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* PAT DOUTHWAITE (SCOTTISH 1934 - 2002), WOMAN WITH SHAWL lithograph on paper 52cm x 38cm Mounted and unframed. Note: Pat Douthwaite was born in Glasgow in 1934. She began to study mime and modern dance with Margaret Morris, whose husband, J. D. Fergusson (Scottish Colourist) encouraged her to paint. This important influence apart, she was self-taught. In 1958 Pat lived in Suffolk with a group of painters, including the Scots Colquhoun and MacBryde, and William Crozier. From 1959-1988 she travelled widely, to N. Africa, India, Peru, Venezuela, Europe, U.S.A., Kashmir, Nepal, Pakistan, Ecuador and from 1969 lived part of the time in Majorca, but more latterly in various properties across the Scottish Borders. She died in July 2002 at Broughty Ferry. Interest in Pat Douthwaite's work has seen a major resurgence in recent years and her work has been strongly promoted by The Scottish Gallery (Edinburgh), generally considered to be Scotland's most prestigious contemporary art gallery.

* JOHN G BOYD RP RGI (1940 - 2001), FLOWER PIECE oil on canvas, signed; further signed and titled verso 50cm x 50cm Framed and under glass. Provenance: Exhibited and acquired in 1996 at The Contemporary Fine Art Gallery, Eton. Labels verso and original sale ticket with price (£2000). Note: John Boyd was born in Stonehaven, Kincardineshire in 1940. He studied at Gray's School of Art, Aberdeen (1958 - 1962) where he was taught by Robert Henderson Blyth. He briefly studied at Hospitalfield where he met John Byrne and Sandy Fraser, who was to become a lifelong friend. Boyd moved to Glasgow and from 1967 - 1988 he taught at Glasgow School of Art before turning to painting full time. His first solo show was held in Edinburgh in 1967, after which he exhibited regularly at the RA, the RSA, the RGI and RSPP. A major retrospective of his work was held in Glasgow, in 1994. Boyd won numerous awards and was elected a member of the Royal Glasgow Institute of Fine Arts in 1982 and a member of the Royal Society of Portrait Painters in 1989. His work is held in private collections owned by, among others, the Earl of Moray and Lord MacFarlane as well as numerous corporate collections including The Fleming Collection, Bank of Ireland, Murray Johnson and Arthur Anderson. Public collections include the Paisley Art Gallery, the People's Palace, Glasgow Museums and the Lillie Art Gallery, Milngavie. He was noted for his strongly coloured landscapes, portraits and still life's, mostly in oils, with his best work being produced in the last ten years of his life.

ANGELA REILLY, GUISE oil on board, initialled, further signed and titled verso 30cm x 33cm Framed and under glass. Note: Investigating the luminosity and tone of flesh, Angela Reilly’s paintings technically exude the precision of an old master, likened to a contemporary Holbein. Unusually, Reilly’s paintings becoming more detailed the larger their scale. Though almost photo-realist in their accuracy, Reilly’s work powerfully communicates what is felt as well as seen; realising the intangible. Reilly believes, "Portraiture is a preservation of ones memory not just preservation of appearance." Born in 1966 Angela Reilly studied Fine Art at Duncan of Jordanstone from 1984-87. In 1987 she moved to London working as an illustrator. In 1995 she began to concentrate solely on painting, moving back to Glasgow in 2003. Subsequently Reilly has exhibited in National Portrait Gallery, The Scottish Royal Academy and The Royal Glasgow Institute. In 2006 Reilly was commissioned to paint Lord Falconer’s - then The Lord Chancellor’s - portrait; was awarded a prize for portraiture by the National Portrait Gallery BP Prize 2006 and in 2007 featured in a BBC documentary. Angela Reilly's work is widely exhibited in London and Scotland.

ANGELA REILLY, ABANDON oil on board, initialled, further signed and titled verso 25cm x 31cm Framed and under glass. Note: Investigating the luminosity and tone of flesh, Angela Reilly’s paintings technically exude the precision of an old master, likened to a contemporary Holbein. Unusually, Reilly’s paintings becoming more detailed the larger their scale. Though almost photo-realist in their accuracy, Reilly’s work powerfully communicates what is felt as well as seen; realising the intangible. Reilly believes, "Portraiture is a preservation of ones memory not just preservation of appearance." Born in 1966 Angela Reilly studied Fine Art at Duncan of Jordanstone from 1984-87. In 1987 she moved to London working as an illustrator. In 1995 she began to concentrate solely on painting, moving back to Glasgow in 2003. Subsequently Reilly has exhibited in National Portrait Gallery, The Scottish Royal Academy and The Royal Glasgow Institute. In 2006 Reilly was commissioned to paint Lord Falconer’s - then The Lord Chancellor’s - portrait; was awarded a prize for portraiture by the National Portrait Gallery BP Prize 2006 and in 2007 featured in a BBC documentary. Angela Reilly's work is widely exhibited in London and Scotland.

ANGELA REILLY, MIEN oil on board, initialled, further signed and titled verso 23.5cm x 26cm Framed and under glass. Note: Investigating the luminosity and tone of flesh, Angela Reilly’s paintings technically exude the precision of an old master, likened to a contemporary Holbein. Unusually, Reilly’s paintings becoming more detailed the larger their scale. Though almost photo-realist in their accuracy, Reilly’s work powerfully communicates what is felt as well as seen; realising the intangible. Reilly believes, "Portraiture is a preservation of ones memory not just preservation of appearance." Born in 1966 Angela Reilly studied Fine Art at Duncan of Jordanstone from 1984-87. In 1987 she moved to London working as an illustrator. In 1995 she began to concentrate solely on painting, moving back to Glasgow in 2003. Subsequently Reilly has exhibited in National Portrait Gallery, The Scottish Royal Academy and The Royal Glasgow Institute. In 2006 Reilly was commissioned to paint Lord Falconer’s - then The Lord Chancellor’s - portrait; was awarded a prize for portraiture by the National Portrait Gallery BP Prize 2006 and in 2007 featured in a BBC documentary. Angela Reilly's work is widely exhibited in London and Scotland.

ANGELA REILLY, JUNO oil on board, initialled, further signed and titled verso 21cm x 26cm Framed and under glass. Note: Investigating the luminosity and tone of flesh, Angela Reilly’s paintings technically exude the precision of an old master, likened to a contemporary Holbein. Unusually, Reilly’s paintings becoming more detailed the larger their scale. Though almost photo-realist in their accuracy, Reilly’s work powerfully communicates what is felt as well as seen; realising the intangible. Reilly believes, "Portraiture is a preservation of ones memory not just preservation of appearance." Born in 1966 Angela Reilly studied Fine Art at Duncan of Jordanstone from 1984-87. In 1987 she moved to London working as an illustrator. In 1995 she began to concentrate solely on painting, moving back to Glasgow in 2003. Subsequently Reilly has exhibited in National Portrait Gallery, The Scottish Royal Academy and The Royal Glasgow Institute. In 2006 Reilly was commissioned to paint Lord Falconer’s - then The Lord Chancellor’s - portrait; was awarded a prize for portraiture by the National Portrait Gallery BP Prize 2006 and in 2007 featured in a BBC documentary. Angela Reilly's work is widely exhibited in London and Scotland.

* EMMA S DAVIS RSW PAI (SCOTTISH b 1975), EVENING, TUSCANY mixed media on board, signed, further signed and titled verso 55cm x 55cm Framed and under glass. Note: Emma Davis studied contemporary art and painting at the Glasgow School of Art and graduated in 1998 with a sell-out Degree Show. From the time of graduating she has been working full time as an artist. She has received many awards over the years including the House for an Art Lover Award, the Sir William Gillies Award, the Miller’s Creativity Award, the Glasgow Art Club Award and others. She was the youngest ever winner of The Alexander Graham Munro Travel Award, which took her on an extensive tour of Italy in 2000. At the age of 23 she was also one of the youngest artists to receive the RSW Diploma which she received from HM The Queen. A few years later she also became one of the youngest ever artists to receive the Paisley Art Institute Diploma.

* EMMA S DAVIS RSW PAI (SCOTTISH b 1975), MORNING CHIT CHAT mixed media on board, signed, further signed and titled verso 31cm x 31cm Framed and under glass. Note: Emma studied contemporary art and painting at the Glasgow School of Art and graduated in 1998 with a sell-out Degree Show, sales included pages from her sketchbook. From the time of graduating to today she has been working full time as an artist. She has received many awards over the years including the House for an Art Lover Award, the Sir William Gillies Award, the Miller’s Creativity Award, the Glasgow Art Club Award and others. She was the youngest ever winner of The Alexander Graham Munro Travel Award, which took her on an extensive tour of Italy in 2000. At the age of 23 she was also one of the youngest artists to receive the RSW Diploma which she received from HM The Queen. A few years later she was also one of the youngest artists to receive the Paisley Art Institute Diploma. Numerous notable corporate and private collections.

* GRAEME WILCOX (SCOTTISH b. 1967), ON THE SAME PAGE oil on canvas, signed and titled verso 112cm x 102cm Framed. Note: Graeme Wilcox attended Glasgow School of Art 1989 - 93 and graduated with a BA (Hons). Since graduating, Graeme has continued to work from his studio in the East End of Glasgow. His work, technically traditional, has a powerful contemporary feel, depicting underlying tensions between animation and stillness. He is able to portray the transient, blurred image of one moving figure and at the same time, engage in precise photographic representation of another. Graeme has collaborated on a number of multi media projects with Mischief-la-bas-performance group and with other artists, culminating in projects at the Arches and Tramway in Glasgow and the Albany Theatre in London. He has also organised two large scale mural projects in collaboration with the East End Community Arts for Glasgow Health Board and devised and ran "Face to Face" photography project in Glasgow. This Arts Council funded project culminated in a temporary public artwork at the East End Festival in Glasgow. In 2011 he completed a prestigious portrait commission for the newly opened Conway Hall in London. Graeme's work is held in private collections in Europe, the USA and Canada and in public collections in Petrezovodsk, Russia and the Gulf State of Qatar. He is also held in the Corporate Collection of the Royal Bank of Scotland, Edinburgh. He exhibits regularly in London and throughout the UK, both in group and solo shows.

* GRAEME WILCOX (SCOTTISH b. 1967), JUSTICE AT THE BAR oil on canvas, signed and titled verso 86cm x 73cm Framed. Note: Graeme Wilcox attended Glasgow School of Art 1989 - 93 and graduated with a BA (Hons). Since graduating, Graeme has continued to work from his studio in the East End of Glasgow. His work, technically traditional, has a powerful contemporary feel, depicting underlying tensions between animation and stillness. He is able to portray the transient, blurred image of one moving figure and at the same time, engage in precise photographic representation of another. Graeme has collaborated on a number of multi media projects with Mischief-la-bas-performance group and with other artists, culminating in projects at the Arches and Tramway in Glasgow and the Albany Theatre in London. He has also organised two large scale mural projects in collaboration with the East End Community Arts for Glasgow Health Board and devised and ran "Face to Face" photography project in Glasgow. This Arts Council funded project culminated in a temporary public artwork at the East End Festival in Glasgow. In 2011 he completed a prestigious portrait commission for the newly opened Conway Hall in London. Graeme's work is held in private collections in Europe, the USA and Canada and in public collections in Petrezovodsk, Russia and the Gulf State of Qatar. He is also held in the Corporate Collection of the Royal Bank of Scotland, Edinburgh. He exhibits regularly in London and throughout the UK, both in group and solo shows.

* ALESSANDRO NOCENTINI (ITALIAN B 1949 - ). FIORE watercolour on paper, signed, titled and dated 1983 67cm x 48cm Mounted, framed and under glass. Gallery label verso. Note: Alessandro Nocentini was born in Florence, Italy in 1949 and has continued to live there ever since, devoting his life to his artwork. Nocentini has been exhibiting his work for over 50 years and has received widespread recognition from the international art world. He is known as one of Italy's greatest watercolourists and is also a leading contemporary engraver/etcher of the second generation. Nocentini derives his inspiration from the landscapes of his native country. His work has a lyrical effect of remarkable intensity, beauty and vitality. His subjects are drawn from nature and hold an organic quality that is the founding strength of all his work.

* ALESSANDRO NOCENTINI (ITALIAN b 1949 - ), FUNGHI watercolour on paper, signed, titled and dated 1984 74cm x 55cm Mounted, framed and under glass. Gallery label verso. Note: Alessandro Nocentini was born in Florence, Italy in 1949 and has continued to live there ever since, devoting his life to his artwork. Nocentini has been exhibiting his work for over 50 years and has received widespread recognition from the international art world. He is known as one of Italy's greatest watercolourists and is also a leading contemporary engraver/etcher of the second generation. Nocentini derives his inspiration from the landscapes of his native country. His work has a lyrical effect of remarkable intensity, beauty and vitality. His subjects are drawn from nature and hold an organic quality that is the founding strength of all his work.

* STEPHANIE DEES RSW, TREES AND RIVER mixed media on paper, signed 20cm x 24cm Mounted, framed and under glass. Label verso: The Scottish Gallery, Edinburgh. Note: Stephanie Dees attended Edinburgh College of Art, obtaining MFA Degree in Painting 1996 to 1998, adding to her Edinburgh College of Art, BA(Hons) Degree in Drawing and Painting from 1992 to 1996. Dees is a regular exhibitor at Society and Commercial Gallery group exhibitions throughout the UK and has been showing with The Scottish Gallery since 1997. Her works feature in private and public collections worldwide. Stephanie’s Works of Edinburgh capture different seasons and changing light. From the pale light of winter with silhouetted bare trees, to the light and shade of a beautiful summer day and the bright bursts of green and vibrant colour that summer brings, through to the warm comforting glow of an autumnal day. With her East Lothian paintings, she considers the importance of space and the calmness and serenity she feels when looking out to sea. Having been brought up in North Berwick the certainty of the sea gives Stephanie time to reflect and look back to nature in the chaotic and busy time we live in. The warm character and joyous colours of the East Neuk harbour paintings conjure happy memories of her childhood holidays as she hopes to convey the unspoilt charm of this part of Scotland. Stephanie has enjoyed no less than seven solo shows at The Scottish Gallery (Edinburgh) which is widely regarded to be the most prestigious contemporary art gallery in Scotland. He most recent solo show at the gallery was in 2019.

* PAT DOUTHWAITE (SCOTTISH 1934 - 2002), WOMAN WITH FLOWER pastel on paper 58.75cm x 74cm Mounted, framed and under glass. Label verso: Corrymella Scott Gallery. Note: Pat Douthwaite was born in Glasgow in 1934. She began to study mime and modern dance with Margaret Morris, whose husband, J. D. Fergusson (Scottish Colourist) encouraged her to paint. This important influence apart, she was self-taught. In 1958 Pat lived in Suffolk with a group of painters, including the Scots Colquhoun and MacBryde, and William Crozier. From 1959-1988 she travelled widely, to N. Africa, India, Peru, Venezuela, Europe, U.S.A., Kashmir, Nepal, Pakistan, Ecuador and from 1969 lived part of the time in Majorca, but more latterly in various properties across the Scottish Borders. She died in July 2002 at Broughty Ferry. Interest in Pat Douthwaite's work has seen a major resurgence in recent years and her work has been strongly promoted by The Scottish Gallery (Edinburgh), generally considered to be Scotland's most prestigious contemporary art gallery.

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b 1948), COTTAGE AND THE MACHAIR oil on board, signed and dated 2000, further signed and dated verso 41cm x 41cm Framed. Note: Jolomo remains one of Scotland's most celebrated contemporary artists and in The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammrer), one of numerous auction recent prices which reflect the still growing collector demand from both the UK and abroad in the vibrant work of John Lowrie Morrison.

* GERARD M BURNS, WINTER WALK oil on canvas, signed 60cm x 60cm Framed. Note: The typical gallery price for a Gerard Burns 60 x 60cm painting is £3500. Note 2: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include: Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include: Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include: Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Surgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

* RYAN MUTTER, THE CUTTY SARK IN MOONLIGHT oil on canvas, signed 38cm x 46cm Framed. Note: Ryan Mutter was born in 1978, he studied at the Glasgow School of Art, where he graduated in 2001. He has now won many distinguished awards, including four from the Royal Glasgow Institute of Fine Arts (RGI). His inspiration comes from Britain's industrial heritage and its connection between man and the sea. In Glasgow alone shipbuilding provided work for 70,000 men in more than 50 yards spread along 11 miles of quayside. But today these yards sit empty, a shadow of their former self. The advancements made in technology and design methods superseded the old, and made once important skills and craftsmanship redundant. This is what drives Ryan as he looks to capture and remind people of how important this workforce was in the development of the modern world. A new UK auction record was established for a Ryan Mutter painting when "The Launch" was sold in McTear's Scottish Contemporary Art Auction on 2nd July 2017 (lot39) for £2600 (hammer). His work rarely appears at auction, anywhere.

CONTEMPORARY TIBETAN RUNNER, 380cm x 80cm, Art Deco design.

CONTEMPORARY ART DECO DESIGN SILK RUNNER, 300cm x 80cm, geometric pastel field.

A rare contemporary Art Deco-style Mercedes-Benz classic dual-time zone 'Tank' gentleman’s wrist watch with box and papers. Luminous baton hands. Stainless steel case with convex mineral glass and dual winders. Roman numerals to upper dial and Arabic numerals to lower dial cardinal points with burgundy chapter ring. Water resistant to three atmospheres and supplied with a Havana Brown leather strap with stainless steel buckle.  SpecificationMake: MERCEDES-BENZModel: TBCYear: TBCClick here for more details and images

Christo Eignt. Christo Wladimirow Jawaschew, Gabrowo 1935 - 2020 New York, bulgarischer Objektkünstler. "Packed Hay", Project for the Institute of Contemporary Art, University of Pennsylvania, Philadelphia, unten bez., unten rechts mit Bleistift sign., Farbsiebdruck/Karton, HxB: 55/76 cm. Min. fleckig.

Frances Bildner Corporate Abstract British Artist - A large and impressive contemporary modern art acrylic on canvas painting. Deep black ground with red scarlet brush strokes emphasise the emotions of the art. Measures approx; 129cm x 181cm.

Svaja Glass - A contemporary 20th Century retro studio art glass vase of heavy form having a vibrant red ground with white foam spray and green / black stripes. Signed to base. Makers label present. Measures approx; 26cm tall.

A matching pair of contemporary Art Deco style bedroom chairs / shop fitting chairs. Each chair having a curved backrest with rounded seat pads. Each being upholstered in a red fabric and being raised on beach splayed supports. Each measures approx 85cm x 64cm x 59cm.   

Frances Bildner Corporate Abstract British Artist - A large and impressive contemporary modern art acrylic on board painting entitled Still Life. Deep colours emphasise the emotions of the art with central planter and varying flowers. Measures approx; 96cm x 127cm.

Frances Bildner Corporate Abstract British Artist - A contemporary modern art acrylic on canvas painting entitled Self Portrait with 2. Deep colours emphasise the emotions of the artwork. Measures approx; 107cm x 63cm.

Carol Peace - In the manner of - A contemporary tall heavy cast resin modern studio art figure sculpture of a stylized woman leaning forward. The sculpture having detailed features with a bronze effect finish wall being raised on a stepped heavy metal base. Unmarked. Measures approx 90cm tall.      

Frances Bildner Corporate Abstract British Artist - A large and impressive contemporary modern art acrylic on canvas painting entitled Breath Of The White Shark. Deep colours emphasise the emotions of the art with three figures present and central Great White. Measures approx; 112cm x 84cm.

A large and impressive contemporary light oak wall mirror of rectangular form having an inset bevelled glass mirror panel housed within an oak frame. Fine Art Supplier label to verso. Measures approx; 105cm x 135cm 

Frances Bildner Corporate Abstract British Artist - A contemporary modern art acrylic on canvas painting entitled Manhattan Shimmering. Deep colours emphasise the emotions of the art depicting a cityscape . Measures approx; 91cm x 76cm.

Frances Bildner Corporate Abstract British Artist - A large and impressive contemporary modern art acrylic on canvas painting entitled Untitled Colour. Deep varying colours emphasise the emotions of the art. Measures approx; 168cm x 81cm.

Laurie Plant (1974 - to present) - A contemporary mixed media oil on canvas abstract painting depicting layered randomised shapes us a pastel palette with pen and ink detailing. Measures approx 77cm x 61cm. Laurie Plant is an artist and freelance teacher who has working for the University of Bath and in other schools, colleges, museums and galleries. Laurie has an MA and BA in Art History. Solo exhibitions include: New Zealand House - London, Clarion UK - Swindon =, MOMA Wales and Unicorn Gallery - London.  

PIERRE-AUGUSTE RENOIR (1841-1919)Paysage (Repos sous l'arbre, Cagnes-Sur-Mer) signed 'Renoir' (lower right) oil on canvas32.1 x 41.2cm (12 5/8 x 16 1/4in).Painted circa 1910Footnotes:This work will be included in the forthcoming Pierre-Auguste Renoir Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.ProvenanceAmbroise Vollard Collection, Paris (acquired directly from the artist before 1919).Private collection; their sale, Piasa, Paris, 27 June 2007, lot 11.Private collection, Portugal (acquired at the above sale).Thence by descent to the present owners.ExhibitedMarseilles, Musée Cantini, Renoir, Peintre et Sculpteur, 8 June - 15 September 1963, no. 27.LiteratureA. Vollard, Pierre-Auguste Renoir, Paintings, Pastels and Drawings, San Francisco, 1989, no. 702 (illustrated p. 176)G-P. & M. Dauberville, Renoir, catalogue raisonné des tableaux, pastels et aquarelles, Vol. IV, 1903-1910, Paris, 2012, no. 2931 (illustrated p. 150).Painted around 1910, the present work issues from a time of great success for the mature Renoir, who by the early twentieth century was firmly established as one of the leading artists of the Impressionist movement. Paysage (Repos sous l'arbre, Cagnes-Sur-Mer) depicts the countryside around Les Collettes, the farm the artist and his family moved to in search of a warmer climate, and upon the advice of his doctor to aid the rheumatism which had struck at the height of his career. Located on the hillside overlooking the medieval town of Cagnes on the Mediterranean coast, Renoir was so captivated by Les Collettes' rural nature that he left the original buildings untouched and instead built a new house and studio in the grounds for his family to move into in 1908.Renoir's interest in the landscape genre was reignited by the lush coastal landscape which became a rich source of inspiration, with his vibrant depictions of the olive groves, sun-drenched garden and endless blue skies hailed as amongst the most radiant of his oeuvre. The strong Mediterranean sunlight encouraged Renoir to brighten his already vivid palette and led to an increasing use of red and umber in all its nuances to capture the ruddy Provencal earth. The scarlet of the figure's skirts in the present work is answered in the red tree trunk behind her and the warm glow the sun casts on her face, while the cool blue shadows of her blouse echo the arching sky overhead. The trees around her softly curve inwards, acting as a framing device and reinforcing the sense of the figure's gentle absorption into the landscape around her. The burnt ground, verdant greens and brilliant blue sky of a Mediterranean summer can be felt in the composition, whose whole appears enveloped in a warm golden tone, perhaps denoting late afternoon and a time for repose. In capturing a moment of everyday life, the artist seeks to ennoble and elevate it: 'I love painting that has something of the eternal...but unspoken; an eternity of the everyday, captured on the nearest street corner; the maid stops cleaning her pots for a moment and suddenly becomes Juno on Mount Olympus!' (G. Adriani, Renoir, Cologne, 1999, p. 43). Renoir typically eschewed black as a colour and instead, as beautifully illustrated in the present work, modelled shadows with emerald greens and deep russets, allowing the eye to dance across the composition uninterrupted. Albert André described the artist's practice thus: 'He prepares areas of the canvas that will be luminous by applying pure white directly onto the canvas. He reinforces shadows and half-tints in the same manner. He almost never mixes the colors on his palette, which is covered with oily squiggles of almost pure tones' (Albert André quoted in A. Wofsy, Renoir's Atelier, San Francisco, 1989, foreword). A sense of continual movement is further evoked in the composition through Renoir's bold, loose brushwork, whereby the ground is enlivened just as much as the trees with their wonderful impasto. Despite this modern approach to colour and brushwork, Renoir would remain somewhat apart from his Impressionist contemporaries who painted the modern world as they saw it, unembellished and un-idealised. Renoir's oeuvre maintained a distance from artistic doctrine, politics or the developments in photography and cinema which influenced so many others. His timeless compositions offered a refuge from the contemporary world and indeed, by the time the present work was painted, Renoir was increasingly looking back to eighteenth century classicism. Upon settling on the shores of the Mediterranean he rediscovered his love of classical antiquity, as well as his early interest in artists such as Watteau, Fragonard and Delacroix, whose works he had studied at the Louvre as a young student. Renoir told Albert André that the distant mountains at Cagnes reminded him of Watteau's backgrounds, just as the true blue of the sky recalled the velvet-like firmaments of the older master's compositions. Renoir's travels through Europe in the mid-1880s and his study of the ancient painters also had a profound effect on his work. He sought to add an increasing monumentality and delineation to the more dappled and transitory compositions which had defined his early Impressionist years and rearranged the topography of the landscape before him to instil balance and harmony. Renoir acknowledged his admiration of and debt to eighteenth century art when discussing his Cagnes landscapes with René Gimpel in 1918: 'A painter can't be great if he doesn't understand landscape. Landscape, in the past, has been a term of contempt, particularly in the eighteenth century; but still, that century that I adore did produce some landscapists. I'm one with the eighteenth century. With all modesty, I consider not only that my art descends from a Watteau, a Fragonard, a Hubert Robert, but also that I am one with them' (Renoir, exh. cat., op. cit., p. 277).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

Whistler (Rex, 1905-1944) Two original designs for a mural in Port Lympne, Kent, a pair, watercolours, pen and black ink, pencil, some heightening with white, each sheet approx. 118 x 183 mm (4 5/8 x 7 1/4 in), under glass, old folds and one with split within the image, minor spotting and surface dirt, both with pen and ink inscribed labels on reverse with details of the commission, which read '... These designs were abandoned...', presented in uniform contemporary frames, [circa 1929-1930] (2)Provenance:Commissioned from the artist by Philip Sassoon (1888-1939)Sotheby's, London, Modern British and Irish Paintings, Drawings and Sculpture, 20th November 1991, lot 163Private collection, UK⁂ Sir Philip Sassoon (1888-1939) was a British politician, art collector, and social host entertaining many celebrity guests at his homes, including Port Lympne Mansion, Kent, which he purchased in 1913. Sassoon commissioned Whistler to decorate the Tent Room at Port Lympne, and several other original designs that were used for the room are held in the Rex Whistler Archive, Salisbury Museum. Rex Whistler was also a regular visitor to the Wilton Estate where his friend Edith Olivier lived.

* Zehender (Johann Caspar, 1742-1805). Panoramic landscape near Frankfurt, 1773, pen, ink and monochrome watercolour on 2 sheets of laid paper (central vertical join), depicting a river scene with boats and figures in the foreground, and houses and trees spread along the bank, backed by mountains, signed and dated to lower margin, overall size 24 x 72cm (9.5 x 28.25ins), mounted, framed and glazed, backboard with paper label inscribed in contemporary manuscript 'Prospect und Gegend von der Windmühl aus dem Garthen von Frau Wittich Füchs', and Christie's black ink stencil 'PH655'Qty: (1)NOTESInscription on verso translates: 'Prospect and view of the windmill from the garden of Mrs Wittich Füchs'. Swiss draftsman, painter and etcher Johann Caspar Zehender is best-known for his panoramic landscapes, particularly those of the area around Frankfurt and Mainz in Germany, executed around 1770-1784. His great patron was the Frankfurt art collector Johann Christian Gerning (1745-1802). It appears to have been Gurning's idea, towards the end of the 1760s, to publish a multi-volume work with copperplate engravings of Frankfurt and the surrounding area, employing Zehender as the artist. Many years of work by Zehender produced a large portfolio of drawings - now in The Historical Museum of Frankfurt am Main - titled: Die angenehme Lage der Stadt Frankfurt am Mayn, vorgestellet in vielen Handzeichnungen dieser Stadt und Gegend, gesammlet von Johann Christian Gerning daselbst in den Jahren 1771, 1772 und 1773 (The pleasant location of the city of Frankfurt am Mayn, presented in many hand drawings of this city and area, collected there by Johann Christian Gerning in 1771, 1772 and 1773). For reasons now unknown the work was never published, although Zehender apparently drew duplicates of some of the views for private individuals, a few of which are now in institutions or private collections.

Sandra Francis (Contemporary British), five paintings including 'Shell Abstract I' 102 x 76cm, 'Shell Abstract 2'102 x 76cm, 'Moonlight over Land and Sea' 76 x 76cm, 'The Sea at Sunrise' 70 x 70cm and 'Sea Spray and Seaweed' 80 x 100cm, all acrylic on canvas with shells in relief, signed, titled and dated 2020 verso.Sandra Francis is an art college trained artist and qualified teacher. She has been an artist her whole life, sold countless paintings and is published in the US and UK. www.sandrafrancis.com

Sandra Francis (Contemporary British), five paintings to include 'Waves on the Rocky Shore' 76 x 102cm, 'White Waves Across The Sea' 76 x 102cm, 'Sandy Beach Coastline' 76 x 76cm, 'Sunlight on the Sea' 70 x 70cm and 'Peace and Space' 70 x 70cm, all acrylic on canvas, monogrammed 'SF' lower left, signed, titled and dated 2020 verso. Sandra Francis is an art college trained artist and qualified teacher. She has been an artist her whole life, sold countless paintings and is published in the US and UK. www.sandrafrancis.com

Martin Gale RHA (b.1949)Hardlands (2001)Triptych, oil on canvas, 183.5 x 106.5cm (72¼ x 42'')Signed; also signed and dated verso on each panelEnglish born Martin Gale moved to Ireland as a child and studied in Dublin at the National College of Art. His first solo show came just two years after he graduated and was held at the Neptune Gallery in Dublin in 1975. In 1980 Gale represented Ireland at the XI Biennale de Paris, Nice, Lisbon, Finland, and had a solo show at the Taylor Galleries where he has continually exhibited since. Gale was elected a member of the RHA in 1996 and is a member of Aosdána. A major retrospective of his work was held at the Academy's Gallagher Gallery in 2004, moving to the Ulster Museum in Belfast the following year. His landscapes are a unique take on the tradition of photo-realism, and most often it is the contemporary figures occupying them that are the true subject of his work.

William Crozier HRHA (1930-2011)Kelly's Mound (1964)Oil on canvas, 76 x 75cm (30 x 29½'')Exhibited: London, Arthur Tooth & Sons, 'Recent Paintings', September 1964, no.23, illustrated in colour on front cover of catalogue.William Crozier was born in Glasgow in 1930, son to a Co Antrim father and a Scottish mother. He was brought up in Troon, Ayrshire but returned to Glasgow to study at the school of art there from 1949 to 1953. He had his first exhibition in 1951 at the Carnegie Library and on graduating travelled to Paris for a time before moving to London. During the mid 1950s Crozier, not a stranger to Ireland, spent time living in Dublin and formed friendships with many of the literary set of the time. Back in London his reputation grew and by 1957 he had exhibited at the Parton and Drian galleries and at the Institute of Contemporary Art. He recalled his early London days: "I was on easy speaking terms with William Scott .... Eduardo Paolozzi and William Turnbull, simply because I was exhibiting, and took part in the social art world of the time. The social life of artists and writers in the London of the 1950s centred on the clubs and pubs of Hampstead, Chelsea and Soho. In a long day it was possible to meet almost everyone in the art world, and easy friendships were established and abandoned. My relations with Francis Bacon were typical. We inhabited the same small world, spoke frequently, were never close friends and moved in different circles." During this period he also held exhibitions in Milan, Paris, London and Washington. William Laffan writing in 2010 noted that 'By 1961 Crozier was widely seen as one of the most exciting artists in London. This position was acknowledged in that year by the French critic Michel Ragon who described him as "one of the best young painters beyond the channel". Laffan noted that 'For Crozier, whether in Essex, Crystal Palace, Wiltshire - or indeed West Cork - landscape has only ever been a springboard. Nature observed provides the catalyst, or even excuse, for an increasingly wide vocabulary of abstract gestures and marks.' The artist himself articulated "Landscape was a vehicle through which I could say anything. I could do it in any amount of colour, turn it upside down, make it have moods, make it carry different meaning. Landscape is not the subject; it is the vehicle through which I can express intangible things. Things which have no narrative. Loss, memory - all can be done through the language of landscape. The landscape almost takes no part, as if an actor."By 1963 Crozier had moved to Spain where he shared a house with Anthony Cronin near Malaga. He found the experience of living and working in Picasso's birthplace profound and during his stay he delighted in the Andalusian culture, the light and atmosphere. Kelly's Mound was painted the following year and exhibited at Tooth's in 1964, illustrating the cover of the exhibition catalogue. Crozier's work from this Spanish period and beyond was described thus by William Laffan - 'The group of paintings produced in, and inspired by, Spain is perhaps the most glorious and radiant in the artist's entire oeuvre - though not without a certain menace lurking in the background.'We acknowledge William Laffan whose writings formed the basis of this note.

James Mahony ARHA (1810-1879)The Official Opening of 'The National Exhibition of the Arts, Manufactures and Products of Ireland' Cork, 1852Watercolour, 74 x 66cm (29 x 26'')This large watercolour by James Mahony depicts the building designed by John Benson for the "National Exhibition of the Arts, Manufactures, and Products of Ireland" held in Cork in 1852. The exhibition took place on the Corn Exchange site on Albert Quay-where City Hall now stands-and was opened by the Lord Lieutenant, Archibald Montgomerie, 13th Earl of Elginton, on June 10th of that year. The watercolour depicts a long line of eminent citizens, waiting to be introduced to the Lord Lieutenant, who stands on a carpeted dais in the foreground. A tipstaff announces the names of those who are to ascend the steps to the dais; they appear to be mainly men, while the audience looking on from both sides is composed mainly of women. First in line is a man, hat in hand, wearing a blue sash and medallion. Galleries on either side of the hall are also packed with spectators. Benson was a brilliant engineer and architect, who used innovative building methods; the roof of the Cork Exhibition hall, with its four transepts, was constructed of laminated wood trusses, bent into semi-circles, and linked together to form a strong but light structure. Large skylights admitted light into the building. The same system was used in his designs for other Cork buildings, including the Butter Market, the Firkin Crane and the English Market. Following on from his success in Cork, Benson was engaged to design the buildings for the Dublin International Exhibition in 1853. Unfortunately, being constructed mainly of wood, over the years all of Benson's Cork buildings have been destroyed, or have lost their original truss roofs, as a result of fire. When the Cork National Exhibition ended, the building was dismantled and sold to the trustees of the Royal Cork Institution. Three years later it was re-erected, on a site beside the Cork School of Art (now the Crawford Art Gallery). Titled "The Atheneaeum", it was inaugurated by the Lord Lieutenant, George Frederick Howard, Earl of Carlisle, and over the following decades was used mainly for lectures, exhibitions and performances. Re-named the Cork Opera House in 1877, it hosted many theatrical and opera performances before being destroyed by fire in 1955. Mahony's watercolour depicts the first inauguration of the building in 1852. He depicts an ornate but functional interior, one that combined conventional architectural elements, including Corinthian columns, with proto-Modernist construction methods. When the building was re-erected as the Athenaeum three years later, it was a simpler structure, and by the time it was remodelled as the Cork Opera House in the later nineteenth century, it had lost most of its original embellishments. A contemporary wood engraving by Mahony, published in The Illustrated London News, shows another transept in the Cork Exhibition complex, the Fine Arts Hall. Born in Cork in or around 1810, James Mahony specialised in views of historical events and paintings with religious themes. He first exhibited in the 1833 exhibition of the "Cork Society for Promoting the Fine Arts" and during the following years travelled extensively on the Continent, mainly in France and Italy. Returning to Ireland, he settled at the home of his father, a carpenter, at 34 Nile Street. The date of his return has not been established precisely; Strickland gives it as 1841, but in 1839 Mahony painted a large watercolour of the blessing of the Church of St. Mary's on Pope's Quay, a painting now in the Great Hunger Museum in Quinnipiac, Connecticut. During those years Mahony also set about founding, along with fellow artist Samuel Skillen, a Cork Art Union. The concept of an Art Union, where works of art from an annual exhibition were distributed by lottery amongst a group of subscribers, had already been put into operation in London and in other cities. An Art Union in Dublin had been founded two years previously, and there was also one in Belfast. Each member paid an annual subscription of one pound. This gave the subscriber (and up to three friends) free admission to the exhibition, as well as participation in the lottery of paintings. In the first year of the Union's operation in Cork, it was reckoned that more than £100 would be spent on the purchase of paintings, to be distributed amongst the subscribers. The first exhibition was held in September 1841 at Marsh's Rooms on the South Mall, and in spite of the bad weather was an immediate success, with Mahony and Skillen both amongst the exhibitors.Mahony showed again in 1844, submitting two paintings to the Cork Art Union Exhibition, Strada di son Giardino a Subraio, and Nella Chiesa di San Maria della Fiore a Genzano vicino di Roma, both priced at four pounds and four shillings. In November 1846, his view of the Fr. Matthew Memorial Tower at Glanmire was presented to Queen Victoria. Around this time, he resumed his travels, spending a number of years in Spain, before returning to Ireland. In 1852, as well as depicting the inauguration of the Cork National Exhibition, he showed several watercolours in the Fine Arts section, including The City of Cork from the river near the Custom House and Queens College, Cork, along with views of Venice and Rome. Settling in Dublin four years later, he exhibited at the RHA, and was also made an associate of the Academy. A large panoramic view of Dublin, in the National Gallery of Ireland, shows his talents in rendering architectural detail. Also in the NGI is his watercolour depicting the visit by Queen Victoria and Prince Albert to the 1853 Dublin Exhibition. In 1859 Mahony moved to London, where he worked as an illustrator, until his death in 1879. While he produced paintings of notable building, and civic and cultural events, Mahony is best known nowadays for his graphic images of the effects of famine in Co. Cork, which were published in The Illustrated London News in the 1840's. These harrowing images influenced public opinion, and helped changed the British government's official stance of indifference to the Great Famine. James Mahony is not to be confused with a later Cork artist, James Mahoney, who also painted in watercolour. (See Julian Campbell Irish Arts Review Vol 28, No. 2 (2011) p. 98]Peter Murray

Katherine MacCausland (1859-1928)Serving Dinner Oil on canvas, 101.5 x 86.5cm, (40 x 34'') Signed and dated 1890Provenance: Sold, these rooms, Important Irish Art Sale, 30th May 2008, lot 100, where purchased by the present owner.During the late 19th and early 20th centuries, the artistic schools and colonies of France enticed painters, writers and sculptors from throughout the western hemisphere, all on a quest for cultural stimulation. Among them was Katherine MacCausland, a contemporary and friend of John Lavery, Robert Louis Stevenson, John Singer Sargent, Frank O'Meara and many others. Moving to Paris first, MacCausland studied for a period at the Academie Julian before moving outside the city to settle at Grez-sur-Loing. Her exact date of arrival at Grez is not known but photographic evidence puts her in the colony at the same time as Robert Louis Stevenson, who left in 1883, just as John Lavery was arriving. MacCausland remained here for a period of years, settling into the community and buying a house. She was a fond figure and became known as 'Miss Mac' by the townspeople. In the mid-1890s, MacCausland moved into Brittany, stopping first in Pont-Aven before making Concarneau her final destination in 1912. She lived here until her death in 1930.By this timeline, it can be assumed that the present lot was painted in Grez-sur-Loing, however, the elderly woman serving the meal bears a striking resemblance to a well-known innkeeper from Pont-Aven. Marie-Jeanne Gloanec ran the Pension Gloanec, which was a small auberge famous amongst émigré artists. Gloanec was a proficient cook and she encouraged lively discussions and debates which fuelled artistic imaginations. Birge Harrison wrote of her '...dear, wizened, motherly woman. She was an excellent cook and took great pleasure in the company of her artists'. Perhaps this intimate scene was devised on a trip to Pont-Aven and pays tribute to a woman who cared for 'her artists' as a mother would her children. With the faces of the other figures being in shadow, the woman's facial expression is the emotional anchor for this piece. The downturned mouth suggests a weariness that is further emphasised by the slump of her shoulders. Her exhaustion exudes throughout the painting, blurring lines and softening edges until it rests over us with the sense of tired contentment that can only be brought about by the end of a hard day's work. The man in the background slips from the shadows, seemingly happy in his own solitude, while the children to the front appear subdued with the impending comfort of food.A skilled artist, MacCausland's work is now all too rare, however she is rightly honoured in Grez-sur-Loing where her painting, La Mère Moreau, still hangs in the town hall.Our thanks to Mary Stratton Ryan for all her research.

Sturtevant (1924-2014)Study for Warhol's Marilyn 1965 signed, titled, and dated 1965acrylic and silkscreen ink on canvas50.8 by 40.6 cm.20 by 16 in.Footnotes:This work will be included in the forthcoming catalogue raisonné being compiled by the Sturtevant Estate, Paris.ProvenancePrivate Collection, HoustonAcquired directly from the above by the present owner circa 1977Each artistic generation is defined by its novel visionaries and 'enfants terribles'; Marcel Duchamp, Robert Rauschenberg, Maurizio Cattelan, Richard Prince – these are artists whose work shatters the cultural zeitgeist and reshapes the landscape of contemporary art practice in its time. American artist Sturtevant was one of the most prominent and highly regarded conceptual pioneers of the latter half of the Twentieth Century, caricaturing and challenging the entrenched ideas of what constituted the art image and object, inspiring artists, philosophers, and critical theorists for generations. In the painting presented here for sale, there is no finer representation of Sturtevant's lifelong artistic project than this: one of the earliest Study for Warhol's Marilyn works, from 1965, the first year of her 'repetitions,' as she termed them. Executed with all the panache of a consummate master, the underpainting, silkscreen quality, and electrifying colour palette are superbly definitive of the Pop Art canon that she sought to rattle. Her ideas were revolutionary and her artworks supremely astute, engaging in the broader discourse around media and cultural theory that had gained immense traction with artists, writers, and critics in the early 1960s. Her practice went head-to-head with the artist-titans of her time, repeating the paintings of Frank Stella, Jasper Johns, and Anselm Kiefer. Sturtevant's Warhol Marilyn series, however, stands as the most iconic of her career. Superimposing images and techniques, upending the symbolic order of source material and artistic license – using not only the visage of the most recognisable leading lady of the last 70 years, but also the most illustrious portrait of the same era – Sturtevant forced the audience to consider the work of art holistically. Her ideology represented the apex point of Warhol's own practice that conflated ubiquity and fame. Her artworks suspended meaning, and instead engaged the spectator in a hierarchy of images and information, undermining the authorial roots and aura of the work of art. Unlike many whose appropriation has inspired backlash, such as Richard Prince, Jeff Koons, and Sherrie Levine, Sturtevant's Marilyns were painted not only with Warhol's blessing, but with the technicians and materials made available to her at the Factory; the canvases, paints, and screens identical to those that Warhol began producing after the actress's untimely death in 1962. Sturtevant claimed that later, when asked how he made his silkscreened works, Warhol told people to 'ask Elaine [Sturtevant].' Her paintings cannot simply be termed 'copies,' therefore, but are instead something much more complex and subversive, entering the philosophical realm of simulacra – a term the artist consistently nodded to as her holy grail and creative driving force. In an age interwoven with digital and virtual machinations that replicate, reshape, and have largely replaced our engagement with 'the real,' Sturtevant's work has become still more relevant and arresting. Shifting to video and digital art in the latter decades of her practice after moving to Paris in 1990, her earliest paintings retain a mysticism that is reserved for those works of art that are true originals – not simply in appearance, but in substance. In the present work, this sense of presence and significance is palpable and undeniable. As academic Patricia Lee wrote, Sturtevant's 'Warhol Marilyn provocatively embodies a decisive moment in the history of the object in art [...] It is in Sturtevant's work that the issue of the copy and its ramifications in Pop, Minimalism and Conceptual art crystallises' (Patricia Lee, Warhol Marilyn: Sturtevant, London, 2016, p. 17). Not only has Sturtevant's work grown to stand apart from those artists she emulated, but the historical and artistic importance of her practice is assured, with works in global museum collections that include the Musée d'Art Moderne de Paris, the Whitney Museum of American Art, New York, the Museu das Artes de Sintra, Portugal, in addition to her major career retrospective, Double Trouble, that took place at the Museum of Modern Art in New York in 2014. A painting by an artist who emerged to compete at the height of the Pop Art and Minimalist movements, Sturtevant's contribution to and importance as one of the definitive Postmodernists of the Twentieth Century can be held in no doubt, and Study for Warhol's Marilyn from 1965 stands as one of the earliest and most collectible works from her career to come to market.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

William Kentridge (B. 1955)Large Typewriters 2003 signed and dated 67/3charcoal and pastel on paper215 by 499 cm.84 5/8 by 196 7/16 in.Footnotes:ProvenanceGoodman Gallery, South AfricaThe BHP Billiton Collection, Melbourne (acquired directly from the above in 2003)Acquired directly from the above by the present ownerWilliam Kentridge has come to be known as one of the most celebrated contemporary artists, lyrically combining both the political and the allegorical into his work. Born in Johannesburg in 1955, Kentridge's parents dedicated involvement to the fight against apartheid in South Africa would have a deep and lasting effect on the artist. Setting him apart from many of his white peers from a young age, Kentridge's somewhat unusual background and upbringing would go onto inform his work throughout his life.'It gave me a kind of belief in bastardy, in mixed traditions, in societies made up of very different impulses, of the fundamental instability of the world rather than its stability and of the central point of the absurd. I mean, what could be more absurd than the racial laws of apartheid South Africa for those 40 years? But they were followed through with great assiduity and cruelty. So in a way the absurd was lodged at a very early age in understanding the unnaturalness of the society I was in.' (The artist in an interview with Louisa Buck, 'William Kentridge: an animated life', theartnewspaper.com, 31 August 2016). Kentridge completed a degree in Politics and African History in Johannesburg, only later turning to art and theatre, however it is this unconventional path that would go onto inform his practice both aesthetically and intellectually, with South African culture and identity at the heart of his practice.A consummate example of the artist's work, Large Typewriters, 2003 combines both the banal and the absurd, the real and the imagined. Here, Kentridge presents the viewer with two quasi-identical typewriters – while fairly commonplace in one's imagination, the typewriter retains a somewhat dated and nostalgic quality, a relic of times gone by. Working from a variety of images and reference points, Kentridge often comes back to the same images in his work, whether that be the typewriter, the megaphone, the telephone or the tree, each image retains its familiarity while referencing something outside of itself in each of its contexts. 'I work closely with different kinds of references. I have a collection of images and things to which I refer throughout my working process. I find my visual imagination is always less interesting than those things I've discovered in looking at the specifics of details. If one can hold on to the specific, it almost always is more interesting [...] Take the drawing of an old typewriter, for example. One has a universal image of what an old typewriter looks like in one's head, so there is an image of it, but it will be bland and inaccurate. There are details of the different kinds of carriage returns, or different kinds of moulding of the black surface of the typewriter around the space bar, which are always more interesting than I could imagine.' (The artist in an interview with Dale Berning, 'Artist William Kentridge on charcoal drawing,' theguardian.com, 19 September 2009)In the present work, the immediacy of the subject matter is palpable, the almost identical objects floating on the sheet consume the viewer by their sheer size. Their specificity is rendered in each of the objects' details outlining both their similarities and their differences, while Kentridge's signature monochrome palette and use of charcoal emphasizes the speed of creation in the smudged lines and sooty surface. For the artist, drawing and in particular charcoal drawing is at the centre of his artistic process, with drawing used at the inception of most of his works, each mark representing the artist's thought process.Kentridge's work has the unique ability of speaking to a universal audience while addressing complex themes specific to South Africa's history of racial discrimination and apartheid. The present work however is discreet in its symbolism, on one hand speaking to wider themes in the artist's work while on the other simply referencing its own physicality. Specific objects are repeated throughout Kentridge's work both singularly and without context but also accompanied by others and placed within a specific narrative. Here the use of tautology as an artistic device forces the viewer to contemplate each typewriter's specificity but also their differences, the thought process outlined by each mark and ultimately their symbolism within the larger socio-political and aesthetic framework of Kentridge's practice. It is from these drawings that the artist's universal vision can be created through his film, theatre and operatic works enveloping each object with multiple and specific meanings – here, the typewriter can be understood as a mimetic device which points beyond itself to Kentridge's larger artistic vision and ultimately the world beyond.William Kentridge's bold artistic vision has seen him become one of the world's most sought-after artists by museums and collectors alike. The artist's singular and monochrome aesthetic is upheld throughout his work allowing for a distinctive and original aesthetic recognisable in his drawing and sculpture through to his projection and full-scale operatic productions. Kentridge's work can be found in the collections of some of the most prestigious museums in the world including the MoMA, New York, Tate Modern, London and the Museum of Contemporary Art, Chicago among many others.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

Kenneth Noland (1924-2010)Return 1970 signed, titled and dated 1970 on the reverseacrylic on canvas102 by 244 cm. 40 3/16 by 96 1/16 in. Footnotes:ProvenanceKasmin Limited, London (no. 3749)Knoedler Gallery, London (no. 03359)The Earl of Pembroke, UKStephen Haller Gallery, New York Nancy and John Poyner Collection, USASale: Christie's New York, Post-War & Contemporary Morning Session, 13 November 2013, Lot 146Private Collection, Turkey Acquired directly from the above by the present ownerExhibitedLondon, Kasmin Limited, Kenneth Noland: New Paintings, 1970Birmingham, Birmingham Museum of Art, 1992 - 2013, work on loan to the museumLiteratureLondon, Kasmin Limited and Waddington Galleries, Kenneth Noland: New Paintings, 1970, n.p., illustrated in colour Monumental and serene, the aqueous expanse of Kenneth Noland's 1970 painting Return belies the richness and subtle beauty of its surface, whose sharp minimalism is held in equilibrium by the artist's masterful command over his colours and technique. A museum-quality painting by one of the most significant and celebrated painters of the late Modernist period, it is in the present work that we see Noland's mature style at its best; a visual symphony of unrepeatable simplicity, and one of the most accomplished 'stripe' paintings that Noland began to produce at the end of the 1960s. Noland's practice stands at the inflexion point between Modern and Postmodern painting. One of the last true pioneers of colour field painting that was ascendant in the New York School in the 1950s, his paintings expanded the colour theories of Josef Albers and the systems of the Bauhaus School, assimilating the automatic and expressive relationship to picture-making that had been championed by Noland's friend and patron, Clement Greenberg; what culminated is a body of work whose legacy endures as the quintessence of American Minimalism. In tandem with his abundant ties to the New York avant-garde of the mid-century, Noland developed his style out of much more worldly soil, consistently nodding to the likes of Paul Klee and Piet Mondrian as his touchstones; European artists who engaged deeply with the spirituality of abstraction over the significance of the picture plane. Mondrian's words offer a lens through which to read Noland's Return: 'what captivated us at first does not hold us afterwards. If one has loved the surface of things for a long time, one will finally look for something more. This 'more,' however, is already present in the surface one wants to go beyond [...] it is as we regard the surface that the inward image takes shape in our souls. This is the image we are to represent' (Piet Mondrian cited in: Diane Waldman, 'Kenneth Noland' in Kenneth Noland: A Retrospective, New York 1977, p. 11).His father, a pilot, engineer and painter, nurtured Noland's interest in the arts from an early age, once recalling the impact of scrutinising Monet's paintings during a visit to the National Gallery of Art in Washington D.C. when he was a teenager. From his formative years to those after his tours of duty, serving in the United States Air Force during World War II, Noland was immersed in a dialogue with contemporary painting. His studying at Black Mountain College under the pupillage of Josef Albers and Ilya Bolotowsky after the war, was followed in 1948 by travels to Paris on the G.I. Bill alongside Ellsworth Kelly, Sam Francis, Jules Olitski and Paul Jenkins, attending classes at the Académie de la Grande Chaumière taught by Ossip Zadkine. By the time of his moving to New York in 1963, after the death of his close friend and collaborator Morris Louis, Noland had absorbed, refined, and constructed a completely novel approach to painting. He was showing regularly with André Emmerich Gallery in New York, and his reputation as a master colourist at the forefront of painterly discourse was in no doubt. As he moved through the 1960s, developing his visual lexicon from 'targets,' to 'chevrons,' to shaped canvases, Noland's dexterity with acrylic – then named Liquitex, a new paint formula of water-soluble plastic – enabled him to modulate his application of colours across the raw cotton canvas with virtuosic skill. What emerged was the apex of the artists minimalist system, confining the narrow clusters of stripes to the top and bottom of the composition. Commenting on these most accomplished of his 'stripe' paintings, Diane Waldman noted that Noland 'appeared to be emptying the centers [sic] of his paintings [...] Colour here is intense but subdued, and Noland counters the effect of its unimpeded lateral sweep by investing the field with texture [...] these paintings represent Noland at his best' (Diane Waldman, Kenneth Noland: A Retrospective, New York 1977, p. 34).Return is one of the most sensitive and breath-taking of these rare 'stripes' to come to market. A painting that is teeming with almost imperceptible details and nuances over a limited palette of brilliantly organic colours, it is testament to the affective force of truly great painting that Noland spent his career devoted to. His influence as the grand master of painterly Minimalism endures in art, design, and architecture, and it is hard to view the works of Andreas Gursky, Rosemarie Trockel, or Steven Parrino, for example, without seeing the profound impact Noland had on the gravity of the surface, colour, and composition in contemporary picture-making. Residing in the collections of international public museums including the Centre Pompidou, Paris, the Los Angeles County Museum of Art, the National Gallery of Art, Washington, D.C., the Tate Gallery, London, and the Tochigi Prefectural Museum of Fine Arts, Japan, Noland's career stands as one of the foremost contributions to art history of the last hundred years. Not only is Return one of the most elegant paintings executed by the artist over the course of his life, but it is one of the finest examples of Noland's 'stripe' paintings from a unique and highly acclaimed passage in his oeuvre. Its sale represents an opportunity to acquire one of the finest, museum-quality examples by a hugely significant and collectible blue-chip artist.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

Julian Stanczak (1928-2017)Pathways in the Light 2000 signed, dated 2000 and dedicated on the reverse; signed, titled and dated 2000 on the stretcheracrylic on canvas61.5 by 84 cm.24 3/16 by 33 1/16 in.Footnotes:ProvenancePrivate Collection, Washington, DC (gift from the artist)Sale: Swann Galleries, New York, American Art/Contemporary Art, 14 June 2012, Lot 415Acquired directly from the above by the present ownerFor further information on this lot please visit Bonhams.com

BANKSY (B. 1975)Girl With Ice Cream on Palette 2004 tagged; signed and dedicated on the reversespray paint and emulsion on wood59.7 by 50 cm.23 1/2 by 19 11/16 in.This work was executed in 2004.Footnotes:This work is accompanied by a certificate of authenticity issued by Pest Control Office.ProvenancePrivate Collection, UK (acquired directly from the artist)Gift from the above to the present ownerAs one of the most acclaimed and sensationalist contemporary artists in the world, Banksy's career has garnered a following unlike any other. His political statements and subversive mise-en-scène have adorned cities across the globe at vital junctures in recent history, provoking alternative perspectives and fomenting spectacle and theatre in the art world. Banksy has gained unparalleled acclaim for his iconic and anti-establishment street art that is universally recognisable, and his most definitive and enduring works are fiercely sought after by collectors globally.From his emergent years, Banksy associated with the graffiti subcultures that were abundant across European towns and cities in the 1990s, turning to freehand graffiti as a teenager having been inspired by local artists and the French graffiti artist Blek le Rat. He was a renegade and nomadic phantom, spray-painting and tagging trains and walls before turning his hand to stencilling following a close encounter with the police; enabling him to work quickly and avoid apprehension by the authorities. Unlike many of his graffiti counterparts, whose exaggerated script and cartoon characters had become practically conventional in the modern city, Banksy's bold and iconic stencils combined an astute sense of current affairs, transcendent ideas and a stylised technique that has captured audiences and launched him from outsider street artist to one of the most important political and cultural voices of the twenty-first century. Girl with Ice Cream on Palette from 2004 is a rare example of Banksy's stencilling style on found material which is not only entirely fresh to the market but also depicts one of the most playful and memorable images from his oeuvre, which first appeared at his major breakthrough exhibition Turf War in 2003. Not one to shy away from dark humour and pointed irony, Banksy takes a subject that evokes the fragility and innocence of childhood: a young girl resplendent in her polka-dot dress, her hair tied in plaits with a bow, gleefully holding an ice cream cone. That the cone contains a fizzing stick of dynamite, however, is Banksy's dramatic punchline and typifies the flavour of his humour; a poignant reflection by the artist on the inevitable disillusionment that accompanies ageing and possible hopes for the future. In common with many of Banksy's most successful works, Girl with Ice Cream on Palette intends to shock, yet it also aims to engender thought provoking discourse within a broader socio-political context. Banksy has repeatedly returned to the motif of childhood in his work, most notably in his Girl with Balloon, that appeared on walls in London for the first time in 2002 and was later used in support of social media campaigns such as 'Stand with Syria' in 2014. These images represent a powerful symbol of lost innocence, Banksy reportedly having remarked that parents would do anything for children these days except from letting them be themselves. His deployment of satire as a tool for social commentary is always as funny as it is affecting, and his works bring into question the principles of a culture whose power structures will leave much in the way of financial, environmental, and social reparations to a younger generation. He explores this notion further in his Jack and Jill edition print of 2005. The carefree smiles of the children and their easily distinguishable childhood attire are juxtaposed with the bulletproof police vests that encase their slight frames; a sardonic meditation by Banksy on the internalisation of discipline and the stolen innocence of youth, perhaps evocative of Foucault's theory of the internalisation of discipline. Banksy has solidified his position as one of the most well recognised and sought after street artists of the century having completely transformed graffiti culture. His identity, even after more than twenty years, still remains delightedly anonymous.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

Jean-Michel Basquiat (American 1960-1988), 'Rome Pays Off (1984/2005)', 2005, screenprint in colours on wove paper, numbered from an edition of 85 in pencil, signed and dated in pencil verso by Gerard Basquiat, the administrator of the artist's estate, published by David DeSanctis Contemporary Art, Inc., Los Angeles; sheet: 113 x 101.5cm

•JENNIFER IRVINE RSW, RGI (SCOTTISH CONTEMPORARY) SPANISH HOUSE Gouache, signed, 16.5 x 10cm (6 1/2 x 4") Artist's and Barclay Lennie Fine Art labels verso Provenance: The Late Dr Helen. E. C. Cargill Thompson Condition Report: The work is found in good condition with no significant issues.

A framed contemporary art print of 'Lion and Queen' coins in black on yellow ground. Unsigned. 30cm x 41cm

A contemporary Art Deco style armchair in tan leather with roll arms and a scallop shaped back H.85 W.79 D.65cm

Lukas Walcher (*1987), zeitgenössischer, österreichischer Künstler der Art-Brut, figürliche Zeichnung mit Kreide und Bleistift auf Papier, u. re. sign., 58 x 39 cm, hinter Glas u. Pp. ger. 72 x 52 cm Lukas Walcher (* 1987), contemporary, Austrian artist of Art-Brut, figurative drawing with chalk and pencil on paper, u. re. signed, 58 x 39 cm, behind glass u. PP ger. 72 x 52 cm

Fatemeh Eyvazi (*1987), zeitgenössische, iranische Künstlerin, studierte Malerei und Grafik in Teheran und an der UdK Berlin (Master). Ihre Arbeit dreht sich um den weiblichen Körper und Blumen persischer Teppiche, welche dazu verwendet wurden, weibliche Nacktheit in der Kunst zu zensieren. In den letzten 20 Jahren war sie auf zahlreichen Gruppen. und Einzelausstellungen im Iran und in Berlin vertreten. Landschaft mit zwei Horizonten, Öl auf Lwd., u. li. sign. u. dat. 2020, 80 x 60 cm Fatemeh Eyvazi (* 1987), contemporary, Iranian artist, studied painting and graphics in Tehran and at the UdK Berlin (Master). Her work is about the female body and flowers of Persian carpets, which were used to censor female nudity in art. She has exhibited on numerous groupshows and solo exhibitions in Iran and Berlin in the past 20 years. Landscape with two horozons, Oil on Canvas, signed a. dated 2020, 80 x 60 cm

A Contemporary piece of art titled 'Basketball Player' Computer drawing, Limited edition 1/1, by artist Brendan Kelly.

Emma Ciardi (1879-1933) Italian ''An Island Lagoon, Venice'' Signed, oil on panel, 26cm by 36cm Provenance: The Fine Art Society, London, May 1942 See illustration . In an overall good and stable state of original preservation. covered in a layer of dirt and discoloured varnish although one would assume the work was executed in a rather more muted pallette. subtle vertical marks approx centre which may be contemporary with execution immediatly above the masts. Good thick impasto. not examinded with a UV light.

''Physalia'' Stephen Dee Edwards, 1982 Farbloses Glas mit mehrfarbigen Einschmelzungen zwischen den Schichten. Aufgeschmolzene Glasfäden, teils sandgestrahlt. In Vibrogravur signiert u. datiert: S. Dee Edwards 1982 P.99. 33 x 36 x 21 cm Lit.: S.K. Frantz, Contemporary Glass, Abb. S. 85 - D. Klein, Glass - A Contemporary Art, Abb. S. 49

Vase Bertil Vallien (Entwurf), Kosta Boda, 1991 Farbloses Glas, mit mehrfarbigen Teilunterfängen. Dekor im Sandstrahlverfahren herausgearbeitet. In Vibrogravur signiert und datiert: KOSTA BODA UNIQUE-91 8021-901 B. Vallien. H. 17 cm; D. 21 cm Lit.: D. Klein, Glass - A Contemporary Art, 1989, S. 23

''Vessel'' William Morris, Stenhytta, 1979 Farbloses, dünnwandiges Glas, mit rotbraunem Opal unterfangen. Aufgeschmolzene farbige Glasplättchen, kräftig lüstriert. In Vibrogravur signiert, bezeichnet und datiert: William A. Morris 2 Stenhytta '79. H. 22,5 cm Lit.: ''William Morris. Glass - Artifact and Art'', University of Washington Press, Seattle 1989, Abb. S. 14 f. - S.K. Frantz, Contemporary Glass, Abb. S. 97

[NATURAL HISTORY & TRAVEL]. A group of 5 works, comprising: LYTTON, Edward George Earle Bulwer, 1st Baron Lytton. Last Days of Pompeii. London: Richard Bentley, 1834. 3 volumes. Contemporary half brown morocco gilt. Provenance: William Forbes Morgan (bookplate). FIRST EDITION. -- DU CHAILLU, Paul Belloni. The Viking Age. New York: Charles Scribner's Sons, 1889. 2 volumes. Original cloth. FIRST EDITION. -- MATTHIESSEN, Peter and Eliot Porter. The Tree Where Man Was Born. The African Experience. New York: E. P.  Dutton & Co., Inc., 1972. Original cloth and dust jacket. FIRST EDITION. -- PETERSON, Roger Tory. The Field Guide Art of Roger Tory Peterson. Norwalk: Easton Press, 1990. 2 volumes, folio. Publisher's leather gilt. FIRST EDITION, SIGNED BY PETERSON -- ALEXANDER, Caroline. The Endurance. Shackleton's Legendary Antarctic Expedition. New York: Alfred A. Knopf, 2001. Original cloth-backed boards; dust jacket. Later edition. -- Together, 5 works in 9 volumes, publisher's bindings as indicated, most FIRST EDITIONS where indicated, condition generally fine. For condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

Dale Inglis (Contemporary British School) - Pot Plant, oil on paper, with Langham Fine Art Gallery Autumn Exhibition 1998 label verso, 24.5 x 20cm

A contemporary Mdina art glass vase, of teardrop form and mottled red colour, with gilt iridescent decoration, Mdina Glass Malta label to front, indistinctly signed and dated '02 verso, h.20cmCondition report: Approx. 8mm surface scratch towards base.Otherwise very good throughout.