‡ RICHARD JOLLEY (AMERICAN B.1952-) CRESCENT, 1992 signed and dated (to base), verdigris bronze on marble base(55.5cm high (21.75in high) (including base))Footnote: Provenance: A Private European Collection of Studio & Contemporary Glass The works of internationally acclaimed glass artist Richard Jolley are instantly recognisable for their expressive and eye-catching, almost dreamlike, forms. Born in Kansas in 1952, Jolley moved to Tennessee in his youth where he began his formal education at Tusculum College under Michael Taylor. Today, Jolley continues to live and work in Tennessee, where he built a glass studio in 1975. His interest in the human condition is evident in his work, with natural forms and figurative works with an almost caricatural abstraction being a key identifier of Jolley’s pieces. He has received several awards including the Tennessee “Governor’s Distinguished Artist Award” in 2007, becoming the youngest ever visual artist to receive this accolade. Jolley has also received numerous important commissions including his monumental sculpture in the Great Hall of the Knoxville Museum of Art, which is one of the largest glass-and-steel assemblages in the world.
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‡ RICHARD JOLLEY (AMERICAN B.1952-) CURIOUS, 1993 signed, titled, and dated, glass(37cm high (14.5in high))Footnote: Provenance: A Private European Collection of Studio & Contemporary Glass The works of internationally acclaimed glass artist Richard Jolley are instantly recognisable for their expressive and eye-catching, almost dreamlike, forms. Born in Kansas in 1952, Jolley moved to Tennessee in his youth where he began his formal education at Tusculum College under Michael Taylor. Today, Jolley continues to live and work in Tennessee, where he built a glass studio in 1975. His interest in the human condition is evident in his work, with natural forms and figurative works with an almost caricatural abstraction being a key identifier of Jolley’s pieces. He has received several awards including the Tennessee “Governor’s Distinguished Artist Award” in 2007, becoming the youngest ever visual artist to receive this accolade. Jolley has also received numerous important commissions including his monumental sculpture in the Great Hall of the Knoxville Museum of Art, which is one of the largest glass-and-steel assemblages in the world.
‡ RICHARD JOLLEY (AMERICAN B.1952-) FIVE VIEWS, 1997 signed and dated, blown and hot formed glass, consisting of five male faces in dark blue and matt glass(134cm high (53in high))Footnote: Provenance: A Private European Collection of Studio & Contemporary Glass The works of internationally acclaimed glass artist Richard Jolley are instantly recognisable for their expressive and eye-catching, almost dreamlike, forms. Born in Kansas in 1952, Jolley moved to Tennessee in his youth where he began his formal education at Tusculum College under Michael Taylor. Today, Jolley continues to live and work in Tennessee, where he built a glass studio in 1975. His interest in the human condition is evident in his work, with natural forms and figurative works with an almost caricatural abstraction being a key identifier of Jolley’s pieces. He has received several awards including the Tennessee “Governor’s Distinguished Artist Award” in 2007, becoming the youngest ever visual artist to receive this accolade. Jolley has also received numerous important commissions including his monumental sculpture in the Great Hall of the Knoxville Museum of Art, which is one of the largest glass-and-steel assemblages in the world. We would like to thank the artist for his assistance in cataloguing the current work.
§ ‡ BERTIL VALLIEN (SWEDISH B.1938-) FOR KOSTA BODA BOAT signed, engraved 'KOSTA BODA / 8 BVAUN / 959026 / UNIQUE', sand cast glass, with stand(The boat 48.5cm long (19.1in))Footnote: Provenance: A Private European Collection of Studio & Contemporary Glass Bertil Vallien, considered to be Sweden’s most famous glass artist, was born in a small suburb to the north of Stockholm in 1938. Vallien was encouraged by a schoolteacher to pursue an arts education and he began attending evening classes at the Konstfack School of Arts, Crafts and Design in Stockholm. At the age of 27, he began a two-year foundation course at the Konstfack’s ceramics department and decided to pursue the arts full-time after completing his military service. Following this, he moved to Los Angeles and joined the HAL Fromholt Ceramics company that sought a young Swedish designer. It was here that Vallien began to design new models and had his own studio where he could focus on his personal practise too. Often deeply symbolic, he considers each piece as an investigation into specific themes with objects often filled with motifs and metaphors, transferring his dreamlike world into his art. Eventually Valliens returned to Sweden to work as a designer at the Afors glass factory. Vallien is highly acclaimed in his field and has received numerous awards including the Prince Eugen Medal for outstanding artistic achievement in 1995 and the Visionaries Award from the American Craft Museum in 2001. His work can be found in important institutions internationally such as the Victoria & Albert Museum in London and the Metropolitan Museum of Art in New York. “I make boats that sink. Sink through memories and dreams. I make boats that do not need latitudes, they navigate like glazed vessels toward the horizons of the imagination. One container for Moses and one for the Viking chief. The traveler must rely on the thin skin which is the only thing that separates her from the unknown. The boat has always fascinated me, for its beautiful shape and what it means: life, adventure, travel, birth and death. A symbol that belongs to our collective consciousness. We all have a respectful relationship with the boat. The fisherman in the archipelago does not chop his old tired boat into firewood; when she is no longer able to sail, she is allowed to rest in peace and slowly nurture the new boats. I understand that the most crude sailor with respect and reverence calls his life insurance and craft for She. A life-giving mother to trust when society is separated from the land.” (Bertil Vallien)
§ ‡ BERTIL VALLIEN (SWEDISH B.1938-) FOR KOSTA BODA WALL SCULPTURE signed, engraved 'KOSTA BODA / 8 BVAUN / 969014 / UNIQUE', sand cast glass(65.5cm high x 18cm wide (25.75in high x 7.1in wide))Footnote: Provenance: A Private European Collection of Studio & Contemporary Glass Bertil Vallien, considered to be Sweden’s most famous glass artist, was born in a small suburb to the north of Stockholm in 1938. Vallien was encouraged by a schoolteacher to pursue an arts education and he began attending evening classes at the Konstfack School of Arts, Crafts and Design in Stockholm. At the age of 27, he began a two-year foundation course at the Konstfack’s ceramics department and decided to pursue the arts full-time after completing his military service. Following this, he moved to Los Angeles and joined the HAL Fromholt Ceramics company that sought a young Swedish designer. It was here that Vallien began to design new models and had his own studio where he could focus on his personal practise too. Often deeply symbolic, he considers each piece as an investigation into specific themes with objects often filled with motifs and metaphors, transferring his dreamlike world into his art. Eventually Valliens returned to Sweden to work as a designer at the Afors glass factory. Vallien is highly acclaimed in his field and has received numerous awards including the Prince Eugen Medal for outstanding artistic achievement in 1995 and the Visionaries Award from the American Craft Museum in 2001. His work can be found in important institutions internationally such as the Victoria & Albert Museum in London and the Metropolitan Museum of Art in New York.
§ ‡ BERTIL VALLIEN (SWEDISH B.1938-) FOR KOSTA BODA WALL SCULPTURE signed, engraved 'KOSTA BODA / 8 BVAVN / 969011 / UNIQUE', sand cast glass(52.5cm high x 16.5cm wide (20.75in high x 6.5in wide))Footnote: Provenance: A Private European Collection of Studio & Contemporary Glass Bertil Vallien, considered to be Sweden’s most famous glass artist, was born in a small suburb to the north of Stockholm in 1938. Vallien was encouraged by a schoolteacher to pursue an arts education and he began attending evening classes at the Konstfack School of Arts, Crafts and Design in Stockholm. At the age of 27, he began a two-year foundation course at the Konstfack’s ceramics department and decided to pursue the arts full-time after completing his military service. Following this, he moved to Los Angeles and joined the HAL Fromholt Ceramics company that sought a young Swedish designer. It was here that Vallien began to design new models and had his own studio where he could focus on his personal practise too. Often deeply symbolic, he considers each piece as an investigation into specific themes with objects often filled with motifs and metaphors, transferring his dreamlike world into his art. Eventually Valliens returned to Sweden to work as a designer at the Afors glass factory. Vallien is highly acclaimed in his field and has received numerous awards including the Prince Eugen Medal for outstanding artistic achievement in 1995 and the Visionaries Award from the American Craft Museum in 2001. His work can be found in important institutions internationally such as the Victoria & Albert Museum in London and the Metropolitan Museum of Art in New York.
§ ‡ BERTIL VALLIEN (SWEDISH B.1938-) FOR KOSTA BODA PORTAL signed, engraved 'KOSTA BODA / 8 BVAUN / 969017 / UNIQUE', sand cast glass(32.5cm high x 21cm wide (12.75in high x 8.25in wide))Footnote: Provenance: A Private European Collection of Studio & Contemporary Glass Bertil Vallien, considered to be Sweden’s most famous glass artist, was born in a small suburb to the north of Stockholm in 1938. Vallien was encouraged by a schoolteacher to pursue an arts education and he began attending evening classes at the Konstfack School of Arts, Crafts and Design in Stockholm. At the age of 27, he began a two-year foundation course at the Konstfack’s ceramics department and decided to pursue the arts full-time after completing his military service. Following this, he moved to Los Angeles and joined the HAL Fromholt Ceramics company that sought a young Swedish designer. It was here that Vallien began to design new models and had his own studio where he could focus on his personal practise too. Often deeply symbolic, he considers each piece as an investigation into specific themes with objects often filled with motifs and metaphors, transferring his dreamlike world into his art. Eventually Valliens returned to Sweden to work as a designer at the Afors glass factory. Vallien is highly acclaimed in his field and has received numerous awards including the Prince Eugen Medal for outstanding artistic achievement in 1995 and the Visionaries Award from the American Craft Museum in 2001. His work can be found in important institutions internationally such as the Victoria & Albert Museum in London and the Metropolitan Museum of Art in New York.
§ ‡ BERTIL VALLIEN (SWEDISH B.1938-) FOR KOSTA BODA PORTAL signed, engraved 'KOSTA BODA / 8 BVAUN / 969047 / UNIQUE', sand cast glass and metal, and with metal stand(the glass 58cm high, 42cm wide (22.8in high, 16.5in wide))Footnote: Provenance: A Private European Collection of Studio & Contemporary Glass Bertil Vallien, considered to be Sweden’s most famous glass artist, was born in a small suburb to the north of Stockholm in 1938. Vallien was encouraged by a schoolteacher to pursue an arts education and he began attending evening classes at the Konstfack School of Arts, Crafts and Design in Stockholm. At the age of 27, he began a two-year foundation course at the Konstfack’s ceramics department and decided to pursue the arts full-time after completing his military service. Following this, he moved to Los Angeles and joined the HAL Fromholt Ceramics company that sought a young Swedish designer. It was here that Vallien began to design new models and had his own studio where he could focus on his personal practise too. Often deeply symbolic, he considers each piece as an investigation into specific themes with objects often filled with motifs and metaphors, transferring his dreamlike world into his art. Eventually Valliens returned to Sweden to work as a designer at the Afors glass factory. Vallien is highly acclaimed in his field and has received numerous awards including the Prince Eugen Medal for outstanding artistic achievement in 1995 and the Visionaries Award from the American Craft Museum in 2001. His work can be found in important institutions internationally such as the Victoria & Albert Museum in London and the Metropolitan Museum of Art in New York.
DALE CHIHULY (AMERICAN B.1941-) 'SEA-FORM', 1985 the largest segment signed and dated, three piece form, blown clear glass inlaid with fine white lines and marks, two with white lip wraps(the largest segment 25cm x 20cm (9.9in x 7.9in))Footnote: Provenance: A Private London Collection of Modern Art & Design Literature: Frantz, Suzanne K., Contemporary Glass, A World Survey from the Corning Museum of Glass, Harry N. Abrams Inc. New York, 1989 for similar examples and Klein, D., Artists in Glass Late Twentieth Century Masters in Glass, published by Mitchell Beazley, pg. 36-41.
BERNARD LEACH (1887-1979); a stoneware bowl covered in celadon with underglaze blue and red decoration and crackle glaze to the well, stylised Chinese motifs to the exterior, unusual impressed mark, probably made in Japan and decorated by Leach while visiting the country, diameter 20.5cm. (D)Provenance: The Nancy & Andrew Ramage collection; purchased from Oxford Ceramics Gallery; originally sold at Christie's, October 2013, 'Asobi: Ingenious Creativity: Japanese Works of Art from Antiquity to Contemporary and Ceramics from the Collection of Bernard Leach', lot 147.Additional InformationOld hairline extending 6.5cm from the rim otherwise appears good with no further signs of faults, damage or restorations.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
HANNE WESTERGAARD (born 1940); a cylindrical soda glazed porcelain vessel with polychrome decoration, painted HW mark, height 24cm. (D)Provenance: Purchased from Cupola Contemporary Art, Sheffield.Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Edwin Calligan Plas Newydd lithographic poster, 1936, condition A-; not backed, framed (Dimensions: 76cm x 114 cm (30in x 45 in))(76cm x 114 cm (30in x 45 in))Plas Newydd, which means new mansion in Welsh, is a historic house in the town of Llangollen, Denbighshire, Wales. It is notable as the home where two Irish ladies, Lady Eleanor Butler and Miss Sarah Ponsonby (the Ladies of Llangollen) eloped and set up house together in the late 18th century, scandalising contemporary British society. Although originally ostracised by their families, the ladies and their unconventional lifestyle gradually became accepted, and their home was visited by many notable people including William Wordsworth, Caroline Lamb and Sir Walter Scott, the Duke of Wellington and the industrialist Josiah Wedgwood. Today, it is run as a museum by Denbighshire County Council.Edwin Calligan’s poster perfectly captures the beauty of the country house, parkland and surrounding woodland. Edwin Calligan was a successful Industrial Designer and Commercial artist born in 1911. after some years at Dundee School of Art he Studied design in Germany intending to work for the stage. After working at Covent Garden and Sadlers Wells he returned to commerce and exhibited in the British Pavilion of the New York’s World Fair in 1939. His service in the Tank Corps in World War Two seems to have ended his career.
Piper (John).- Woods (S.John, editor) John Piper: Paintings, Drawings & Theatre Designs 1932-1954, with original aquatint frontispiece & 4 lithographs by Piper, 3 colour, original cloth, dust-jacket (price-clipped), 1955 § Evans (Myfanwy, later Piper) The Pavilion: A Contemporary Collection of British Art & Architecture, including articles on Wyndham Lewis, Edward Bawden, and stained glass featuring John Piper, original wrappers, rubbed and creased, [1946]; The Painter's Object, with contributions by Henry Moore, Paul Nash, John Piper, Pablo Picasso and others, original cloth, 1937 § Elborn (G., editor) To John Piper on his Eightieth Birthday, one of 900 copies, original pictorial boards, Stourton Press, 1983 § Gadsby Gallery. Catalogue to an Exhibition of Paintings, Drawings, Prints and Illustrated Books by John Piper, with...notes by Rigby Graham, one of 450 copies, original turquoise wrappers, a little rubbed and creased, Leicester, 1973 § Jolas (Eugene, editor) Transition: a Quarterly Review, No.26, containing part of 'Work in Progress' by James Joyce (later 'Finnegans Wake') and other contributions by Hans Arp, Paul Eluard, Man Ray, Moholy-Nagy & others and illustrating a work by Piper, original pictorial wrappers featuring a silver comb designed by Marcel Duchamp, rubbed and frayed at edges, upper cover detached, New York, 1937, plates and illustrations; and a quantity of others with contributions by or about Piper on art, stained glass, architecture etc., including many exhibition catalogues or leaflets and several issues of periodicals including Architectural Review, The Listener, Country Life, The Artist, Picture Post, Image etc., v.s. (c.100)
Christo & Jeanne-Claude (AMERICAN, 1935-2020; 1935-2009)The Mastaba - 1240 Oil Barrels (Project for the Institute of Contemporary Art, Philadelphia) Offset lithograph and screenprint in colours, 1998, on wove, signed in pencil and inscribed 'HC 12/19' in pencil, an hors commerce impression aside from the numbered edition of 60, printed by Domberger, Filderstadt and Stuttgart, Germany, published by the artists, the full sheet printed to the edges, 456 x 580mm (17 7/8 x 22 7/8in)(SH)For further information on this lot please visit Bonhams.com
REBECCA HORN (B. 1944)Turm der Fliehenden Bücher 1994 metal rods, electric motors, books, ink, feather quills208 by 82 by 65.5 cm.81 7/8 by 32 5/16 by 25 13/16 in.This work was executed in 1994.Footnotes:ProvenanceGalerie Thomas Schulte, BerlinVanthournot Collection, Belgium (acquired from the above in 1994)Sale: Sotheby's, New York, Contemporary Art / Afternoon, 15 November 2006, Lot 412Acquired directly from the above by the present ownerRebecca Horn has left an indelible mark on the canon of art history as one of the most versatile and innovative artists emerging from Germany in the post-War era. Her practice is immensely diverse, employing a variety of media – from drawing to installation, writing to filmmaking – that has earned her enormous regard in academic and critical circles, culminating in her representing Germany at the 1997 Venice Biennale. Her kinetic sculptures remain some of the most organic and affective works the artist has produced, and the solemn beauty of Turm der Fliehenden Bücher from 1994, is no exception. Emerging in the late 1960s, Horn was part of a generation of artists whose work challenged the institutions and structures that had governed not only the art world, but society at large. Her work has prodded at notions of control, expression, and hierarchies of power, remaining one of the most visceral, captivating bodies of work produced by any artist in the postmodern period. Born in 1944, she grew up in the immediate aftermath of the Second World War. It influenced her greatly and would ultimately shape her mythologies and experimental practices in art. As a child, having been taught French and English rather than her native German, language was a fluid medium for Horn, who developed an acute feeling for drawing as her chosen artistic syntax; to her it was a medium that remained universal. In 1964, however, as a young art and philosophy student at Hamburg's Hochschule für bildende Künste, her working with toxic polyester and fibreglass dealt an early blow to her life and work, suffering serious lung poisoning. She spent a year in hospital recovering, emerging with a determination to put her body at the centre of her art. With a renewed focus on the phenomenological experience, Horn rebuffed the commodity fetish of the art object, and engaged with a notion of artmaking as an endeavour that harbours, not only unforeseen risks, but a series of psychological and physical obstacles. The subjective experience became her chosen instrument. She worked with soft materials, padded body extensions and prosthetic bandages, inspired by her convalescence in hospital. In 1968 Horn produced her first body sculptures, in which she attached objects, materials and instruments to the human body, taking as her theme the contact between a person, their environment and surrounding space. Einhorn is one of Horn's best known performance pieces comprising of a long horn worn on her head.While it was mainly through her early performances that she explored the relationship between body and space, in her later work, the human body was replaced by kinetic sculptures. In the early 1980s, Horn began making these kinetic sculptures that moved by the force of a motor, taking on their own life and eliminating the need for the body to animate the her materials and shapes. The present work, Turm der Fliehenden Bücher from 1994, comprises of metal rods stacked tall against one another which in turn support three motors each of which has an open book and feather attached. Animated by the motors, the feathers flutter and softly rustle the pages of the texts that are splatted with ink. 'For me, all of these machines have a soul because they act, shake, tremble, faint, almost fall apart, and then come back to life again. They are not perfect machines. ...I'm interested in the soul of a thing, not the machine itself. ...It's the story between the machine and its audience that interests me' (the artist in: Rebecca Horn, New York 1993, p. 18).Feathers first began appearing in Horn's work as components in elaborate props and costumes, even becoming the sculptures in their own right. Feathers and other materials that were used in her kinetic sculptures could be liberated from their ordinarily defined materiality and transposed into ever-changing metaphors that touched on mythical, historical, literary and spiritual imagery. Literature and poetry also held important prominence in Horn's work; her own written poetry often inspired her work and she encouraged the viewer to constantly consider the important relationship between art and literature. She felt that viewers would consider a painting as art and a book as literature, but by combining the two in a single work, Horn asks us to consider these definitions and how the two relate and interact. The author, Jeanette Winterson, has described Horn as performing a role akin to an artist-inventor or alchemist, and as possessing an ability to produce artworks that conjure powerful forces and emotions. Horn's work resides in many major public institutions worldwide including the Museum of Modern Art, New York, the Tate Collection, London, the Centre Pompidou, Paris and the Stedelijk Museum, Amsterdam, among many others. She is one of very few artists whom have been selected to participate in Documenta on four separate occasions. During the last six decades Rebecca Horn has become a key figure in a moment for art that challenged and changed formal ideas.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
CARMEN HERRERA (B. 1915)Untitled 2013 signed and dated 2013 on the overlap; signed and dated 2013 on the stretcheracrylic on canvas50.9 by 50.9 by 6.2 cm.20 1/16 by 20 1/16 by 2 7/16 in.Footnotes:ProvenanceLisson Gallery, London (HERR130014)Acquired from the above by the present owner in 2015Carmen Herrera is one of the most significant and celebrated minimalist painters of the last sixty years. An artist who has been at the very heart of late modernist practice, and has remained fastidiously committed to her singular style over the course of her life, the canon of twentieth century art has been incomplete without her inclusion until her late-life, institutional reappraisal. Presented here, Herrera's Untitled painting from 2013 is a canvas of searing simplicity; a superlative example of the Cuban-American artist's characteristic compositions that intersect space with razor sharp bars of colour. In the present work, Herrera's lifelong engagement with the formal qualities of the canvas – its objecthood, its surface, its composition – crystalises in a painting of lucid boldness. Elegant in its scale and ablaze with cobalt blue abutted by weightless solids of seething Indian yellow that fluoresce and glow over their respective corners, Untitled wonderfully demonstrates the visual poetics of Herrera's minimalist workings. Painted on the overlap and not hindered by any ornament framing, the present work gives an intensity and mass to the colours and lines that are essential to experiencing her work to its fullest.Born in Cuba in 1915, Herrera's astonishing life and career as an artist in Post-War Europe and America beckons from one of the most abundantly creative periods drifting out of living memory. Having left a politically turbulent Cuba for New York, cutting short her architectural studies to marry an American, Jesse Loewenthal, in 1939, Herrera had found her calling as an artist. They moved to Paris, residing in the city between 1948 and 1953 – a period that would be so influential and formative to her blossoming practice. In Herrera's early work, her astute sense of colour and form was evident and palpable. Akin to the blockish, tonal compositions of Paul Klee, taking cues from the work of Kazimir Malevich and Russian Suprematism, it was in Paris that Herrera would begin to refine her style and hone her rigorous relationship to colour and line. Working and exhibiting in company that included Piet Mondrian and Max Bill at the Salon des Réalités Nouvelles – where she would show five times during her stay in France – Herrera's practice was not only on the pulse of the painterly discourse of its day, but she superseded many of her male counterparts in their experimentations that deconstructed and fragmented the singular plane of the canvas; the arena of contestation that would become so significant for contemporary painting of the 1950s.Post-War Paris was a hotbed of artists and intellectuals. It was a place and time without equal, from which flourished much of the philosophy, art, and literature that would be exported to New York in the following decades. Herrera's circles testify to her place in history and the respect she earned from those at the centre of cultural discourse in period: she was close friends with Jean Genet, Yves Klein and his family, sat across from Jean Paul Sartre and Simone de Beauvoir at the Café de Flore, dined with Barnett Newman on regular weekends, and was an audience member in the first production of Samuel Beckett's Waiting For Godot. On her return to New York in the 1950s, Herrera pared back her work to the harsh minimalist guise she is so fondly revered for, one of the earliest adopters of this newfound style. Her paintings now featured typically only two colours; angular lines became singular arcs; the plane of the canvas delineated into expansive, independent forms. Her fascination with line and form became her signature, famously stating 'I never met a straight line I did not like' (the artist in an interview with Simon Hattenstone, 'Carmen Herrera: 'Men controlled everything, not just art'', Simon Hattenstone, The Guardian, 31 December 2016, online). Undoubtedly, much has been said of the dialogue between her paintings and those of Ellsworth Kelly, Frank Stella, and a generation of minimalist artists who formally emerged in the 1960s, years after Herrera had arrived on the New York scene with her vivid, breakthrough style. In spite of her being overlooked by galleries and museums alike, her place at the forefront of contemporary painting since the 1950s is now regarded as hugely significant and enduring. Her unrelenting commitment to her own practice continues to be deeply engaged with the surface and object-oriented experience of painting – resolving her canvases in the simplest, discrete, pictorial frames she can achieve.Major reassessments of artist's careers are rare, and still more during the artist's lifetime. But no one has drawn quite such praise or unanimous admiration for their late-life success as Herrera. As it was in the 2000s, institutional recognition for the artist began to gain traction, and her first retrospective exhibition in Europe took place at the IKON Gallery in Birmingham, U.K., in 2009. It was her large-scale retrospective Carmen Herrera: Lines of Sight at the Whitney Museum of American Art, however, that reestablished the history of Minimalism with Herrera in full view, exhibiting over fifty works from 1948-1978. As her career will continue to be evaluated and celebrated, Untitled stands as one of a limited number of paintings as yet to come to market. Now in global museum collections including the Museum of Modern Art, New York, the Tate Collection, U.K., and the Kunstsammlung Nordrhein-Westfalen (K20), Düsseldorf, her legacy as an artist in the realms of Kelly and Stella is assured. An exceptional late painting by one of the most underappreciated artists of the modern era, Untitled is an exquisite example of Carmen Herrera's characteristic style. In spite of her setbacks and discounts, her fortitude in the face of adversity is testament to her rightful place in the canon, and the present work boldly displays the prowess and mastery of craft of a truly historical talent.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
KAWS (B. 1974)UNTITLED (US) 1997 signed and dated 97; signed on the backing paperacrylic on existing advertising poster127 by 66.3 cm.50 by 26 1/8 in.Footnotes:ProvenanceAcquired directly from the artist by the present owner in 1998ExhibitedNew York, bOb Bar, KAWS: Me vs Them, 1998Witty, provocative, and sophisticatedly playful, the bold and brash imagery of international contemporary artist KAWS (the nom de guerre of Brian Donnelly) is undeniably iconic and instantly recognisable. From the cartoon-like figures with X-ed out eyes through to the appropriation of such recognisable cultural icons including the Simpsons, the Michelin Man and Elmo, to name but a few, KAWS has created a body of work that is comparable to the likes of Jeff Koons, Takeshi Murakami, or Damien Hirst – period-defining superstars whose work has spanned an enormous breadth of media and captivated audiences around the world. A street artist who has risen to become one of the most celebrated contemporary artists of his day, KAWS' indoctrination into the fold of blue-chip artists has reached a new high, currently honoured with a mid-career retrospective at the Brooklyn Museum, New York. Beginning his career as an illustrator and street artist in the early 1990s, roving the busy streets of New Jersey and Manhattan in his youth, Donnelly graffiti-bombed buildings and trains with his notorious KAWS tag. Like many street artists who have graduated to the realm of contemporary art, including Banksy, STIK, and Blek Le Rat, his pseudonym has become inseparably tethered to the aesthetic and motifs of his practice – becoming a fully-formed identity that is impactful and unique. Tagging the urban landscape, however, was not enough for the young artist who soon began to apply his iconography to street-furniture and bus-shelter advertisements. This diversion from the street-art norm was a catalyst for the artist, engaging in a dialogue with the brand names and faces of fashion and photography that plastered the trendy streets of Manhattan. Working quickly and effectively, the artist removed the original posters and replaced them with the versions that featured his now iconic cartoon-like figures, drastically altering the message and aesthetic of the existing adverts. Archival footage exists of KAWS appending his banners to shopfront displays in mere seconds, before disappearing into the crowd. In the teeming streets of a bustling metropolis like New York City, his imagery reached an enormous audience; and yet the vast majority of the public were unaware of any difference to these mass-produced adverts that lined the streets. KAWS' pictures infiltrated and fed stealthily into the landscape of the city, becoming part of the genetic code of the urban sprawl. The artist's quiet rebellion has exploded to become a global phenomenon in little more than a decade, from these pivotal beginnings, rearranging the characters of adverts, to floating a monumental, inflatable 'companion' in Hong Kong's Victoria Harbour in 2019. Untitled from 1997 is a superb example of one of KAWS' early 'subvertising' works. In the present painting, American actor Ellen Barkin is featured on the cover of US Weekly magazine, a source of celebrity gossip and entertainment. Scantily clad with her arms crossed over her chest, Barkin is a symbol of popular culture – the glamourised queen of public interest. Here, KAWS obscures the figure's face in his trademark skull and bones, the serpentine body wrapping around Barkin's torso in a seemingly loving embrace. Somewhat uniquely in such a work, we see the fastidious sculpting of paint here, building a gorgeously three-dimensional sense of one of his 'companion' creatures that are so often rendered in a flat cartoonish style. Rather than viewing it as a defacement of these advertisements, KAWS' imposed collaborations with the original photographers – many of whom he admired – should be viewed as a type of cumulative cultural interface; what is the product of high fashion and low tabloid fodder alike, becomes the artistic underpinnings for the street artist. In this vein, the artist elaborates: 'When I started painting on advertisements, it occurred to me that the ad really set the work in a specific time. You could look at a dozen walls and an untrained eye might not be able to distinguish the difference between the 80s and 90s. When you paint over ads, it clicks especially with the phone booths I was doing. There was these Calvin Klein ads of Kate Moss or Christy Turlington. I think that is when I realized it was more about communication. There was a dialogue to it' (the artist in: Tobey Maguire, 'KAWS', Interview Magazine, 27 April 2010, online).One of the most significant artists to inherit the mantle of Pop Art, the artist's use of pop culture icons, the slick surfaces of advertising and editorial material, as well as his own collaborative work with fashion houses, has constructed a bold but subtle critique of consumerism. KAWS collaborative work began with the Japanese company Bounty Hunger, creating his first toy, a vinyl figure of Mickey Mouse with his famed X-ed out eyes. KAWS has since produced a large variation of toys and figurines with his graphic motifs. Immensely popular, transcending the world of traditional fine arts, these mass-produced pieces have a flavour of Andy Warhol's factory to them, producing works on the scale of a commercial enterprise of mass production. A superlative, unique work, originally exhibited in one of KAWS' earliest exhibitions at bOb Bar on the Lower East Side in 1998, this Untitled painting comes to market as one of the artist's early and important 'subvertising' works; such examples are incredibly rare and highly sought-after by collectors. Acquired directly from the artist at this underground exhibition, it has remained in the same private collection ever since and is a supremely significant work by one of the most influential and recognisable contemporary artists of his generation.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
RICHARD PRINCE (B. 1949)'all the best' 2000 signed and dated 2000 on the cover sheetchromogenic print, in 12 partsEach: 25.5 by 20.1 cm.10 1/16 by 7 15/16 in.This work is letter J from an A to Z edition of 26, plus 4 artist's proofs.Footnotes:ProvenanceJablonka Galerie, CologneSale: Christie's, London, Post-War & Contemporary Art Day Auction, 17 October 2009, Lot 244 Private Collection, UKThence by descent to the present ownerFor further information on this lot please visit Bonhams.com
TOM WESSELMANN (1931-2004)Bedroom Collage 1974 signed and numbered 8/20; signed, titled, dated 1974 and numbered #8/20 on the reverseLiquitex and collage on canvas laid on board11.5 by 21.7 cm.4 1/2 by 8 9/16This work is number 8 from an edition of 20 unique examples, plus 3 artist's proofs.Footnotes:ProvenanceSidney Janis Gallery, New YorkHokin Gallery, Palm Beach (C80241)Taglialatella Gallery, New YorkSale: De Vuyst, Contemporary, Modern Art and Old Masters, 2 March 2019, Lot 389Acquired directly from the above by the present ownerExhibitedBoston, The Institute of Contemporary Art, Tom Wesselmann: Graphics 1964-1977, A Retrospective of Work in Edition Form, 1978, p. 9, illustrated in black and white, another example exhibitedLiteratureSlim Stealingworth, Tom Wesselmann, New York 1980, p. 285, another example illustrated in black and whiteThis 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
PARKETT MAGAZINEVolumes 1-92 (in 91 parts) 1984-2013 Each: 25.4 by 21.3 cm.10 by 8 3/8 in.Footnotes:ProvenancePrivate Collection, LondonFounded in the early 1980s, Parkett magazine has been the leading contemporary arts journal since its first edition – included in this collection – hit shelves in 1984. 'Parkett will be partial and bold in discussing notable, yet unnoted undercurrents, and quick to recognize new developments in the bud. We are aiming to produce a vehicle of direct confrontation with art, providing not only coverage about artists, but original contributions by them', writes Bice Curiger, who is the current Director of the Fondation Vincent van Gogh in Arles, as well as the lifelong Editor-in-Chief of Parkett until its ceasing publication in 2017 (cited in: Parkett, no. 1, 1984, p. 1). Defining a new standard for arts publications, featuring some of the finest academics and young talents of their day who have risen to the heights of global superstardom, this exceptional collection of 92 editions – each with a unique, artist-designed cover and editorial feature – represents a must-have for any discerning collector.For further information on this lot please visit Bonhams.com
ALBERT OEHLEN (B. 1954)Untitled (Baum 18) 2014 signed, titled and dated 2014 on the reverseoil on Dibond375 by 250 cm.147 5/8 by 98 7/16 in.Footnotes:ProvenanceGagosian Gallery, New YorkPrivate Collection, TurkeyAcquired directly from the above by the present ownerExhibitedZürich, Kunsthalle Zürich, Albert Oehlen: An Old Painting In Spirit, 2015Cleveland, Cleveland Museum of Art, Albert Oehlen: Woods near Oehle, 2016, no. 22, p. 57, illustrated in colourAn artist of uncompromising versatility whose punkish resolve has consistently challenged the prevailing painterly mores of his day, one cannot consider the arc of contemporary painting without placing Albert Oehlen at the apex of its developments since the 1980s. Presented here, from one of his most accomplished and novel series, the Baumbilder (tree paintings), Untitled (Baum 18) is a monumental example of Oehlen's bombastic style at its most distilled, harmonious, and complete. A painting included in prestigious institutional solo exhibitions at the Kunsthalle Zürich (An Old Painting In Spirit, 2015) and the Cleveland Museum of Art (Woods near Oehle, 2016), such museum-quality, exhibited examples from this series are rare to market. Capturing the mature style of an artist whose legacy is cemented in the academic and commercial annals of the art world, the short yet illustrious history of Untitled (Baum 18) is testament to its importance as one of the most prodigious works by Oehlen in recent decades. Oehlen's career has been defined by his brazen and anarchic attitude towards painting. Establishing himself in earnest in the early 1980s, Oehlen emerged as a young maverick associated with the European arm of Neo-Expressionism; a group dominated by his compatriots Gerhard Richter, Sigmar Polke, and Georg Baselitz. Despite owing much to this generation of painters who had synthesised a renewed form of gestural, figurative painting, and sought to revive the medium from its critical diminution in Minimalism, Nouveau réalisme and Conceptualism, it was with his close friends Martin Kippenberger and Werner Büttner that Oehlen rejected the old hat 'expressionism' of the prevailing ideology. Oehlen's resistance was pointed, witty, and unpredictable, resolving to upend the solemn ground of the artist's canvas by employing humour and parody as equally as criticism. A central protagonist of the Junge Wilde – the 'young wild ones': a group of German, predominantly Berlin-based, artists in the 1980s – Oehlen produced work that at once cited and sabotaged artistic traditions; calling painting into question to create new perspectives.He collided styles, colours, surfaces, and subjects, producing what he termed 'bad paintings' towards the end of the 1980s; disorganised, layered canvases that sought to subvert the academic narrative that upheld the sincerity of figurative, expressive painting. Oehlen engaged the medium itself, using the plastic syntax of the surface to create arrangements that were intensely abstract and kaleidoscopic, yet operatic, sonorous, and grand in their ambition. This musicality prevails across Oehlen's oeuvre. His intense working relationship with free-form jazz and electronica has informed the artist's technique from the earliest days of his career, working through organisation and improvisation to address the constraints of his chosen medium with absolute freedom. In this vein, 'Oehlen tries to do with painting what others (Coltrane, Zappa) have attempted in jazz or rock: to immerse the listener in a burst of overlapping, saturated and expansive strata, getting rid of any story-line. [...] Oehlen's painting-machine is a mixer that flings objects, images and traces into outer space' (Pierre Sterckx, 'Albert Oehlen: Junk Screens', Albert Oehlen, France 2005, n.p.).The oscillation between spontaneity and composition, abstraction and figuration, culture and counter-culture, underpins Oehlen's practice. 'I am convinced that I cannot achieve beauty via a direct route,' the artist declares: 'that means working with something where your predecessors would have said, 'You can't do that'. First you take a step toward ugliness and then, somehow or other, you wind up where it's beautiful' (the artist in: Stephan Berg Ed., Albert Oehlen, Bonn 2012, p. 71). Consistently pushing the boundaries of painterly practice, using the latest technologies, supports and mediums to assemble his pictures, Untitled (Baum 18) – itself one of the most commanding paintings by the artist on aluminium Dibond – translates as a guitar solo in paint; combining passages of sharps and flats, tempo and fermata, Oehlen achieves a contained symphony that is perfectly pitched and magnificent to behold. Approaching his practice with such a variety of impulses, constraints, and source material, Oehlen's intuitive and restless spirit shares much with the Post-Conceptualism of American painters Christopher Wool, Steven Parrino, Richard Prince, and Barbara Kruger. Whilst the strictly American branch of contemporary painting has its genealogy in Pop Art, unpacking and deconstructing the aspirational, glamourised image of late capitalism to reveal the Nietzschean tragedy at its core, the intensity with which these artists have rebuked the status quo, reclaimed cultural archetypes and inverted their creative medium is absolutely in step with Oehlen and the contrarianism of the Junge Wilde that broke with the stalwart expressionism of the 1970s and 80s. Oehlen, alongside Kippenberger, Büttner, Jörg Immendorff, and A.R. Penck, remains the principal catalyst and origin of a new wave of painting that continues today in the work of Adam Pendleton, Joe Bradley, and Josh Smith. In Untitled (Baum 18), the virtuoso hand and command of his medium is patently clear; no one element is overweight, misplaced, or imbalanced. It is a work of astonishing clarity. Imposing in scale, yet contemplative and austere, Oehlen's compositional mastery plays out across the present work in discrete passages of variegated paint folded over one another, teetering between figuration, landscape, and abstraction. Capsizing the figure-ground relationship, Oehlen achieves an almost ethereal quality here. Rendering the painting a stark white, with glimmers of an underpainting reaching through, the crisp arpeggio of blue translates as a window onto a paling horizon, over which the systematic arms of the artist's tree is suspended.For Oehlen, the tree is as much an abstraction of its constituent parts as his given subject matter, once referring to the tree as a 'program' for his paintings, not just a motif: 'In the beginning, when I first had the tree in the painting, I needed some motif. I thought, the tree, ah! [...] Then I started thinking, what makes it a tree? I can go here, I can go there, and whatever I do, it is still a tree as long as there's something in the middle rather thicker to the outside' (the artist in: Nate Freeman, ''I Just Enjoy Making a Big Mess,': Albert Oehlen on His Deconstructed Tree Paintings at Gagosian', ARTnews, 14 April 2017, online). The tree as both an image and as a formulaic approach to picture-makin... This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Fiona MacRae (Contemporary)/Fishing Day/Washing Line/signed and dated Feefo '00/oil on paper, 43cm x 30.5cm and 34.5cm x 26cm (unframed)/Provenance: purchased by the present owner from the artist's graduate exhibition at Glasgow School of Art. The artist is now represented by several of Scotland's leading art galleries. CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
![THOMAS HUDSON (BRITISH, 1701-1779) Portrait of Catherine [‘Kitty’] Jervis, circa 1755 Oil on canvas 49 x 39in. (124.5 x 99cm.](https://cdn.globalauctionplatform.com/2868a735-29dc-4d17-810a-acfc00a43eb5/93d25933-64c2-418d-b6f7-acfc0104a935/468x382.jpg)
THOMAS HUDSON (BRITISH, 1701-1779) Portrait of Catherine [‘Kitty’] Jervis, circa 1755 Oil on canvas 49 x 39in. (124.5 x 99cm.) in a contemporary carved giltwood frame Provenance: John Jervis, The Earl St. Vincent (1735-1833), Meaford Hall (removed 1943 when Hall sold), and thence by descent; Exhibited City Museum and Art Gallery Birmingham: Exhibition of Treasures from Midland Homes 1938Footnote: Catherine ‘Kitty’ Jervis (1733-1756) was born in Stone, Staffordshire, the sister of Admiral John Jervis (1734-1823). Catherine married Jeremiah Smith of Great Fenton in Stoke, and died during childbirth in 1756. This picture is nearly identical to one of Lady Oxenden in the collection of the Art Gallery of New South Wales, Australia, where the sitter can be seen using the same clothing and props. According to their www site, this picture has recently been re-assessed as a work by Joseph Wright of Derby (1734-1797) which would have made sitter and artist approximately the same age at 20 years.Condition report: Relined, very good condition, will benefit from a clean.
*Mick Rooney RA (b.1944) 'The Dream Arcade', 1996 etching, a two-plate copper etching in colours with collograph on Somerset TP 300gsm paper; signed, titled and numbered 10/40 in pencil from the edition of 40 (plus 4 artist's proofs & 2 printer's proofs); printed at the studios of Pratt Contemporary Art by Martin Saull sheet 43 x 48cm, unframed *Artist's Resale Right may apply to this lot.Condition report: in good condition.
*Mick Rooney RA (b.1944) 'The Magic Moth', 1996 Etching 10 / 40, atwo-plate copper etching in colours with collograph on Somerset TP 300 gsm paper, signed, inscribed and numbered10/40 in pencil from the edition of 40 (plus 4 artist's proofs & 2 printer's proofs); printed at the studios of Pratt Contemporary Art by Martin Saull sheet 43 x 48cm, unframed *Artist's Resale Right may apply to this lot.Condition report: in good condition.
O. DEMCHENKO (UKRANIAN CONTEMPORARY ARTIST)Violets and Apples, oil on board 62 x 67.5 cm (24 3/8 x 26 5/8 in.) signed lower right N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
H. GUSTAVE (CONTEMPORARY EUROPEAN)Venetian Canal, oil on canvas 20 x 25 cm (7 7/8 x 9 7/8 in.) signed lower left CONDITION Observed in frame, the painting appears in very good original condition. Inspection under UV shows no apparent signs of restoration or repairs. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
A PAIR OF CONTEMPORARY METAL JUDAICA CANDLESTICKSeach fluted, the stem featuring a linear paneled design, the candle holder hexagonal, the round base inscribed in Hebrew, each marked with maker's mark and stamped Made in Israel under base; overall height of each: 20 cm (7 7/8 in.); total weight: .35 kg (12.35 oz.)CONDITION Observed in frame. The work appears in good stable original condition. Inspection under UV shows retouching to the left and bottom perimeter as well as a heavy layer of varnish. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
GERHARD RICHTER Dresden 1932 - tätig in Köln: Seestück (Gegenlicht). Collection of Contemporary Art. Farboffsetlihographie nach dem gleichnamigen, 1969 entstandenen Gemälde von Richter, 1991. Mit Gefälligkeitssignatur. Mit tyopgraphischer Bezeichnung bzw. typographischem Copyright der Achenbach Art Edition, Düsseldorf 1991 am Unterrand. Auf leichtem Karton. 54 x 54 cm. (Blatt: 90 x 70 cm). Mit vereinzelten winzigen Randbestoßungen. [bg]
Vincent Kamp (Contemporary) ''Hold Back it's Not Your Night'' Signed and numbered 44/150, giclee print on board, 50cm by 39.5cm Sold together with a DeMontfort FIne Art certificate of authenticity. Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
Sherree Valentine Daines (Contemporary) ''Champagne in the Shadows'' Signed and numbered 17/195, giclee print on board, 65cm by 59cm Sold together with a certificate of authenticity from DeMontfort Fine Art Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
Christian Hook (Contemporary) ''Notion A'' and ''Notion B'' Each signed and numbered (Notion A - 6/28 AP), lithograph, (Notion B - 10/195) 45.5cm by 33cm and 46cm by 34cm respectively (2) Each sold together with the DeMontfort Fine Art certificate of authenticity Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
Mark Spain (Contemporary) ''Treading the Boards'' Signed and numbered 70/195, giclee print on board, 47cm by 47.5cm Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business Sold together with the DeMontfort Fine Art certificate of authenticity Sold together with the DeMontfort Fine Art certificate of authenticity
Doug Hyde (Contemporary) ''Is it a Bird? Is it a Plane?'' Signed and numbered 45/95, cold cast porcelain, 26.5cm Sold together with the certificate of authenticity from DeMontfort Fine Art and original box. Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
April Shepherd (Contemporary) ''Raring to Go'' and ''Paying Attention'' ''Raring to Go'' is AP 5/30, cold cast porcelain, 34cm high ''Paying Attention'', signed and numbered 35/295 (2) Each sold with certificate of authenticity from DeMontfort Fine Art and original box. Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
ATKINSON, James, 'Epitome of the Art of Navigation or, A Short and Easy Methodical Way to become a compleat Navigator'. Grierson, Dublin 1750 with fold out diagrams and demonstration compass bound with 'A Table of Difference of Latitude and Departure in Minutes and Tenth Parts...' Grierson, Dublin 1743. end paper/1/2 title missing? m/s contents page. full contemporary calf. bumped/splits, diagrams with tears and misfolded (200 x 125mm)
A very rare German Renaissance four-train double-hour and quarter-striking table clock movementUnsigned, probably Augsburg or Nuremburg, circa 1575The iron, steel and brass posted quadruple-chain fusee movement with square section corner uprights enclosing going train with verge escapement now regulated by a foliot oscillating above the top plate, set to the right beside the quarter-striking train which in-turn is positioned in front of the two side-by-side hour-striking trains behind, each originally with locking plates to the rear pivot plates (now lacking) and vertically pivoted hammer arbors, the wheelwork entirely of iron except for the spring barrel walls and fusee and each of the trains set between individual pairs of vertical pivot plates, the quarter train with nag's head release via a starwheel to the going centre arbor and countwheel set behind the dial incorporating trip for the first hour striking train, the second hour train originally tripped by the first via detents set to the rear of the movement (now lacking), the front with rectangular gilt brass dial applied with later vestigial alarm disc and Roman numeral chapter ring incorporating cruciform hour markers, with sculpted steel hands formed as a sword and halberd within applied original outer minute track set within fruit inhabited foliate scroll engraved surround incorporating inverted cupola pendant apron panel, the rear with twin side-by-side hour striking dials (one lacking annotated countwheel dial insert) applied to a conforming foliate strapwork engraved panel, distance between top and bottom plates 20cm (7.875ins); 38cm (15ins) high overall including the two-tier bell stand. Provenance: Property of a private collector; purchased at Bonhams and Goodman sale of the The Melbourne Clock Museum, 29th April 2008. When considering the potential date of the current lot a cursory survey of dated German Renaissance table clock movements made during the second half of the 16th century reveals that the use of brass within the mechanism became more widespread as the century progressed. Initially brass was employed just for the fusees and spring barrel walls, then also for the movement pivot plates, and finally (by around 1600-20) for the wheelwork as well. With this in mind the current movement (using brass only for the fusees and spring barrel walls) can be dated to around 1575. This approximate date is also supported by the lack of warning to the striking mechanism as this was not generally adopted until around 1600. In addition to this the engraved decoration to the dial panels exhibits a mixture of naturalistic leafy foliate scrolls and formal strapwork into a matted ground which can be compared to the background decoration seen on a complex astrolabe-dialled table clock dated 1568 attributed to Jeremias Metzger for Casper Bohemus of Vienna in the collection of the Metropolitan Museum of Art, New York (illustrated in Maurice, Klaus and Myer, Otto THE CLOCKWORK UNIVERSE, German Clocks and Automata 1550-1650 on page 185).The unusual specification of the striking mechanism, where the full-hour is repeated shortly after the initial sounding, is believed to have been adopted to confirm the hour in the event that the strike was misheard the first time around. This repeat-hour striking system is most often associated with Italian clocks using the six-hour system where it is given the term 'Ribotta'. In German Renaissance work however re-striking hours are particularly rare although not unheard of; indeed a clock utilising this system, albeit in a two train configuration, was sold at Patrizzi and Company's sale of Pre-pendulum European Renaissance Clocks held in Milan on the 24th May 2009, lot 56. The present mechanism is very unusual, perhaps unique, in that the repeat-hour employs and entirely separate second hour train complete with additional fusee. This results in the movement being 'quadruple' fusee and it is believed to be the only one of its type.Condition Report: The going train has at one time been converted to verge escapement regulated by short pendulum and has subsequently been converted back to verge with balance although regulation is now erroneously by foliot rather than balance. The second wheel is also brass (most likely left over from the pendulum conversion). The brass spring barrel wall has now been soldered to the iron/steel end plate and there is also a solder angle patch repair near the spring anchor rivet. The quarter train survives complete and appears all-original except possibly for the brass fusee which may be a replacement (colour has a copper hue). The star wheel release to the strike train is present as are the detents and countwheel.The first hour striking train (rear left) appears complete and original except for the release detent and the countwheel which are both missing; the starwheel/release pin to the under-dial motionwork id also missing. The second striking train also appears complete and original except for the release detent and the countwheel which are both missing; the hammer is also missing (vertical arbor is present) and the brass fusee may be a replacement (colour has a slightly copper hue).All four trains will turn and it seems that some careful conservation such as cleaning of pivots etc has taken place within the relatively recent past. The alarm mechanism is entirely missing leaving holes in the movement top plate, there are a few other vacant holes present relating to the previous balance and pendulum escapements as well as the case which is no longer present.The dial plate has replaced alarm disc (now fixed tight with rivets) and chapter ring - these would appear to date to somewhere between 1670 and 1740 hence are probably contemporary with the earlier pendulum conversion of the going train. The rest of the plate is original however has some small spare holes including one beyond the minute track between the IX and X numerals and another to the centre just above the apron; the purpose of these holes in not clear. The hands are probably late 19th century. The rear plate is missing one of its hour counting dials, the other appears to be a fairly early replacement made from copper. Otherwise plate is original but is missing a small length of the raised border around the left hand dial has a spare hole above each dial and a third to the centre just above the apron. Both dials are secured by modern screws.The movement has a forged two-tier bel stand but no bells or winding key. Condition Report Disclaimer
Derham, William THE ARTIFICIAL Clock-maker. A Treatise of Watch, and Clock-work... First edition printed for James Knapton 'at the Crown in St Pauls Church-yard', London 1696, with folding woodcut plate of musical notation and chimes (loss to edge margin), woodcut diagrams and Addenda leaf at end, 8vo in 4s, contemporary tooled calf, (title with ink signature Jacob Mefsing, some soiling and staining). A rare first edition of the first comprehensive and scientific treatment of the art of horology, with far greater detail on clock and watch movement and construction than given by John Smith in his Horological Dialogues of 1675. Derham also produced the earliest, reasonably accurate estimate of the speed of sound. In his preface to the present work he admits to having had help 'in the History of the Modern Inventions' from Hooke and Tompion. See Baillie, G.H. CLOCKS AND WATCHES, An Historical Bibliography page 123.
TOM NASH large oil on board - entitled verso on Contemporary Art Society for Wales exhibition label 'Landscape Form (Blue)', signed and dated 1962, 118 x 83cms Provenance: Betty Evans Collection, former President of CASW (see catalogue foreword) Presentation & Condition: contemporaneous frame, dirt and surfaces marks only, very slight losses commensurate with agePlease note that this lot may be subject to Droite de Suite at 4% of the hammer price (Please see terms / enquire)
VICTOR NEEP oil on board - entitled verso on Contemporary Art Society of Wales label 'Beach', signed, 38 x 29cms Provenance: Betty Evans Collection, former President of CASW (see catalogue foreword) Presentation & Condition: original circa 1970s tired frame, surface dirt, no damagePlease note that this lot may be subject to Droite de Suite at 4% of the hammer price (Please see terms / enquire)
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