contemporary artists. Dissatisfied, the Irish Exhibition of Living Art was established in 1943, with McGuinness among its founding members. A year later, McGuinness succeeded Mainie Jellett as president of the foundation and she continued to head it for over twenty years, encouraging and promoting modern art in Ireland. The IELA served as a platform for non-academic artists to show their works and, following the end of the War, continental artists were invited to exhibit their pieces also, creating an influx of modern ideals to the country. Suddenly, pieces by Hockney, Picasso, Manet and Miro were all accessible from Dublin and the artistic revolution was well underway. A pioneer for the modern art movement, Norah McGuinness was selected, alongside Nano Reid, to represent Ireland at the 1950 Venice Biennale. This was the first time that Ireland had entered the exhibition and it was therefore paramount that they put their best work forward. Believing that the unique styles of Reid and McGuinness could proudly hold their own against paintings by Jackson Pollock and Willem de Kooning, they were sent off with twelve works each. The exhibition was a success, with the Italian president even purchasing one of McGuinness' works. In the same year, McGuinness painted the current lot, 'Melon on Terrace Table'. A joyful and eclectic mix of different styles, this work oozes continental charm and demonstrates McGuinness as someone who is acutely aware of the progress ravaging the art world. The neon yellow table tips its hat to the Fauves, whilst the flattened subject matter and distorted perspective shows Lhote's Cubist legacy. Furthermore, the swift, loose treatment of the spoon and cloth belie the influence of early 20th century Impressionism, yet the image is distinctly McGuinness. The bold lines remember her time as an illustrator and the carefully placed items are reminiscent of her days in set design. A beautiful piece, 'Melon on Terrace Table' is representative of mid-20th century Irish art in that, rather than following a specific and doctored method of painting, it is all-inclusive, allowing the scene's energy to dictate the style.

Ahmed Morsi (Egypt, born 1930)Untitled (Bull) mixed media on paper, framedsigned 'A.Morsi' and dated '1968' (lower right), executed in 196838 x 55cm (14 15/16 x 21 5/8in).Footnotes:Provenance:Property from a private collection, New YorkAcquired directly from the Artist by the present ownerExhibited:Aicon Gallery, New York, The Flying Poet, December 2018 – January 2019Ahmed Morsi is an Egyptian artist, art critic and poet with a career that spans decades of creative output. Drawing on his memories of his upbringing, Morsi employs a series of surrealist motifs that appear to take a dip in the metaphysical in his works. In the 1950s, he simultaneously studied literature at Alexandria University and painting at the studio of Italian master Silvio Becchi. In 1974, Morsi moved to New York City, where he continues to paint, write and critique from his Manhattan home. His variously populated images seem to have origins in ancient Egyptian iconography – the sadness of his creatures derived by animating an ancient past with modern life. He does this by assembling his compositions as a series of continuums between different planes. The theatricality of his painted spaces is undeniable. Ambitious visual plains, characters in varying degrees of definition and a sense of pathos, all pointing to a moor that exists out of time. Having grown up in Alexandria, Egypt, Morsi was exposed to a cosmopolitan culture. Visions of a fictive, invented Alexandria run through most of Morsi's work and his practice offers a powerful and mystical meditation on remembrance and the passage of time. It is important to understand the context in which Morsi developed his language of surrealism. Alexandria in the 1940s became a haven for artists and activists fleeing the Third Reich, culminating in the formation of the Art and Liberty Group and later the Contemporary Art Group. It is here that Egyptian Surrealism realized its full form, its proponents using the metaphysical in revealing a deep sense of anguish and displacement. Morsi's visual vocabulary takes root in this potent soil.As Kaelen Wilson-Goldie wrote in Artforum, 'Distant Shores,' during the 1960s, Morsi experimented with color ad cubism. She stated that in many of Morsi's works, there are allusions to Picasso, as he is most familiar with Picasso's work in comparison to any other painters. In Untitled (Bull) (1968), the bull has been drawn in profile with an absence of shadow. This work showcases the experimentation that led to Morsi's refinement of his Surrealist visual language.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

Kadhim Hayder (Iraq, 1932-1985)How He Wandered with the Heart of a Martyr (From the Epic of the Martyr Series) oil on canvas, framedexecuted in 1963127 x 176cm (50 x 69 5/16in).Footnotes:Provenance:Property from a private collection, EnglandFormerly property from the collection of the renowned Iraqi architect Said Ali Madhloom (1921-2017)Acquired directly from the artist by the above Exhibited:The Marty's Epic, Kadhim Hayder, Baghdad National Museum, 1965 (the present work is composition No.6 from the cycle)The Marty's Epic, Kadhim Hayder, Sursock Museum, Beirut 1965Published:Hiwar, Vol.3 No.3, Kadhim Hayder: Waddah Faris, 1965 (preparatory sketch)A MONUMENTAL 1963 MASTERPIECE FROM KADHIM HAYDER'S MARTYR'S EPIC: THE LARGEST COMPOSITION FROM THE SERIES EVER TO COME TO AUCTION'The horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.'- Kadhim Hayder'The exhibition of The Epic of the Martyr took place in circumstances that were politically and culturally complicated; it turned the idea of martyrdom into a modern symbol that cried out in tragedy apart from any religious interpretation.'- Dia al-AzzawiHow He Wandered with the Heart of a Martyr, by Saleem Al-Bahloly How He Wandered with the Heart of a Martyr belongs to a landmark series of paintings shown at the National Museum of Modern Art in Baghdad the last week of April 1965 under the title The Epic of the Martyr. The series drew immediate critical acclaim for the way that the artist, Kadhim Haidar, was able to derive from popular culture not simply visual motifs to tailor the styles of modernism to the local context of Iraq but a means of expression for articulating the human condition. The human condition preoccupied artists and thinkers across the world in the middle of the twentieth-century; but in Iraq the concept of the human took on a particular significance following the persecution of leftists in the aftermath of the Baʿath coup in 1963. The Epic of the Martyr was so important largely because it demonstrated how artists could represent modern experience by drawing upon their cultural history.Haidar began working on the series in 1963 shortly after returning from London where he had studied printmaking and stage-design at the Royal College of Art. On the one hand, the paintings were a continuation of the interests of artists in the 1950s: in the inspiration Haidar found in popular culture and in his adoption of certain pictorial devices from ancient Assyrian sculpture to modern art (associated with the Baghdad Group for Modern Art) as well as in his concern with political struggles for justice (associated with the Pioneers art group). On the other hand, however, Haidar opened a new horizon for the practice of art by structuring the paintings around an act of symbolism.The paintings are composed of horses and warriors, wielding spears and swords and bearing banners and shields, that are positioned on a flat, mythical landscape. This imagery was drawn from the annual taʿziya celebrations that mourn the martyrdom of al-Husayn and other members of the Prophet's family in a stand-off with the Umayyad army in 680 AD; in particular, the imagery is taken from the processions in which a pageant of costumed figures representing characters from the battle fought on the 'plain' west of the Euphrates parade through the street accompanying poets who narrate in a vernacular tradition of verse the injustice suffered by the Prophet's family. In the paintings, this imagery has been reconstructed according to a variety of devices inspired by a range of sources: the bodies of the horses and figures are turned toward the viewer, as if they are appearing on a stage or in an ancient frieze depicting a historic battle; a sense of performance is carried into the image by the intense expressivity of their gestures which seem to dissolve anatomical features and the outline of shapes in a fervour of emotion; the limbs of human and animal bodies alike are often multiplied (an influence of Assyrian sculptural reliefs that Haider almost certainly saw at the British Museum in London) and tapered (a form of modelling inspired by the sculpture of Henry Moore).The reconstructed imagery is arranged in the paintings not to narrate a historical event but to elaborate a concept of the martyr that emerged out of that event—a hero who by his death in a struggle for truth paradoxically triumphs. Haidar developed this concept of the martyr in painting by focusing on the symbolic relation between the fallen martyr and his horse. As he explained to the newspaper al-Jumhuriyya in 1965: 'the horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.' That symbolism is present in the mourning processions where al-Husayn is represented by a riderless white horse; but it has its roots in a legend that, when al-Husayn's horse saw his beheaded corpse, it circled around his body, rubbed its head in his blood, let out a ferocious whine and killed forty men.That moment when the martyr is transfigured into the symbol of the horse is in part dramatized in How He Wandered with the Heart of a Martyr. A white horse stands in the foreground carrying on its back a decapitated body. It groans violently into the helmeted warrior on the left who holds a sword triumphantly over his head; arrayed behind the white horse at centre are other horses in crimson and mustard-orange and warriors whose spears and shields resolve into simple shapes and strokes in the distance. The body of the headless corpse astride the white horse is unlike the other bodies in the paintings: it has volume and weight, it casts a shadow, and it gathers together the pinks, grays and browns in the picture. This painting was the sixth in the series; in another painting that comes near the end of the series, in the collection of the Barjeel Art Foundation, Fatigued, Ten Horses Converse with Nothing, the headless corpse morphs into the heads of two horses. The paintings in The Epic of the Martyr were different sizes, and this was one of the largest. Its size reflects Haidar's interest in the mourning processions as a kind of street theatre, his work in stage design, and the monumental scale of ancient Mesopotamian sculpture. But it also reflects, as Dia al-ʿAzzawi has written, Haidar's desire to collapse the distinction between gallery and street, and between art and ritual, by reproducing the atmosphere of the folk celebration inside the museum. To that end, for the exhibition in 1965, Haidar composed a poem in which each line corresponded to a painting in the series, in this way reproducing the coupling of pageant and poetry in the mourning processions. This attempt to go beyond the conventional materials of painting, in order to use the artwork to stage an experience that is not only visual but also emotive, makes The Epic of the Martyr one of the earliest pieces of contemporary art in the Middle East.Saleem Al-Bahloly received a PhD from the University of California, Berkeley, and has held fellowships at Johns Hopkins and the University of California, Santa Barbara. He is writing a book about an intellectual shift that occurred in Iraq during the 1960s in response to disillusionment with left-wing politics.For further information on this lot please visit Bonhams.com