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BARKER (THOMAS)Barker's Delight. or, the Art of Angling. Wherein are Discovered Many Rare Secrets... second edition, 2 leaves in the first gathering loosely inserted from another copy (one soiled), without the last 2 leaves of Moseley's 20-page catalogue at end, contemporary sheep, worn with some loss exposing top part of upper board, preserved in calf case [ESTC R209132, not calling for advertisements; Westwood & Satchell p.22; Wing B786], small 8vo, Humphrey Moseley, 1659Footnotes:Rare, being a reissue of Barker's The Art of Angling. ESTC does not call for publisher's advertisements at the end, but this copy has 8 leaves of these (a1-8), with 2 added in facsimile (b1-2). The latest title advertised is dated 1657.Provenance: Robert Franklin, early ownership inscription on front free endpaper; 'Tho: Burton ex dono Tho: Franklin 1727', inscription on title; 'Presented by J. Graham Dawson Esq.', purple stamp on front pastedown and free endpaper; John A. McKinley, bookplate; The Angling Library of John McKinley, Bloomsbury, 31 March 2005; Alan J. Jarvis, bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

BLACKER (WILLIAM)Art of Flymaking, &c., Comprising Angling & Dyeing of Colours... With Descriptions of Flies for the Season of the Year... Rewritten and Revised by the Author, 'third edition', engraved title, 21 engraved plates (18 hand-coloured), contemporary black morocco gilt, with binder's ticket ('A. Chatelin, 8 Church St., Soho'), rebacked preserving original spine [Westwood & Satchell pp.32-33], 12mo, the Author, 1855--A Concise but Comprehensive Treatise on the Art of Angling, hand-coloured woodcut frontispiece, toning to opening and final leaves, modern half morocco, gilt morocco spine label [Westwood & Satchell p.110], 8vo, Lewes, Sussex Press, by J. Banter, 1809 (2)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

WEST (LEONARD)Original artwork by Leonard West for his angling classic The Natural Trout Fly and its Imitation (1912), comprising: final artwork for the plates 1-9, 14, 15 and 16 (as used in the 1912 edition), and plates 1A and 17 (drawn in ink for the 1921 revised edition), and the originals for plates 10 ('Hackle Feathers, Poultry, &c.') and 13 ('Feathers for Flies' Wings') comprising of actual mounted samples, all on thick paper, some with proof annotations and notes, the original ink numerals (from first edition) erased and replaced as they appear in the second edition, the plates with mounted samples accompanied by West's ink identification key, images approximately 300 x 200mm.; an ink preliminary drawing (with overslip noting in pencil 'Diptera. This plate was redrawn, elaborated & coloured') of Plate 1; 2 variant 4-page prospectuses for the first edition of The Natural Trout Fly (one illustrating plate 6, one plate 8), and samples of each printed plate from the first edition of the book; 2 typed letters from P.P. Press Art Printers, dated 24 March and 11 August 1920, relating to printing costs and artwork; 2 original pen and ink drawings by West of pond beetles (both signed with initials 'L.W.', each with accompanying published print) for an unrelated publication, a few items loose otherwise bound together in contemporary green half morocco, gilt lettered 'Drawings. Leonard West' on upper cover, small folio, [c. 1912-1920]--'The St. Helens Fly Fishers Club. Second Annual Dinner and Smoking Concert at the Red Lion Hotel on Thursday Nov. 26th, 1908'; another, for the 'Third Annual Dinner... November 25th, 1909', pen and ink artwork depicting angling (and eating) scene caricatures by West, each on stiff card, 240 x 165mm., and slightly smaller, [1908-1909], with 2 further angling related caricature ink drawings, one a trial menu card; further material including approximately 15 original artworks (of which 4 fine fully-realised watercolours) of aquatic entomological subjects; 2 gelatin silver photographs of dragon flies (seemingly used as guide material for one of the watercolours); 12 pages of typescript notes, with some manuscript corrections, for an article (or ?unrealised book) relating to trout fishing, and other ephemeral materials, loose in 2 contemporary cloth portfolios, one labelled 'Aquatic Plants', one 'Gnats' (collection)Footnotes:LEONARD WEST'S ORIGINAL ARTWORK FOR THE NATURAL TROUT FLY AND ITS IMITATIONS (1912), with materials related to the publishing of the second edition (1921), artwork for St. Helens' Fly-fisher's Club dinners, and watercolours and ink drawings for articles on aquatic entomology. West was a stalwart of the Lancashire and Cheshire Entomological Society (and President for 1916) and founding member of the St. Helen's Fly-fisher's Club. In 1912 he published his classic The Natural Trout Fly 'with considerable diffidence... The notes and observations contained in it were made for private use only, but owing to the persuasion of a friend, the Author has decided to give them a wider circulation' (Foreword). His approach to fly-fishing was based on the premise that 'the angler with a knowledge of entomology, possesses a great advantage, and is able readily to select a fly' (Introduction). Provenance: Leonard West, and by family descent to current owner.For further information on this lot please visit Bonhams.com

BURNE-JONES (EDWARD)The Flower Book. Reproductions of Thirty Eight Watercolour Designs, FIRST EDITION, NUMBER 213 OF 300 COPIES, 38 coloured plates by Burne-Jones, text printed in red and green, 4-page facsimile of his list of flower names at end, contemporary dark green morocco gilt by the W.H. Smith bindery (i.e. Douglas Cockerell with 'W.H.S.' stamp inside upper cover), t.e.g., small repair touching one word of lettering on spine, a few small abrasions, 4to (320 x 280mm.), Henry Piazza et Cie., for the Fine Art Society, 1905Footnotes:Burne-Jones began his series of 'Flower Book' designs in 1882, working upon them until his death in 1898. 'The pictures in this book are not of flowers themselves, but of subjects suggested by their names... All the pictures take the same form, a circle about six inches in diameter—a kind of magic mirror in which the vision appears—and he wished them not to be separated, because, wide as is their scope, one spirit, that of pure fantasy, unites them... In some of the pictures details remain unfinished; but both colour and design are always perfectly clear, and are so intimately characteristic of the painter that I have sometimes thought this book contains a fuller expression of himself than exists elsewhere in his work' (Georgiana Burne-Jones, from the preface).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

WHITTOCK (NATHANIEL)The Art of Drawing and Colouring from Nature, Flowers, Fruit and Shells... Also, the New Method of Oriental Tinting, 24 lithographed plates, each in 2 states (hand-coloured and uncoloured), title cut to size and laid down, contents leaf and one text leaf with short repairs, some spotting, modern half calf, Isaac Taylor, 1829--BURNET (JOHN) A Practical Treatise on Painting. In Three Parts, 25 engraved plates (8 hand-coloured), contemporary green half morocco, J. Carpenter, 1828--PARSEY (ARTHUR) Perspective Rectified; or, the Principles and Application Demonstrated, AUTHOR'S PRESENTATION COPY TO HIS SON, inscribed 'Master Willm. Parsey, the gift of his father 1840', 16 engraved plates, publisher's cloth, printed label on upper cover, Longman, 1836, 4to--TINGRY (PIERRE FRANCOIS) The Painter and Varnisher's Guide... Corrected and Improved, by a Practical Chemist, second edition, 2 engraved plates (one folding), folding letterpress table, occasional spotting and browning, untrimmed in original grey boards, printed label on spine, rubbed upper cover detached, 8vo, Sherwood, Neely, and Jones, 1816; and another (5)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

CHARLES I AND II - STONEYWOOD BIBLEThe Holy Bible, Containing the Old Testament and the New, OT and NT titles within typographical border, lacks additional engraved title [ESTC S122140; Herbert 513], Cambridge, Thomas Buck and Roger Daniels, Printers to the Universitie, 1637; The Genealogies Recorded in the Sacred Scriptures, title within typographical border with decorative ornament, double-page map of Canaan, 2 leaves frayed at fore-margin [ESTC S124878], [Printed by Felix Kingston, 1632-1635?]; The Whole Book of Psalmes: Collected into English Metre, title within typographical border, lacks final leaf [ESTC S122393], Cambridge, Thomas Buck and Roger Daniel, 1637, bound with an incomplete Book of Common Prayer, together 4 works bound in 1 vol., contemporary embroidered binding with stumpwork design in silver thread on blue velvet, central panel with the Prince of Wales' feathers and crown within Garter badge, incorporating a banner with the motto 'Honi soit qui mal y pense' surmounted by a large crown flanked by the initials 'C.P.' (altered to 'C.R.'), and with rose and thistle at lower inner corners, embroidered palmette design outer order, spine comprising six compartments with floral embroidery in each, rebacked retaining original spine, some wear (mostly to central banner with loss of some of the lettering to the motto), rear pastedown with remnants of eighteenth century notes (including unclear mention of names Jean Erskine and 'Moire'), loosely inserted a blue silk bookmark with a design in silver and gold thread (split at centre with some loss); housed in a nineteenth century velvet-lined morocco case, covers with 3-line fillet border, gilt roll tool inner border and thistle cornerpieces, simple lozenge centre panel with circular decorative border enclosing a large device of an upturned crown, broken sceptre and axe above a banner proclaiming 'Remember', the decorative gilt spine lettered 'Holy Bible 1637. Charles Rex. Beheaded 30th Jany. 1647', with Scottish thistle and English rose devices, and the crown and axe emblem (as on cover), edges fully gilt, rubbed, small losses to leather on spine, without key and lock-catch, the whole preserved in a nineteenth century glass-panelled display case by Drew & Cadman, Holborn (signed on handle), 4to (the Bible 220 x 155mm.), sold as an association itemFootnotes:'THE BIBLE OF KING CHARLES THE FIRST USED BY HIM ON THE SCAFFOLD DURING HIS LAST MOMENTS...' - THE STONEYWOOD BIBLE, BOUND FOR KING CHARLES II, but long reputed to have belonged to Charles I, and to have been presented by him 'upon that awful occasion to Juxon, Bishop of London who assisted the devotions of his unfortunate Monarch' (manuscript note on box). The Royal Collection holds a 1638 Book of Common Prayer with an almost identical binding, described as 'bound for King Charles II when he was Prince of Wales...' (RCIN 1047677, see Royal Collection Trust website for image, noting that Queen Victoria loaned the volume to the Burlington Fine Art Club Exhibition of Fine Binding, 1891).The Bible is in an exceptionally fine embroidered binding, decorated with the emblem of the Prince of Wales and the initials 'C.P.' (altered to 'C.R.', for Carolus Rex'), and passed through generations of the Moir and Skene families (see below), during which time several narratives, recorded in The Story of the Stoneywood Bible (1949), were attached to it: 'The Bible was kept in the chest of Stoneywood [near Aberdeen]. One day it disappeared. With it went the 'luck' of the Moirs... One of the family's maid-servants was the thief... but [whilst other valuables were lost]... the Bible was secretly returned... One morning it was found under a chestnut tree near the entrance to the Moir mansion'. A further adventure is recorded in a note, probably by its nineteenth century owner James Skene, a close friend of Sir Walter Scott, pasted to the box in which the Bible is housed: '...The Bible remained in perfect preservation untill [sic] the Rebellion [of] 1745 when it was stolen, and afterwards found in the its present dilapidated state concealed in a hole underground'.In his Horae subsecivae (1858) the celebrated Scottish essayist John Burns noted 'The family of Stoneywood seem from the earliest record down to their close, to have been devotedly attached to the house of Stuart. In the old house there long hung a portrait of Bishop Juxon, who attended Charles 1. on the scaffold, and through this prelate must have come a still more precious relic, long preserved in the family, and which is now before us, the Bible which the doomed King put into the hands of the Bishop on the scaffold, with the word 'Remember,' having beforehand taken off his cloak and presented it and the insignia of the Garter to the same faithful minister and friend... We have the sacred and royal book before us now,—a quarto, printed in 1637, bound in blue velvet, and richly embroidered and embossed with gold and silver lace. There is the crown and the Prince of Wales' feathers, showing it had belonged to Charles II when prince. He must have given it to his hapless father, as the C.P. is changed into C.R.'.Further literature: Charles Roach Smith reproduced an image of the Bible in his Collectanea Antiqua (1848-1880), stating 'There is so much external evidence of the genuineness of this very beautiful and interesting relique, that no doubt that no doubt can exist to its perfect authenticity'. This image, and a version of the story, also appeared in The Illustrated London News, 26 January 1850, at which time the Bible was in the possession of Robert Skene, of Rubislaw; Illustrated (captioned 'Prayerbook of Charles I') in Felicia Skewes of Oxford. A Memoir by E.C. Rickards, 1902; A manuscript (MS. 20478), titled 'Reminiscences and notes concerning the Moir family Bible which had belonged to Charles I' by James Skene is held by the National Library of Scotland.Provenance: Bound for Charles II, when Prince of Wales; reputedly given by Charles I to William Juxon (1582-1663), Bishop of London; bequeathed by him to Patrick Scougall [or 'Scorgie'] (1607-1682), Bishop of Aberdeen, as told in The Story of The Stoneywood Bible, reprinted from The Aberdeen Press and Journal, 26 January 1949 (a copy of which is included with the lot); William Scroogie, Bishop of Argyle, whose daughter Mary married James Moir II, of Stoneywood (1659-1739) in 1683; Moir family, subsequently through the marriage of Jean Moir to George Skene (1736-1776) of Rubislaw, Aberdeen; James Skene (1775-1864); by descent to the present owners.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

COOKERYManuscript recipe book of Richard Scarborough, brown ink on paper, 23 pages including recipes for 'Ginger Wine', 'Brandy Toast', and 'Lemon Cheesecakes', some leaves excised, LEATHER BOOK-LABEL OF RAYMOND OLIVER, contemporary vellum, inscribed 'Scarborough's Book' and 'Prescriptions 1783. London. Ricd. Scarborh.' on upper cover, preserved in solander box, 4to (188 x 153mm.), 1783--[GLASSE (HANNAH) The Art of Cookery, Made Plain and Easy... One Hundred and Fifty New and Usefil Receipts, contemporary calf, rebacked, corners worn [Vicaire 414], A. Millar, 1767--FARLEY (JOHN) The London Art of Cookery, ninth edition, engraved frontispiece and 12 plates, some light foxing and dampstaining, manuscript recipe for Quince Brandy on reverse of frontispiece, bookplate of Antoine Tavera, contemporary tree calf, rebacked, corners worn, James Scatcherd etc., 1800, 8vo (3)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

The Ex-Midge Wilby, 1939 Scottish RAC Rally1937 Atalanta 2-Litre SportsRegistration no. HMX 957Chassis no. 1011Engine no. 1009•One of only two short-chassis cars of fewer than 20 produced•One of only two with the Gough 2-litre engine•Present ownership since 2007•Le Mans Classic eligibleFootnotes:A short-lived but highly regarded manufacturer, Atalanta Motors of Staines, Middlesex was the brainchild of Alfred Gough, designer of the overhead-camshaft Frazer Nash engine. Gough was joined in his new venture by another ex-FN employee, draughtsman Peter Crosby, while financial backing came principally from undergraduates Peter Whitehead and Neil Watson, the former a future Le Mans winner and the latter heir to the Burma Oils fortune. Other luminaries of the British Motor industry that played a part in the Atalanta story include Wally Hamill (Dunlop and Morris); Eric Scott (Specialoid pistons); A C Bertelli (ex-Aston Martin); and Dennis Poore (Manganese Bronze Holdings and Norton Villiers Triumph). Founded in 1937, the firm specialised in hand built sports cars of advanced design; the exclusive and expensive Atalantas being unique among British cars of their day in featuring all-independent coil-sprung suspension. The channel-section steel chassis was a substantial, X-braced affair, while the use of Hiduminium alloy for the suspension links and Elektron magnesium alloy for the huge (16'-diameter) Lockheed hydraulically operated brake drums helped keep un-sprung weight to a minimum. Gough four-cylinder engines powered the majority of Atalantas, not that there were many; indeed, it is estimated that no more than 20 cars of all types were built. The Gough engine was available in two capacities: 1.6 (78bhp) and 2.0 litres (98bhp), while in 1938 the company added a Lincoln Zephyr V12-powered 4.3-litre model to the range. Whatever the engine, the Atlanta's performance was excellent, thanks in no small part to its lightweight construction, and many of the cars enjoyed successful competition careers. Most were bodied by Atalanta's neighbours, E D Abbott of Farnham. Sadly, the outbreak of WW2 curtailed development of these exciting designs, and the Atalanta marque was not revived after the war's end. Survivors are exceedingly rare. One of only two short-chassis models, 'HMX 957' was originally owned by Miss M V 'Midge' Wilby, one of Atalanta's directors, who competed in rallies and trials with considerable success. This car was delivered with the 2-litre Gough engine and is the second of the three Atalantas owned by Midge Wilby. Reportedly, the adventurous Miss Wilby entered an Atalanta in the 1938 Monte Carlo Rally only to have her entry rejected on the grounds that the firm had built too few cars to be eligible. She drove a Lancia Aprilia instead. Another of Atalanta's financial backers, Midge Wilby ran a quasi 'works' team of these cars for herself and her friends, of which 'HMX 957' was one. In 1939 the Atalanta team won the manufacturers' team prize in the SWAC Welsh Rally. In 1939, The Light Car road-tested another of Midge Wilby's Atalantas ('JMC 973') for an article in its 7th April edition, declaring: 'road holding is beyond criticism: rough, almost colonial sections can be treated like main roads. The Atalanta has the tenacious quality of a racing car when cornering, and it is nearly impossible to cause the tyres to squeal'. That same year, 'HMX 957' was entered in the Scottish RAC Rally as part of a three-car team driven by a Mr A E Crosby, and contemporary press cuttings and photographs of the car in action may be found in the history file. What happened to the Atalanta immediately thereafter is not known, the next ownership record on file being an old-style continuation logbook (issued 1950) which records a change of engine rating/size from 13.9 to 24.9 horsepower, and a change of colour from blue to green. The penultimate change of owner is dated 1963. The last change in the logbook, Ryan Hodges of Woodcote, Reading, is also recorded as owner in a list of 14 Atalanta cars ('HMX 957' being one of only two 2.0-litre Gough-engined examples). The car is stated as being fitted with a Bristol engine at time of purchase by Mr Hodges. It is also stated that a correct Gough engine was 'now being assembled'. Some time later 'HMX 957' went to Sweden and is mentioned as resident there in a letter on file from Midge Wilby dated 3rd February 1985. Chronologically, the next significant piece of this car's history is its appearance in a UK auction in February 1996 (catalogue entry on file), it being stated at that time that the Atalanta was offered fresh from a major restoration carried out between 1993 and 1995, which included fitting a Ford V8 'flat head' engine. Its owner at that time would appear to have been Mr Werner Oswald of Brocton, Staffordshire (recorded as previous keeper in the old-style V5C on file). Its purchaser in February 1996 was Mr Craig Davis of Pebble Beach, California, who immediately commissioned TT Workshops of Westbury, Wiltshire to undertake a full restoration, including the sourcing and installation of a correct 2.0-litre Gough engine, one being found in Switzerland (see correspondence and detailed bills on file). The Atalanta appears to have next changed hands in 2007 when it was offered for sale by Mr Patrick Ryan of California at a US auction and purchased shortly thereafter by the current owner. In the vendor's own words: 'The car was immaculate when we purchased it – reflected in its having recently won the Cartier Style et Luxe at Goodwood and being displayed and sold at Pebble Beach in 2007. It is presented in similarly immaculate condition now.' Whilst in current ownership the Atalanta has benefited from the expert attention of the renowned Le Riche Automobile Restorers, who have carried out further major refurbishment works since its acquisition (bills on file). More recently (November 2019) 'HMX 957' was inspected and mechanically refreshed by Atalanta Motor Cars Ltd, the main focus of the work being to ensure the brakes, steering, and suspension operated safely. The bodywork was re-polished and detailed, and the car then remained in covered storage for some months prior to collection.The engine was serviced (including fresh oil) and set-up to run properly, which it did, and the car was then test-driven for no more than three miles. As the Atalanta was again likely to stand for some time in the client's collection, the cooling system was drained as precaution. (At the time of cataloguing it was noted there was some emulsification in the oil, which we understand is due to porosity in the block. This will likely need rectification prior to serious road use.)The Atalanta has seen only limited use while forming part of the vendor's private collection, covering only some 100 miles since acquisition. It was displayed at the Credit Suisse motoring event in Jersey in 2008 and at the Hampton Court Concours in 2014 but has not been rallied or used on events. It was a very personal acquisition that was, due to its age, admired as a piece of automotive art and displayed in the music room of the owner's house. Exotic, advanced, and exceedingly rare, the mythical Atalanta is rightfully considered by many enthusiasts to be the 'Holy Grail' among British pre-war sports cars.For further information on this lot please visit Bonhams.com

John Craxton R.A. (British, 1922-2009)Winter Landscape, Dorset signed and dated '-Craxton- 1999.' (lower left); titled twice and numbered 'Winter landscape, Dorset/13' (on backboard)gouache on card15.5 x 20cm (6 1/8 x 7 7/8in).Footnotes:ProvenanceWith Art First Contemporary Art, London, 24 May 2001, where acquired byLady DugdaleWe are grateful to Richard Riley for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Fiona Rae R.A. (British, born 1963)Untitled (Fig. 12) acrylic and oil on canvas21 x 25.5cm (8 1/4 x 10 1/16in).Painted in 1995Footnotes:ExhibitedPreston, Harris Museum and Art Gallery, A Private Affair: Personal Collections of Contemporary Art, 28 January-5 May 2012This 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

Sir Eduardo Paolozzi (1924-2005)Gagner ou Perdre signed and dated 'Eduardo Paolozzi. 47.' (lower right), titled 'Gagner ou Perdre' (upper centre)watercolour and gouache on paper46.5 x 50.5cm (18 5/16 x 19 7/8in).Footnotes:ProvenanceWith The Mayor Gallery, London, where acquired by Mr and Mrs Milnes-Smith, 20th July 1961Sale; Sotheby's, London, 13 July 2007, lot 77, where acquired by the present ownerPrivate CollectionPaolozzi had his first solo show in early 1947 at The Mayor Gallery. With a number of successful sales and appreciative reviews, Paolozzi set off for Paris. He rented a room for £1 per month on the Île Saint-Louis, and found there much to inspire him, not only in the contemporary art scene but also in the wonderful museum collections that the city had to offer. He absorbed such diverse influences as Dada and Surrealism, viewed Dubuffet's collection of art brut, and also became acquainted with important contemporaries such as Giacometti. The present lot is typical of the early gouaches and collages he produced while staying there, taking inspiration from popular entertainment in the form of newspaper stalls, lottery and shooting booths - 'gagner ou perdre' translates as 'win or lose' - and transforms this simple decoration into a new and sophisticated abstract language.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

Mary Fedden R.A. (British, 1915-2012)Sunset in Tuscany signed 'Fedden.' (lower left)gouache on paper35.5 x 25cm (14 x 9 13/16in).Painted in 1965Footnotes:ProvenanceWith New Art Centre, LondonWith Gray Modern and Contemporary Art, Bath, 16 June 2015, where acquired byKeith William SleemanThis 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

Bil Donovan (born 1953)At the Plaza signed 'DONOVAN' (lower centre)watercolour and crayon on paper36 x 32cm (14 3/16 x 12 5/8in).together with a further watercolour painting, Zuhair Murad, by the same hand(2)Footnotes:ProvenanceWith Gray Modern and Contemporary Art, Bath, 14 September 2016, where acquired by Keith William SleemanThis 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

William Gear R.A. (British, 1915-1997)Green Vertical signed and twice dated 'Gear '61 MAY '61' (lower right)acrylic and ink on paper69.5 x 51cm (27 3/8 x 20 1/16in).Footnotes:ProvenanceWith Gray Modern and Contemporary Art, Bath, 22 June 2013, where acquired byKeith William SleemanThis 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

* Maynard (George Willoughby, 1843-1923), American painter, illustrator and muralist. A photographically-illustrated scrap album relating to George Maynard and fellow American academic classical painter and sculptor Francis Davis Millet (1848-1912), c. 1870s, containing over 200 photographs including some not from life, mostly albumen prints but including some cyanotypes, many carte-de-visite-sizes but also some larger, including 3 photographs of Millet's house and studio, East Bridgewater, Massachusetts, 1876, two group portraits, one of the Epyphrykan Club, Antwerp, 1872, featuring both Maynard and Millet, plus Edwin G. Champney and others, signed by 7 of the 8 sitters on the mount, the other of students of the Royal Academy, Antwerp, a portrait of Elihu Vedder by G.C. Cox with pencil inscription from the sitter to Maynard to mount below, Charles Volkmar digging in a garden, various photographs of decorations at Rockwood Hall, 20 small cyanotypes of Mexican views by Fred S. Wild, 4 cyanotypes of a studio 'The Benedick', a photograph of Stedman's house by Edmund M. Wheelright, cyanotypes of works by W.L. Dodge, studio of Charles Dubois, Neuchatel, Copeland's room, Paris, plus photographs of Antwerp, Alexandria Virginia, Cooperstown New York, etc., heavily captioned and annotated in contemporary pencil throughout with some annotations on the photographs themselves, many photographs faded and chipped or torn with occasional loss, interspersed with related engravings and cuttings relating to art and design, plus approximately 10 loose unsigned pencil sketches showing a reclining child, 2 in Rome, 3 sketches of tigers and several of figures in Constantinople, plus one watercolour of a building (an art school?) in Anvers, dated 1869, all torn with some loss, album leaves all brittle and detached and disbound with only one board present, 4to (33 x 27 cm)Qty: (1)NOTESThe album appears to have been compiled by Maynard though it is not clear whether any of the pencil sketches or captions are in his hand. His contemporary Francis Millet who makes several appearances in the album is better known than Maynard as an artist, sculptor and writer. He died in the sinking of the RMS Titanic on 15 April 1912. He was last seen helping women and children into lifeboats. His body was recovered and returned to East Bridgewater, Massachusetts, where he was buried in Central Cemetery. Sold with all faults, not subject to return.

* Nordström (Erik Agnar, 1857-1907). A collection of 35 photographs, c. 1891-1905, mostly platinum print studies of horses, dogs and aristocratic male and female equestrian portraits, mostly overpainted and retouched with much blocking out of backgrounds, mostly signed 'd'Agnar' and dated in the margins, various sizes but mostly 16.5 x 22 cm and similar, the majority mounted on art boards, occasional staining and soiling, the collection loosely contained in a contemporary broken portfolioQty: (35)NOTESNortström was of Swedish birth but married an English wife, Bessie Dix-Wilcox. The portfolio apparently belonged to Nordström and contained several indistinct addresses written on the inside of the portfolio, including London, Gloucestershire, Northampton and Dublin.

* Attributed to John Thomson (1837-1921). Pagoda at the Execution Ground, Soochow [Suzhou], [China], c. 1869, albumen print, some fading to left and right margins, 32.8 x 25.0 cm, with contemporary calligraphic brown ink caption in an unidentified hand at footQty: (1)NOTESFor the same attribution see an identical photograph in the Gilman Collection at the Metropolitan Museum of Art, New York, accession number 2005.100.494.100. For a stereoview photograph with a similar title in the Oriental Series published by Thomas Houseworth, San Francisco, 1869, see No. 38: Pagoda on Execution Hill, near Soochow.

* Attributed to John Thomson (1837-1921). Twin Pagoda at Soochow [Suzhou, China], c. 1869, albumen print, some fading to left and right margins, 31.8 x 25.0 cm, mounted on an album leaf, 27.5 x 38.5 cm, with contemporary calligraphic brown ink caption in an unidentified hand at footQty: (1)NOTESFor the same attribution see an identical photograph in the Gilman Collection at the Metropolitan Museum of Art, New York, accession number 2005.100.494.94. For a stereoview photograph with the same title see the Oriental Series published by Thomas Houseworth, San Francisco, 1869, No. 29.

* Attributed to John Thomson (1837-1921). Nine Arch Bridge outside Soochow [Suzhou, China], c. 1869, albumen print, 24.0 x 33.9 cm, ghosting figures lower left corner, together with Attributed to John Thomson (1837-1921). Great Pagoda in Foochow [Fuzhou] the largest in China, c. 1869, albumen print, 23.6 x 33.2 cm, both with slight marginal fading and light browning to upper blank corners from adhesive see-through, mounted on album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified hand at footQty: (2)NOTESFor the same attribution of the first photograph see an identical one in the Gilman Collection at the Metropolitan Museum of Art, New York, accession number 2005.100.494.92. For a similar view of the second photograph with a Thomson attribution see accession number 2005.100.494.90. For stereoview photographs with similar titles see the Oriental Series published by Thomas Houseworth, San Francisco, 1869, Nos. 35 & 31: The Nine-Arched Bridge, near Soochow [and] The Largest Pagoda in China, at Foochow.

* Weed (Charles Leander, 1824-1903). Mississippi Bay near Yokohama, [Japan], c. 1867, albumen print, some light marginal fading and light browning to top corners from adhesive see-through, 25.0 x 33.7 cm, together with: Attributed to Charles Leander Weed (1824-1903). Yokohama, c. 1867, albumen print, a view over rooftops and the harbour with boats, some light marginal fading and light browning to top corners from adhesive see-through, very small split to upper right margin, 25.0 x 33.7 cm, mounted on 2 album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified hand at footQty: (2)NOTESA full plate photograph from the original mammoth plate of the first photograph, titled ‘Fishing Village on Mississippi Bay, near Yokohama’, is held at the Freer Gallery of Art and Arthur M. Sackler Gallery Archives within the Smithsonian Institution, ref. FSA.A2002.04. This corresponds to no. 139 in Thomas Houseworth’s Oriental Scenery series, 1869. In addition, Felice Beato photographed a virtually identical scene, 1864-1868, the composition cropped in very slightly from our photograph but showing three figures on the road on the left. See Anne Lacoste, Felice Beato: A Photographer on the Eastern Road, (2010), plate 34. Whether Ueno Hikoma (1838-1904), who had a close working relationship with Beato, showed him and/or Charles Weed this location, it seems highly unlikely that whichever photographer was not aware of the earlier work of the other when taking this photograph. The second photograph probably corresponds to one of the two titled ‘Panoramic View of Yokohama’ in the Oriental Scenery series, nos. 137 & 138.

* Weed (Charles Leander, 1824-1903). On the Road to 'Fusi Yama' [Fujiyama, i.e. Mount Fuji], Japan, c. 1867, albumen print, some marginal fading and browning to top corners from adhesive see-through, 25.0 x 32.8 cm, together with: Attributed to Charles Leander Weed (1824-1903). Country Scene in Japan, c. 1867, albumen print, some marginal fading, 25.0 x 33.7 cm, Attributed to Charles Leander Weed (1824-1903). View in [Seto] Inland Sea, Japan, c. 1867, albumen print, some marginal fading and light browning to top corners from adhesive see-through, 25.0 x 33.7 cm, Attributed to Charles Leander Weed (1824-1903). View in [Seto] Inland Sea, Japan, c. 1867, albumen print, some marginal fading and light browning to corners from adhesive see-through, 25.0 x 33.2 cm, mounted on 4 album leaves, 27.5 x 38.5 cm, with contemporary calligraphic brown ink captions in an unidentified hand at footQty: (4)NOTESA full plate photograph from the original mammoth plate of the first photograph, titled ‘View near Yokohama’, is held at the Freer Gallery of Art and Arthur M. Sackler Gallery Archives within the Smithsonian Institution, ref. FSA.A2002.04. None of these photographs can be identified in the list of Houseworth’s Oriental Scenery series and may not have been part of that series.

Antiquarian Books - Cassell's History of England, Special Subscribers' Edition, full-page colour plates, contemporary blue cloth, all-edges gilt, 4to, (9); Works of Morton, Minerva Edition, Art Deco cloth bindings, (10); World War One, Belgium, King Albert's Book [...], The Daily Telegraph: Christmas 1914, illustrated, contemporary cloth, 4to, [20]

Books - Oriental Art - Toda (Kenji), Japanese Scroll Painting, The University of Chicago Press, 1935, colour plates, contemporary cloth gilt, 8vo, (1); Fink (Romy), A Short Introduction to Japanese Art, London: 1954, h/b, d/j, 8vo, (1); Moa; Enjoying Illustrated Scrolls, The Museum of the Imperial Collections exhibition catalogue, illustrated; Korean architectural photography, including Jim Jae Kyeong, others signed, etc; Bernard Leach; Modern British printmaking, various; etc., [1 box]

An attractive Bristol delftware dish, circa 1740Possibly Temple Back or Limekiln Lane, vibrantly painted with a three-tiered landscape spanning the entire upper surface of the dish, a spritely figure of a Chinese boy with a skipping rope between stylised trees sprouting from hilly outcrops, 34.2cm diamFootnotes:This dish belongs to a distinctive group attributed to Limekiln Lane or Temple Back and is one of the larger examples of its type. Fragments from both sites display similar brushstrokes and the peculiar trees featured on the current lot styled as two ovals on parallel vertical lines were found at the latter site. An almost identical dish from the Bristol Art Gallery is illustrated by Garner and Archer, English Delftware (1948), pl.70C. A similar dish featuring a central figure with a bird from the Longridge Collection was sold by Christie's on 11 June 2010, lot 1225. See Leslie B Grigsby, The Longridge Collection (2000), p.154 for a discussion of these energetic figures possibly as acrobats, taken from contemporary scenes of circus performers.For further information on this lot please visit Bonhams.com

Demetre H. Chiparus "Les Amis De Toujours" (Freunde für immer), Paris, ca. 1928 Elfenbein, geschnitzt; Bronze, gegossen, kaltbemalt, z. T. vergoldet; Onyx; seitlich auf dem Sockel signiert: "Chiparus", rückseitig am Kleidsaum gemarkt "10", H. 63 cm; B. 65 cm (inkl. Plinthe) Victor Arwas, Art Deco Sculpure. London 1992, S. 66; Bryan Catley, Art Deco and other Figures. 2. Auflage, Woodbridge 2003, S. 58; Alberto Shayo, Chiparus: Master of Art Deco, New York 1993, S. 81; S. 262 (Hier abgebildetes zeitgenössisches Foto aus dem Verkaufskatalog von L. N. J. L., Paris) Das gleiche Modell haben wir in der 96. Auktion um 125.000€ verkauft. Demetre H. Chiparus "Les Amis De Toujours", Paris, c. 1928 ivory, carved; bronze, cast, cold-painted, partly gilded; onyx; signed: "Chiparus", marked on the reverse "10", h. 63 cm; w. 65 cm (incl. plinth)Victor Arwas, Art Deco Sculpure. London 1992, p. 66; Bryan Catley, Art Deco and other Figures. 2. edition, Woodbridge 2003, p. 58; Alberto Shayo, Chiparus: Master of Art Deco, New York 1993, p. 81; p. 262 (contemporary picture from the sales catalogue von l. N. J. l., Paris)

Arnulf Rainer* Kreuz, 1987-88 Öl auf Fotografie auf Holz; gerahmt, 209 x 126 cm Signiert und datiert rückseitig auf Holzplatte: A. Rainer / 1987/88 Ausstellungsetiketten rückseitig österreichische Privatsammlung 1989 New York, Guggenheim Museum; 1989 Chicago, Museum of Contemporary Art; 1989/90 Wien, Historisches Museum der Stadt Wien ARGE Gabriele Wimmer & John Sailer, Arnulf Rainer, Ausstellungskatalog, Guggenheim Museum New York, München 1989, Abb. 88 1989 hatte Arnulf Rainer als erster zeitgenössischer österreichischer Künstler eine Ausstellung im Solomon R. Guggenheim Museum in New York. Danach ging die Ausstellung ins Museum of Contemporary Art nach Chicago und abschließend in das Historische Museum der Stadt Wien. Die ca. 140 Arbeiten umfassende Retrospektive hat die internationale Bedeutung des Werkes von Arnulf Rainer positioniert und erkennbar gemacht. Eine der dafür ausgewählten Arbeiten ist dieses hier vorliegende Kreuz. Es ist eine imposante leuchtende Arbeit auf zusammen montierten Holzplatten mit einer darauf affichierten Fotografie als Bildgrund. Wahrscheinlich ein Selbstporträt. Die verwendete Kreuzform ist das Antoniuskreuz. Ein T-Kreuz ohne expliziten Kopfteil. Rainer veränderte diese Form, indem Kopfteil und Mittelteil zu einer rechteckigen Platte verschmelzen und so die Proportion als Hochformat erhalten bleibt. Diese Veränderung nimmt die christliche Konnotation heraus. In der Bearbeitung ist es eine auf die Vertikale ausgerichtete Fingermalerei, teilweise verwischt und in Rinnsalen endend. Der Handabdruck wird als gestalterisches Element eingesetzt. Das zeichnerische Darunter und die Fotografie ist nur mehr am Rande sichtbar. Der Blick des Betrachters wir auf die Längsrichtung gelenkt. Rot begrenzt von Schwarz lässt das wuchtige Format elegant und leicht erscheinen. Das Kreuz in Form, Zeichen und Prinzip erscheint in allen Schaffensphasen des Künstlers. Die künstlerische Bedeutung des Kreuzes liegt in der Fähigkeit ein Zentrum zu fixieren und dadurch Konzentration, Dichte und Stabilität zu vermitteln. Das Kreuz an sich ist eine geometrische Formation. In unserem Kulturraum ist das Zeichen fest mit dem Martyrium Christie und der Heilsgeschichte verbunden. Als anthropologisches Zeichen wird es mit der Gestalt des Menschen identifiziert. Bei Rainer trifft man in seinem gesamten Oeuvre, unabhängig von der Maltechnik, auf Varianten und Abwandlungen der Kreuzform. Im Gegensatz zu seinen frühen Kreuzkompositionen, die kontemplative, mystische meist monochrome Übermalungen sind begegnen uns die Kreuze der 80er Jahre fließend und bewegt. Die kraftvollen Gesten, in übereinander gesetzten Farbschichten unterschiedlicher Techniken und Materialien, bleiben sichtbar und schaffen einen geheimnisvollen Zusammenhalt. Das Kreuz wird zu einem Erkennungszeichen für Arnulf Rainer. Finger- und Handmalereien sind ebenfalls charakteristisch für sein Werk. Die Verbindung von energetischer Bearbeitung, Foto-Überzeichnung, Zumalung und Fingermalerei trifft sich in der Kreuzform zu einer intensiven Lebendigkeit und Erhabenheit. (Christa Armann) Arnulf Rainer* Cross, 1987-88 oil on photography on wood; framed, 209 x 126 cmsigned and dated on wooden plate on the reverse: A. Rainer / 1987/88 exhibition labels on the reverse private collection, Austria 1989 New York, Guggenheim Museum; 1989 Chicago, Museum of Contemporary Art; 1989/90 Vienna, Historisches Museum the Stadt Vienna ARGE Gabriele Wimmer & John Sailer, Arnulf Rainer, exhibition catalogue, Guggenheim Museum New York, Munich 1989, ill. 88

Henri Matisse (1869-1954)Jazz, Tériade, Paris, 1947 (Duthuit books 22) The set of twenty pochoirs in colours, 1947, on Arches paper, with title, text in French and justification, signed in pencil on the justification, copy number 73 from the edition of 250 (there were also twenty hors commerce copies in Roman numerals), the full sheets, the colours remarkably fresh and vibrant, in very good condition, loose (as issued), within the original grey paper boards and slipcase, with title label on the spine, generally in very good condition Sheets 420 x 645mm. (16 1/2 x 25 3/8in.); Album 445 x 340 x 58mm. (17 1/2 x 13 3/8 x 2 1/4in.)Footnotes:Henri Matisse's illustrated book, Jazz, published in 1947, is arguably one of the most important and formative works of the artist's career. The colourful portfolio, made up of 20 plates and over 70 pages of calligraphic writing, was one of Matisse's first major 'cut-out' projects and marked a crucial transition into a new medium for the artist.Matisse began creating the plates in around 1941 after he had undergone a life-saving surgery to alleviate his abdominal cancer, an operation which left him chair and bed-ridden for months. No longer able to paint or draw, Matisse took to cutting forms out of large colourfully painted sheets of paper, prepared for him by his assistants – a process he called 'drawing with scissors'. This suite of colour plates was then printed using a labour-intensive technique, known as pochoir, which allowed Matisse to express his creativity with the help of printer, Edmond Vairel, who created the stencils for his final compositions. Matisse said 'paper cut-out allows me to draw in colour. It is, for me, a matter of simplification ... I draw directly into the colour, which is all the more controlled in that it is not transposed. This simplification guarantees a precision in the reunion of the two means, which brings them together as one.'Through Jazz, Matisse solved many of the problems around space, form, line, and colour that he had struggled with all his life. The work, initially titled Le Cirque after the inspiration behind the illustrations, was later changed to Jazz following a suggestion from his publisher Tériade. The artist welcomed the idea and recognised the noticeable synthesis between art and music throughout the work. Invented in the spirit of improvisation, there is a spontaneity and rhythm through the pages of handwritten lyrical text, broken up by Matisse's expressive plates of mythological depictions, circus scenes and memories from Matisse's travels. Jazz is still regarded as one of Matisse's greatest masterpieces and his most successful artist's book. As Tériade pointed out: ''Of all the books by Matisse, Jazz is without a doubt the most important: it provokes a true revolution in the artist's oeuvre and in the history of contemporary art'' Michel Anthonioz, Hommage Tériade, Paris, 1973, p. 125.Yet Matisse never envisioned Jazz to be an illustrated book but rather a collection of artistic plates.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

CHRISTINE KEELERa contemporary Pop Art montage-style limited editing photographic print, designed by Ginny Manning and signed by Christine Keeler and Ginny Manning, edition 8/25 61 x 51cmCondition report: Mint condition.

*WILLIAM RATCLIFFE (1870-1955)High Street, Hampsteadink and watercolour37.5 x 46.5cm, framedProvenance: A gift to the Victor Batte-Lay Trust in 1963 for the Colchester Contemporary Art Society, by the then curator of the Minories, Jack Wood Palmer. The work was included in the 1954 exhibition at Letchworth Museum and Art Gallery, priced at 10 guineas.*Artist's Resale Right may apply to this lot.Condition report: No visible damage.

Anthony Whishaw (b.1930) Interior with Painting, 1987-90 signed with initials (lower right) acrylic & ink on paper 17 x 25cm. Provenance: Contemporary Art Society Market.

A CONTEMPORARY MARBLE ART DECO STYLE TROMPE L'OEIL FRAME, H 101 cm, W 74 cm

Grand Prix Suisse by Hallwag Verlag, Germany and Switzerland, 1992, 1st Ed. This is a beautifully produced and printed book on the history of the Grand Prix Suisse with text in German and French. Well-illustrated with good contemporary photographs covering the period from the first Grand Prix at Meyrin in 1923 and subsequent races at Montreux in 1934, Bern, Geneve, Erlen, Lausanne and finally Dijon in 1982. The book retains its elegant Art Deco-styled slipcase, both in excellent condition

Tan Swie Hian (Chen Ruixian) L'après midi d'un faune. Öl auf Leinwand. Sign.: Chen Ruixian und datiert 1984. Gerahmt.Tan Swie Hian (chin. Chen Ruixian), 1943 in Indonesien geboren und bereits 1946 nach Singapur immigriert, zählt zu den renommiertesten Künstlern Singapurs, der nicht nur als Maler, sondern auch als Kalligraph, Bildhauer und Dichter Bekanntheit erlangte. 1993 wurde für ihn in Singapur ein eigenes Museum errichtet. Tan will in seiner Kunst Elemente der Kulturen Chinas, Indiens, Südostasiens und der westlichen Welt kombinieren. Als konvertierter Buddhist soll seine Kunst den Betrachter dazu führen, seine eigene Wirklichkeit jenseits des Scheinbaren wahrzunehmen. In Singapur wird er als teuerster lebender Künstler angesehen. Seine Werke wurden in Einzelausstellungen in Paris, Genf und Seoul sowie in Gruppenausstellungen u.a. in Washington, Hong Kong und in der Wanderausstellung "Contemporary Art in Singapore: Where East meets West." in Amsterdam, Hamburg, Glasgow u.a. Städten gezeigt.128 x 94 cmProvenienzPrivatsammlung, Schweiz, direkt beim Künstler erworbenLiteraturAbgebildet in: Lim Lei Hu et. al, Tan Swie Hian, Singapur 2001, S. 99 Tan Swie Hian (Chen Ruixian) L'après midi d'un faune. Oil on canvas. Signed Chen Ruixian and titled 1984. Framed.Tan Swie Hian (chin. Chen Ruixian), was born in Indonesia in 1943 and immigrated to Singapore in 1946. He is one of the most renowned artists in Singapore, and known for his Chinese calligraphy, Chinese poetry and sculptures. In 1993, the first private museum in Singapore - The Tan Swie Hian Museum - was built by his collector, Tan Tien Chi. In his art Tan combines elements of Chinese culture with cultures of India, Southeast Asia and the Western world. As a converted Buddhist his works are meant to lead the viewer to appreciate his way of perceiving the world and the reality beyond the apparent. In Singapore, he is regarded as the most expensive living artist. His works have been shown in solo exhibitions in Paris, Geneva and Seoul, as well as in group exhibitions such as in Washington, Hong Kong and in the exhibition "Contemporary Art in Singapore: Where East meets West" in Amsterdam, Hamburg, Glasgow and other cities.128 x 94 cmProvenancePrivate collection, Switzerland, acquired directly from the artistLiteratureIllustrated in Lim Lei Hu et. al, Tan Swie Hian, Singapur 2001, p. 99

SCOTTISH CONTEMPORARY SCHOOL, UNTITLED mixed media on canvas, initialled PJ 104cm x 143cm Framed Note: apparently acquired at a Glasgow School of Art Degree show.

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006), KILBARCHAN NOCTURN oil on board, signed and dated '69 36cm x 90cm Framed Note: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule, and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian cliff top villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In 2018, 2019 and 2020 The Scottish Contemporary Art Auctions have established new UK auction records for Bill Birnie's work.

* 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.

* WILL MACLEAN MBE RSA RGI RSE HON D.LITT (SCOTTISH b.1941), STRATHNAVAR, FROM 'A NIGHT OF ISLANDS' (1991) colour etching on paper from the edition of 40 signed beneath the backing board 'Will MacLean R.S.A' 75cm x 53cm Mounted, framed and under glass Label verso: Louise Pickering Fine Art, 58 Clapham Common, London. Bio: A noted and established Scottish artist and professor of art, Will Maclean was born in Inverness in 1941. He was a midshipman (1957–59) before attending Gray's School of Art, Aberdeen (1961–65) and then the British School in Rome in 1966 as part of a year on a Gray's Travelling Scholarship. He spent another period of time at sea in 1968 as a ring-net fisherman, which led to a major bursary in 1973 to study ring-net herring fishing. The resulting Ring-Net Project, a body of over 400 drawings, was exhibited at the Third Eye Centre, Glasgow, from where it toured, and in 1986 at the Scottish National Gallery of Modern Art, Edinburgh, where it entered the permanent collection. In 1981 he was appointed lecturer at the Duncan of Jordanstone College of Art and Design, University of Dundee, where he remained for fifteen fruitful years, becoming Professor of Fine Art in 1994 and in 2004-2006, senior research fellow and now emeritus professor. He was elected Royal Scottish Academician in 1991 and in 1997 he designed and as part of the team, won the Scottish Natural Heritage Supreme Award for three Memorial Cairns in Lewis. In 1999 he was awarded an honorary doctorate by the University of St Andrews, winning the Scottish Arts Council Creative Scotland Award in the same year. The British Library and Tate Artists Lives Sound Archive made a valuable recorded interview with him in 2005, the year he was awarded an MBE for services to Education and the Arts. He lives and works in Tayport, Fife with his wife, the artist Marian Leven. Maclean has exhibited widely since 1967. Solo exhibitions have included The Ring-Net, Third Eye Centre, Glasgow and tour (1978); Runkel-Hue-Williams, London (1990); Retrospective Exhibition, Talbot Rice Gallery, Edinburgh and tour (1992) with accompanying monograph Symbols of Survival; a major solo show, Driftworks at Dundee Contemporary Arts, 2001, and exhibitions with Art First, London, since 1994. Another recent exhibition being the 2011 show "Lead and Line" - at Art First's gallery in Eastcastle Street, London W1 In 1999 his exhibition Cardinal Points was hosted by the Museum of North Dakota, Grand Forks, North Dakota USA before touring to Canada to McMaster Museum of Art, Hamilton, Ontario, and Art Gallery of Newfoundland and Labrador, St. Johns. Group exhibitions include Worlds in a Box, Edinburgh City Art Centre and The Whitechapel Gallery, London (1994 95); and Contemporary British Art in Print, Scottish National Gallery of Modern Art, Edinburgh (1995) which featured "A Night of Islands", a set of ten etchings published in 1991. A major work was acquired for the new Scottish Parliament building and commissioned sculptures and collaborative works can be seen in Skye, Lewis and elsewhere in Scotland. Recent sculptural commissions include the piece "Waterlines" (commissioned by the University of Aberdeen and installed in the square facing the new library there) and the Suileachan Project on the Isle of Lewis (winner of the The Saltire Arts and Crafts in Architecture Award 2013), both collaborations with Marian Leven. The critic and writer Duncan Macmillan writes in his introduction to the monograph on Maclean - 'Symbols of Survival': Will Maclean is one of the outstanding artists of his generation in Scotland... his art is rooted in his knowledge of the highlands, the Highland people and their history and in his own early associations with sailors and the sea. This makes it relevant and immediately accessible, yet it remains uncompromisingly modern in its forms and concerns His work is in public collections including Arts Council of Great Britain; The British Museum; Dundee, Edinburgh, and Glasgow City Art Galleries; Fitzwilliam Museum, Cambridge; Scottish Arts Council; Scottish National Gallery of Modern Art; Royal Scottish Academy of Art & Architecture; McMaster Museum, Canada; Yale Centre for British Art, Newhaven, USA.

* MARGARET BALLANTYNE PAI SAAC (SCOTTISH b 1936 - ), INQUISITIVE COWS, ARISAIG oil on canvas, signed 60cm x 76cm Framed and under glass Label verso: The Contemporary Fine Art Gallery, Eton, 31 High Street Eton, Windsor, Berkshire. Note: Margaret Ballantyne lives and works in Glasgow where she trained at the Glasgow School of Art. She is a professional member of Scottish Artists and Artist Craftsmen (SAAC), an Artist Member of both the Glasgow Society of Women Artists and the Paisley Art Institute, where she won the the Col. Neville Award in 1993. She exhibits regularly at the Royal Glasgow Institute of Fine Arts, the Royal Scottish Academy and the Royal Academy Summer Exhibitions. Margaret has had various acclaimed solo and mixed exhibitions throughout Scotland, as well as in London, Bath, and Eton and she exhibits regularly in the Royal Academy Summer Exhibition (London). She was invited by the International Artist Magazine to contribute an article on her painting and method and her work was also chosen at The Mall Galleries for the Laing 1997 Calendar. In several recent years, the National Trust for Scotland has used her paintings for their Christmas cards. Margaret works in oils and mixed media and enjoys painting still lifes and landscapes at home in her studio and on travels abroad. She paints in the Scottish Colourist tradition.

* DAVID BODY, COTTAGE AND PHONE BOX oil on canvas, signed; inscribed with title verso 50cm x 50cm Framed Note: David Body lives and works in Scotland. His paintings have been widely exhibited since 2004 and he is represented by the Whitewall network of over forty galleries in the UK. This is the sixth example of David Body's work that we will have successfully sold this year and his current UK auction record price is £900 achieved in The Scottish Contemporary Art Auction on 27th September 2020 for lot 544 "Summer Sun".

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

* PHILIP BRAHAM (SCOTTISH b 1959 - ), SILENT PAINTING oil on canvas, signed and dated verso 59cm x 119cm Framed Note: A graduate from Duncan of Jordanstone College of Art and Design, Philip Braham first came to prominence in the 1980s with the rise of figurative painting in Scotland, which culminated in The Vigorous Imagination, an exhibition at the Scottish National Gallery of Modern Art in 1987. His career includes 22 solo exhibitions to date; in addition to numerous group shows both nationally and internationally. Among the awards received are the prestigious Royal Scottish Academy Guthrie Award for painting and the Royal Scottish Academy Morton Award. Recent exhibitions include solo shows at Raab Gallery Berlin, The Scottish Gallery and at the Royal Scottish Academy for the Edinburgh International Festival contribution in 2010. A longstanding interest in continental aesthetics informs his pedagogical role as Course Director for Art, Philosophy and Contemporary Practices at the University of Dundee. Philip Braham is represented by the prestigious Scottish Gallery (Edinburgh) and his next solo show there is scheduled for January 2021.

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

Ben Davies-Jenkins (Contemporary School) Set of four oil on canvas panels depicting a young boy dunked in a swimming pool, signed with initials and dated 02. verso, each panel is in a silver giltwood frame and measures approx 25.5 x 25.5cm Footnote: Ben Davies Jenkins graduated with an MA in Fine Art from Edinburgh University and Art College in 2002.

Contemporary Oil Painting of the entrance of a French Art Fair, indistinctly signed, 33cms x 94cms

Daniel Richter 1962 Eutin - lebt und arbeitet in Berlin Ohne Titel. 2004. Öl auf Leinwand. Verso auf der Leinwand signiert und datiert sowie mit der handschriftlichen Bezeichnung '10/04'. Verso auf dem Keilrahmen und auf dem Rahmen jeweils mit der handschriftlichen Bezeichnung 'DR/K337'. 30 x 40 cm (11,8 x 15,7 in). • Energetisch aufgeladene Bildwelten machen Daniel Richters Kompositionen so magisch. • Figürliche Malerei voll persönlicher Reflexion. • Daniel Richter: Superstar der zeitgenössischen Kunstszene. • Im Entstehungsjahr 2004 übernimmt Daniel Richter die Professur für Malerei an der Universität der Künste in Berlin. • Richters Arbeiten befinden sich in zahlreichen bedeutenden öffentlichen Sammlungen, bspw. in der Hamburger Kunsthalle, im Städel Museum in Frankfurt, im Centre Pompidou in Paris oder im Museum of Modern Art in New York. PROVENIENZ: Contemporary Fine Arts, Berlin (verso auf dem Keilrahmen und auf dem Rahmen mit Etiketten und Stempel). Privatsammlung Rheinland-Pfalz. Privatsammlung Baden-Württemberg (seit 2017). AUSSTELLUNG: Regina Gallery, London & Moskau (verso auf dem Rahmen mit einem Etikett). Daniel Richter - Imitators be there, Galerie Haas, Zürich, 11.12.2009-29.1.2010, Kat. S. 27, m. Abb. Aufrufzeit: 11.12.2020 - ca. 14.00 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONDaniel Richter 1962 Eutin - lebt und arbeitet in Berlin Ohne Titel. 2004. Oil on canvas. Verso of the canvas signed and dated, as well as with the hand-written inscription '10/04'. Verso of stretcher and frame with hand-written inscription 'DR/K337'. 30 x 40 cm (11.8 x 15.7 in). • Energetically charged visual worlds make Daniel Richter's compositions so magical. • Figurative painting full of personal reflection. • Daniel Richter: Superstar of the contemporary art scene. • In 2004, Daniel Richter took over the professorship for painting at the University of Fine Arts in Berlin. • Richter's works can be found in numerous important public collections, e. g. in the Hamburg Kunsthalle, the Städel Museum in Frankfurt, the Center Pompidou in Paris or the Museum of Modern Art in New York. PROVENANCE: Contemporary Fine Arts, Berlin (verso of stretcher and frame with labels and stamp). Private collection Rhineland-Palatinate. Private collection Baden-Württemberg (since 2017). EXHIBITION: Regina Gallery, London & Moscow (with a label on verso of the frame). Daniel Richter - Imitators be there, Galerie Haas, Zürich, December 11, 2009 - January 29, 2010, cat. p. 27, with illu. Called up: December 11, 2020 - ca. 14.00 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Katharina Grosse 1961 Freiburg i. Br. - lebt und arbeitet in Berlin Untitled. 2015. Acryl auf Leinwand. Verso signiert, datiert sowie bezeichnet und mit der Werknummer '2015/1021 L'. 201 x 135 cm (79,1 x 53,1 in). • Dynamisches, raumeinnehmendes Farbgeflecht in übereinander schwebenden Dimensionen. • Farbe als Phänomen reiner Visualität. • Katharina Grosse gehört seit 2017 zu den KünstlerInnen der Gagosian Gallery und wird von der renommierten König Galerie vertreten. • Katharina Grosse wird aktuell mit einer spektakulären Soloshow im Hamburger Bahnhof, Berlin, geehrt (14.6.2020-10.1.2021). PROVENIENZ: Galerie nächst St. Stephan, Wien. Privatsammlung Hongkong. Privatsammlung Frankreich. 'Ich benutze Spraymalerei, weil es eine Malerei ist, die im Raum passiert und auf einer Fläche landet. Sie wird nicht von mir körperlich auf die Fläche gebracht, sondern ist erst einmal disponibel und bekommt dann durch meine Richtung und Dynamik, aber auch durch die Qualität ihrer Entstehungsform eine Fläche zugewiesen.' Katharina Grosse, zit. nach: Ulrich Loock, Annika Reich, Katharina Grosse (Hrsg.), Katharina Grosse, Köln 2013, S.160-61. Katharina Grosse, eine der profiliertesten Malerinnen der internationalen Gegenwartskunst, kommt im Jahr 1961 in Freiburg im Breisgau zur Welt. Ihr Studium absolviert sie zwischen 1982 und 1986 an der Kunstakademie in Münster als Schülerin von Norbert Tadeusz und Johannes Brus. 1986 wechselt Katharina Grosse an die Akademie in Düsseldorf in die Klasse von Gotthard Graubner, der sie auch als Meisterschülerin annimmt. 1990 schließt sie das Studium ab. Die künstlerischen Anfänge der Malerei von Katharina Grosse liegen im Neoexpressionismus der 'Jungen Wilden'. Schon ab den mittleren 1980er Jahren aber verlässt Katharina Grosse schrittweise die Figuration. Nach kraftvollen Pigmentflecken-Bildern findet sie in der ersten Hälfte der 1990er Jahre zu lasierend aufgetragenen Farbkompositionen mit breiten Pinselstrichen entlang der Bildachsen. 1998 entdeckt Katharina Grosse auch die Arbeit mit der Spritzpistole für ihre Kunst, die sie nun teilweise auch architekturgebunden ausführt. Seitdem sie mit der Spritzpistole eine künstlerische Form gefunden hat, in der die Farbe ganz allein, unberührt von der Hand der Künstlerin wirken kann, greift Katharina Grosse nur noch selten zu einem Pinsel. Sie konzentriert sich stattdessen bei ihren Gemälden auf die industrielle Spritzpistole, die sie mit erstaunlicher Geschicklichkeit und Erfindungsgabe auf Oberflächen einsetzt, die von Leinwänden bis zu Wänden, Böden, Skulpturen und riesigen Wandgemälden im Freien reichen. Sie enthebt den Farbauftrag dem malerischen Handwerk, die Farbe soll selbst handeln. Grosse arbeitet intuitiv, folgt Schritt für Schritt, wohin das Bild sie führt. Lässt sich treiben in einer Entdeckungsreise der Farben. Sie löst die Malerei vom Primat der Dinge, sie stellt nichts dar, gibt keinen Rückbezug auf reale Dinge, die Malerei besteht ausschließlich aus sich selbst. Der entstandene Eindruck des fast körperlosen Malens steht in spannungsvollem Gegensatz zu den imposanten Dimensionen ihrer Kunstwerke. Sollen die Farbkompositionen so wirken, als ob nie ein Mensch sie berührt habe, müssen die großformatigen Leinwände angehoben, gefaltet, gekippt werden, um die faszinierenden Farbstrukturen zu erzielen. Seit dem Jahrtausendwechsel arbeitet Grosse mit parallelen Linien, die, ebenso wie andere Farbflecken und -spuren, bald auch Objekte überziehen. In diese Entwicklung ist auch die hier angebotene Arbeit einzuordnen, die starke Assoziationen zu ihren raumfüllenden Installationen aufbaut und durch ihre Farbigkeit und Komposition an vegetative Formen erinnert. In ihren Werken nimmt Katharina Grosse den Betrachter mit auf eine Reise, bei der die Farbe Besitz von ihm ergreift, sie wird zu einem Phänomen reiner Visualität. [SM] Aufrufzeit: 11.12.2020 - ca. 18.17 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONKatharina Grosse 1961 Freiburg i. Br. - lebt und arbeitet in Berlin Untitled. 2015. Acrylic on canvas. Verso signed, dated, inscribed and numbered '2015/ 1021 L'. 201 x 135 cm (79.1 x 53.1 in). • Dynamic and spatial color mesh with stacked dimensions. • Colo as a phenomenon of pure visuality. • Katharina Grosse is represented by Gagosian Gallery and the renowned König Galerie. • Katharina Grosse's art is currently honored in a spectacular solo show at Hamburger Bahnhof, Berlin (June 14, 2020 - January 10, 2021). PROVENANCE: Galerie nächst St. Stephan, Vienna. Private collection Hong Kong. Private collection France. 'I use pray painting because it is a form of painting that happens in space and lands on a surface. I do not apply it to the surface physically, I just give it direction and dynamics [..].' Katharina Grosse, quote from: Ulrich Loock, Annika Reich, Katharina Grosse (editor), Katharina Grosse, Cologne 2013, pp.160-61. Katharina Grosse, one of the most prominent painters in international contemporary art, was born in Freiburg im Breisgau in 1961. She completed her studies at the Art Academy in Münster between 1982 and 1986, among others, she was a student of Norbert Tadeusz and Johannes Brus. In 1986 Katharina Grosse transferred to the to the class of Gotthard Graubner at the academy in Düsseldorf, and was also accepted as student of his master class. In 1990 she completed her studies. The artistic beginnings of Katharina Grosse's painting lie in the Neo-Expressionism of the 'Junge Wilde” (Young Wild Artists). However, as early as in the mid-1980s, Katharina Grosse gradually abandoned figuration. In the first half of the 1990s, after pictures executed with powerful dabs of pigment, she attained color compositions with broad glazing brushstrokes applied along the image axes. In 1998 Katharina Grosse also discovered the spray gun for her art, which she now also uses in more architectural ways. Since she found an artistic form of expression with the spray gun, which allows the paint to work independently and unaffected by the artist's hand, Katharina Grosse almost entirely abandoned the brush. Instead, she put focus on the industrial spray gun in her paintings, which she handles with amazing skill and ingenuity on surfaces that range from canvases to walls, floors, sculptures and giant outdoor murals. She separates the application of paint from the painterly craft, the paint is to act itself. Grosse works intuitively, follows the direction the painting takes step by step. She gets carried away on her journey of the discovery of colors. She detaches painting from the primacy of things, depicts nothing, does not reference real things, painting exclusively consists of itself. The resulting impression of an almost disembodied painting stands in fascinating contrast to the impressive dimensions of her works of art. If the color compositions are to appear as if no person has never touched them, the large-format canvases have to be lifted, folded, and tilted in order to achieve the fascinating color structures. Since the turn of the millennium, Grosse has been working with parallel lines, which, like the color spots and traces of color, soon also cover objects. The work offered here can also be classified as part of this development; it shows strong associations with her spatial installations and, owing to its color and composition, is reminiscent of vegetative forms. In her works, Katharina Grosse takes the viewer on a journey in which the color takes possession of him, it becomes a phenomenon of pure visuality. [SM]. Called up: December 11, 2020 - ca. 18.17 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Andy Warhol 1928 Pittsburgh - 1987 New York Portrait of a Lady. 1982. Unikat. Synthetische Polymer- und Siebdruckfarben auf Leinwand. Verso auf der umgeschlagenen Leinwand mit der handschriftlichen Nummerierung 'PO50.151', dem zweifachen Nachlassstempel und dem zweifachen Stempel der Andy Warhol Foundation for the Visual Arts, Inc., sowie der handschriftlichen Bezeichnung 'VF'. Auch auf dem Keilrahmen mit der handschriftlichen Nummerierung 'PO50.161' sowie mit der zweiten handschriftlichen Nummerierung ''PO.144.426'. 101,5 x 101,5 cm (39,9 x 39,9 in). • Kunst & Kult: Andy Warhols farbkräftige Porträts gelten als Inbegriff der Pop-Art. • Durch die ikonische Verewigung in Öl setzt Warhol die schöne Unbekannte mit Legenden der Popkultur gleich. • Zeitlos schön - eindrucksvolles Zeugnis für Andy Warhols Obsession von makelloser Schönheit. PROVENIENZ: The Andy Warhol Foundation for the Visual Arts, New York. Lococo Mulder/Dorothy Blau Gallery, Bal Harbour/Florida (vom Vorgenannten erworben). Privatsammlung USA (2001 vom Vorgenannten erworben). Privatsammlung Deutschland. Firmensammlung Deutschland. AUSSTELLUNG: Andy Warhol: Pretty Women. Portrait Paintings of the 70's and 80's, Lococo Mulder, St. Louis (MO), 18.12.2000-5.1.2001; Dorothy Blau Gallery, Bay Harbor Islands (FL), 12.1.-16.2.2001, o. S. (mit ganzseitiger Farbabb.). 'Pop Art is for everyone.' Andy Warhol in einem Interview mit Gretchen Berg im Mai 1967, zit. nach: Ausst.-Kat. Andy Warhol: A Factory, Wien 1999, o. S. “Everyone was a star, not only for fifteen minutes, but, in this incarnation caught permanently on canvas, ‘forever’.” Henry Geldzahler, in: Andy Warhol: Virginal Voyeur. Ausst.-Kat. Andy Warhol: Portraits. Museum of Contemporary Art Sydney, 1993, S. 26. 'When a person is the beauty of their day, and their looks are really in style, and then the times change and tastes change, and ten years go by, and if they keep exactly their same look and don't change anything and if they take care of themselves, they'll still be a beauty.' Obwohl sich Andy Warhol hier über die Schönheit realer Personen äußert, trifft seine Behauptung doch auch auf das hier angebotene Gemälde zu. Die auf die Leinwand gebannte Schönheit der Dargestellten scheint auch nach fast 40 Jahren, trotz sich verändernder Mode und verändertem Zeitgeist unverändert. Schneewittchen-gleich tritt die unbekannte Dargestellte, die sich hier zu Beginn der 1980er Jahre von Warhol porträtieren lässt, mit zeitloser Eleganz, fast majestätischer, selbstbewusster Haltung dem zeitgenössischen Geschmack entgegen. Dabei sind der perfekte Teint, das gekonnt frisierte Haar, die bonbonfarbenen Lippen und der schlanke, grazile Hals auch auf Warhols Obsession von jugendlicher Schönheit und idealisierter Attraktivität zurückzuführen, nach der er nicht nur selbst strebt, sondern der er auch seine Porträtierten unterwirft. Nach einem Fotoshooting in seiner Atelier-Werkstatt überträgt Warhol das Abbild des jeweiligen Modells mithilfe eines Projektors auf transparente Folie, um die Porträts zunächst im Sinne des allgemeinen Schönheitsideals noch möglichst vorteilhaft zu verändern. Erst dann wird die Fotografie in einem aufwendigen Prozess zu einer Druckvorlage umgearbeitet und schließlich in ein geradezu perfektes Gemälde verwandelt. Das hier angebotene Porträt gelangt über die Warhol Foundation etwa zur Jahrtausendwende in die Dorothy Blau Gallery nach Florida, wo es in der Ausstellung 'Andy Warhol: Pretty Women' erstmals der Öffentlichkeit präsentiert wird. Die Galerie und deren Gründerin Dorothy Berenson Blau (1917-2014) gehören lange zu den Pionieren der Kunstszene Miamis und spielen für Warhols künstlerischen wie kommerziellen Erfolg in den 1980er Jahren infolge der damaligen Wiederentdeckung seiner Kunst eine nicht zu unterschätzende Rolle. Dorothy Berenson Blau ist und bleibt die einzige Frau, die Warhol für seine berühmten Kult-Porträts gleich zweimal - in zwei unterschiedlichen Phasen ihres Lebens - porträtiert. Dorothy Berenson Blau hält Warhol für den bedeutendsten Künstler jener Zeit und erzählt von ihrer eigenen Erfahrung mit dem Künstler: 'He made each of his sitters feel famous for those infamous '15 minutes'. As his old Polaroid camera kept snapping and flashing, you felt beautiful and glamorous - one of Andy's 'pretty women'. Still critics said he was a 'has been'. Today the person is an icon. Why? Even though he was dismissed during his lifetime for creating art about consumerism, celebrity, and the tabloidization of death, he correctly predicted these major themes of the late 20th century. He did it in his powerful, trademark style that is recognizable from Miami Beach to Berlin.' (Dorothy Berenson Blau, zit. nach: Ausst.-Kat. Andy Warhol: Pretty Women, Lococo Mulder, St. Louis/Dorothy Blau Gallery, Bay Harbor Islands/Miami, 2000/2001, Vorwort). [CH] Aufrufzeit: 11.12.2020 - ca. 17.47 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Sertigtal im Winter. Um 1924/25. Aquarell über Bleistift. Rechts unten signiert. Auf festem, chamoisfarbenem Papier. 49,5 x 33,2 cm (19,4 x 13 in), blattgroß. • Faszinierende Komposition, die Kirchners zeichnerische und koloristische Meisterschaft belegt. • In der Einsamkeit von Kirchners letztem Rückzugsort, dem 'Haus am Wildboden', im Sertigtal bei Davos entstanden, wo Kirchner 1938 den Freitod wählt. • 1924 entstehen der motivisch sehr ähnliche und seltene Holzschnitt 'Sertigstrasse im Winter' sowie das Gemälde 'Sertigweg im Sommer'. • Bereits in den 1940er Jahren in der Buchholz Gallery, New York, ausgestellt und dann in der Sammlung von Richard S. Davis, dem späteren Kurator des Minneapolis Institute of Art. • Seit den 1990er Jahren regelmäßig auf musealen Kirchner-Ausstellungen vertreten. • Seit 1977 Teil einer norddeutschen Privatsammlung und seither erstmals auf dem internationalen Auktionsmarkt. Dieses Werk ist im Ernst Ludwig Kirchner Archiv, Wichtrach/Bern dokumentiert. PROVENIENZ: Buchholz Gallery, New York (1937, auf der Rahmenrückpappe mit dem Etikett). Sammlung Richard S. Davis, USA (um 1945; wohl vom Vorgenannten erworben). Valentin Gallery, New York (nach 1951, auf der Rahmenrückpappe mit dem Etikett). Wohl Privatsammlung Süddeutschland (vor 1956 bis 1977). Privatsammlung Norddeutschland (seit 1977, Galerie Wolfgang Ketterer, 24.5.1977). AUSSTELLUNG: Fogg Art Museum, Cambridge (wohl um 1945; Leihgabe aus der Sammlung Richard S. Davis (auf der Rahmenrückpappe mit dem Etikett)). The Institute of Modern Art, Boston (heute: The Institute of Contemporary Art, Leihgabe aus der Sammlung Richard S. Davis (auf der Rahmenrückpappe mit dem Etikett)). Ernst Ludwig Kirchner. Gemälde, Aquarelle, Handzeichnungen, farbige Graphik, Stuttgarter Kunstkabinett, Stuttgart 1953, Kat. Nr. 30, ohne Abb. (dort unter 'Sonnebeschienener Abhang im Winter'). E. L. Kirchner 1880-1938. Gemälde, Aquarelle, Zeichnungen, Graphik. Zur Erinnerung an den 75. Geburtstag des Künstlers, Württembergischer Kunstverein, Stuttgart 1956, Kat. Nr. 55. Ernst Ludwig Kirchner, Aquarelle und Zeichnungen, Museum der Bildenden Künste, Leipzig / Von der Heydt-Museum, Wuppertal, 1992/93, Kat. Nr. 19, mit Abb. (hier '1920' datiert). Aquarelle der „Brücke“, Brücke-Museum, Berlin 1995/96, Kat.-Nr. 28, mit Abb. (hier 'um 1920' datiert). Im Zentrum: Ernst Ludwig Kirchner, Hamburger Kunsthalle, Hamburg / Kirchner Museum, Davos / Brücke-Museum, Berlin, 2001-2003, Hamburg 2001, Kat. Nr. 82, mit Abb. S. 83 (auf der Rahmenrückpappe mit dem Etikett der Hamburger Kunsthalle). Kirchner, Hamburger Kunsthalle, Hamburg, 7.10.2010-16.1.2011, Kat.-Nr. 180, mit ganzs. Abb. S. 187. LITERATUR: Galerie Wolfgang Ketterer, München, 24.5.1977, Kat.-Nr. 1039, mit Abb. 'Hier ist es gewiss schön und ruhig, aber ein Fremder wird man immer bleiben, aber drüben [Fehmarn] ist man das ja auch. Es ist nur ein Gefühl, was einen manchmal erfasst, dass man sich einbildet, man gehöre dahin. Ist man da, so sieht man, [..] daß das Fremdsein nicht vom Lande abhängt, sondern im eigenen Inneren sitzt.' E. L. Kirchner, Davos, 10. Dezember 1924. Kirchners zeichnerische und koloristische Meisterschaft zeigt sich in 'Sertigtal im Winter' in beeindruckender Weise. In unnachahmlich sicherem Strich hat er die vertrauten Umrisse der nahen Schweizer Bergwelt aufs Papier gesetzt. Sicher und mit spielerischer Leichtigkeit integriert Kirchner hier das stehengelassene Weiß des Papiers in seine winterliche Komposition. Es sind die Schneemassen auf den Bergen und auf den Wiesen, die Kirchner auf diese Weise für eine Art malerisches Negativverfahren nutzt. 1923 ist Ernst Ludwig Kirchner zusammen mit Erna Schilling in das 'Haus auf dem Wildboden' am Eingang zum Sertigtal bei Davos gezogen, wo Kirchner bis zu seinem Freitod im Jahr 1938 lebt. Dort wo Kirchner zurückgezogen in der Einsamkeit der Schweizer Bergwelt im Anschluss an seine zahlreichen Sanatoriumsaufenthalte seine neue Heimat sucht, ist unser faszinierendes Aquarell entstanden. Kirchner, der seit dem Ersten Welkriege an diversen Ängsten leidet und von Veronal und Morphium abhängig ist, sollte das beruhigende Bergpanorama ursprünglich als geeigneter Ort für eine Entziehunsgkur dienen. Während seine nervösen Zustände und Ängste jedoch bleiben, nutzt er die abgeschiedene, schroffe Bergwelt als reizvolle Inspirationsquelle. Und so hat Kirchner in dieser psychisch extremen Lebensphase gerade auch im Bereich der Zeichnung und Druckgrafik Hauptwerke von beeindruckender Stärke hinterlassen. Auch unser Aquarell begeistert durch den charakteristischen, expressiv-nervösen Strich, mit dem Kirchner die Tannen, das Haus und den Pferdeschlitten ins Bild setzt. Kirchner hat den für ihn alltäglichen Blick ins Tal aus gleicher Perspektive auch in dem seltenen Holzschnitt 'Sertigstrasse im Winter' festgehalten, den der Künstler in einem Brief an Gustav Schiefler auf das Jahr 1924 datiert. Im selben Jahr hat er auch das motivisch ähnliche Gemälde 'Sertigweg im Sommer' geschaffen, das zuletzt 2016 in Zürich für 1,4 Millionen Schweizer Franken den Besitzer wechselte. [JS] Aufrufzeit: 12.12.2020 - ca. 17.23 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

Jeff Koons 1955 York/Pennsylvania - lebt und arbeitet in New York Balloon Dogs. Balloon Dog (Yellow). Balloon Dog (Orange). Balloon Dog (Magenta). 2015. 3 Multiples. Porzellan mit hochglänzendem Metal-Coating. Jeweils auf der Unterseite typografisch datiert, nummeriert und bezeichnet. Aus einer Auflage von 2300 Exemplaren. Je ca. 26,5 x 26,5 x 12,7 cm (10,4 x 10,4 x 5 in). Hergestellt von Bernardaud, Manufacture de Porcelaine, Limoges, Frankreich. [SL]. • Multiples voll schillernder Farbigkeit und mit viel Ironie. • Die farbenfrohen Balloon Dogs sind eine der begehrtesten Werkserien von Koons. • Der Künstler ist einer der Hauptvertreter der Kunstrichtung des Neo-Pop. • Seine Werke werden in internationalen Museen wie dem Museum of Contemporary Art, Chicago, dem Stedelijk Museum, Amsterdam, oder dem Guggenheim Museum im spanischen Bilbao gezeigt. Mit den Zertifikaten der Manufaktur sowie in einer von Jeff Koons entworfenen Geschenk-Box. Mit Erläuterung zum Umgang und zur Pflege des Objekts. 'Balloon Dog […]. Das ist ein sehr optimistisches Stück. Es ist wie ein Ballon, wie ihn vielleicht ein Clown auf einem Kindergeburtstag machen würde. Gleichzeitig ist es ein Trojanisches Pferd: innendrin verbergen sich andere Dinge. Das geschieht vielleicht durch den sexuellen Charakter des Werks.' Jeff Koons im Interview mit David Sylvester am 6. Februar 2000, in: Jeff Koons. Easyfun-Ethereal, Ostfildern-Ruit 2000, S. 31. Aufrufzeit: 11.12.2020 - ca. 16.04 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONJeff Koons 1955 York/Pennsylvania - lebt und arbeitet in New York Balloon Dogs. Balloon Dog (Yellow). Balloon Dog (Orange). Balloon Dog (Magenta). 2015. 3 Multiples. Porcelain with high-gloss metal coating. Each typographically dated, numbered and inscribed on the underside. From an edition of 2300 copies. Each ca. 26.5 x 26.5 x 12.7 cm (10.4 x 10.4 x 5 in). Made by Bernardaud, Manufacture de Porcelaine, Limoges, France. [SL]. • Multiples full of shimmering colors and with a lot of irony. • The colorful Balloon Dogs are one of Koon’s most sought-after series. • The artist is one of the main representatives of the neo-pop art movement. • His works are shown in international museums such as the Museum of Contemporary Art, Chicago, the Stedelijk Museum, Amsterdam, or the Guggenheim Museum in Bilbao, Spain. Accompanied by a certificate from the manufactory and with gift box designed by Jeff Koons. With instructions on the object's handling and care. 'Balloon Dog […]. That's an optimistic piece. It's like a balloon a clown would make at a kids birthday party. At the same time its like a Trojan horse: other things are hiden inside. Perhaps that's because of the work's sexual character.' Jeff Koons in an interview with David Sylvester February 6, 2000, in: Jeff Koons. Easyfun-Ethereal, Ostfildern-Ruit 2000, p. 31. Called up: December 11, 2020 - ca. 16.00 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).

Norbert Bisky 1970 Leipzig - lebt und arbeitet in Berlin Torera. 2006. Öl auf Leinwand. Verso signiert, datiert und betitelt. 200 x 149 cm (78,7 x 58,6 in). • Bisky gilt als einer der wichtigsten zeitgenössischen Künstler der figurativen Malerei • Eine der ausgesprochen seltenen weiblichen Figurendarstellungen inmitten der ansonsten fast ausschließlich maskulinen Bildwelten Norbert Biskys • Bisky wird von der renommierten König Galerie, Berlin/London/Tokio, vertreten. • Werke von Norbert Bisky befinden sich in bedeutenden internationalen Museen moderner und zeitgenössischer Kunst, u. a. im Museum of Modern Art, New York und im Museum Ludwig, Köln. PROVENIENZ: Privatsammlung Berlin. Privatsammlung Schleswig-Holstein. AUSSTELLUNG: Norbert Bisky. Ich war’s nicht, Haus am Waldsee, Berlin, 2007/08, ganzs. Abb. S. 61. 'Irgendwann merkte ich, dass ich 400 junge Männer gemalt habe und erst eine Frau, also musste ich üben.' Norbert Bisky, 2007, zit. nach: www.spiegel.de/fotostrecke/norbert-bisky-der-maler-die-maenner-und-eine-frau-fotostrecke-26016.html Norbert Bisky zählt zu den prominentesten Vertretern eines neuen, postmodernen Realismus. Die charakteristischen Figurenbilder des 1970 in Leipzig geborenen Malers mit ihren kraftstrotzenden, schönen Jünglingen zeigen deutliche Referenzen an die Malerei des sozialistischen Realismus, wie sie in der DDR und deren sowjetischen Nachbarländern verbreitet war. Hell-leuchtend, geradezu knallig sind vor allem die Farben seines Frühwerks, die wie in gleißendes Licht getaucht oder - wie der Künstler selbst sagt - wie 'mit Lenor gewaschen' erscheinen. Auch in Biskys späteren Gemälden bleiben dunkle Farbtöne eine absolute Seltenheit. In 'Torera' aber nutzt Bisky den starken Kontrast aus dunklem Fond und den davor geradezu leuchtend erstrahlenden, monumentalen Figuren des Vordergrundes. Deren einzigartige Strahlkraft zeigt, wie wichtig dem Künstler die ungetrübte Leuchtkraft der Farben ist. In ein schönes, hell leuchtendes Gewand gekleidet, thematisieren Biskys meist ausschließlich männlich bevölkerte Bildwelten die Vielzahl menschlicher Abgründe. Aufgewachsen in der nur vordergründig schönen Welt des DDR-Sozialismus, ist es das wechselvolle Spiel zwischen 'Gut' und 'Böse', Macht und Ohnmacht, Autorität und Aufbegehren, das Bisky zu immer wieder neuen Bildfindungen inspiriert. In 'Torera' vertauscht der Künstler die traditionellen Rollen und eignet sich auf diese Weise die Motivik des spanischen Stierkampfes künstlerisch an. In der Realität ist es meist ein Mann, der dem Stier in der Arena am Ende eines tänzerischen Schauspiels seinen Degen zum Todesstoß zwischen die Schulterblätter setzt. Hier inszeniert Bisky eine junge blonde Frau in Superman-ähnlicher Haltung, die den Degen mit ungerührtem Blick aus dem Körper des schmerzvoll vor ihr zu Boden sinkenden Jünglings zieht. In 'Torera' beweist Bisky meisterhaft, dass er sich ungern festlegen lässt, weder auf helle Hintergründe noch auf rein maskuline Bildwelten, und dass der Kampf zwischen 'Gut' und 'Böse', Macht und Ohnmacht ausgesprochen wechselvoll und facettenreich ist. [JS] Aufrufzeit: 11.12.2020 - ca. 14.08 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONNorbert Bisky 1970 Leipzig - lebt und arbeitet in Berlin Torera. 2006. Oil on canvas. Verso signed, dated and titled. 200 x 149 cm (78.7 x 58.6 in). • Bisky is considered one of the most important contemporary artists of figurative painting • One of the extremely rare female figure representations in the midst of the otherwise almost exclusively masculine imagery of Norbert Bisky • Bisky is represented by the renowned König Galerie, Berlin / London / Tokyo. • Works by Norbert Bisky can be found in important international museums of modern and contemporary art, among others, the Museum of Modern Art, New York and the Museum Ludwig, Cologne. PROVENANCE: Private collection Berlin. Private collection Schleswig-Holstein. EXHIBITION: Norbert Bisky. Ich war’s nicht, Haus am Waldsee, Berlin, 2007/08, full-page illu. on p. 61. 'At one point I realized I had painted 400 young men and only obne woman, so I had to practice,' Norbert Bisky, 2007, quote from: www.spiegel.de/fotostrecke/norbert-bisky-der-maler-die-maenner-und-eine-frau-fotostrecke-26016.html Called up: December 11, 2020 - ca. 14.08 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Henryk Stazewski 1894 Warschau - 1988 Warschau Ohne Titel. 1979. Öl auf Hartfaserplatte, auf Holz montiert. Verso signiert und datiert. 64 x 64,2 cm (25,1 x 25,2 in). [CH]. • Eines der späteren Reliefs der 1970er Jahre, in denen Stazewski mit der Verbindung von streng-geometrischer Fläche und feinen Liniengerüsten experimentiert. • 1966 nimmt Stazewski an der Biennale in Venedig teil. • Seine Werke werden in den 1970er und 1980er Jahren in bedeutenden Gruppenausstellungen zeitgenössischer polnischer Kunst gezeigt, u. a. im Museum of Modern Art in New York (1976), im Musée d'art Moderne (1977) und im Centre Georges Pompidou in Paris (1983) sowie in der Londoner Royal Academy (1970/1984). • Weitere Arbeiten des polnischen Konstruktivisten befinden sich u. a. in der Londoner Tate, im Museum of Modern Art in New York, im Museum of Contemporary Art in Los Angeles, im Stedelijk Museum in Amsterdam und in der Daimler Art Collection. PROVENIENZ: Privatsammlung Schweiz (direkt vom Künstler erworben). AUSSTELLUNG: Galerie Seestraße, Rapperswil (verso mit dem Galerieetikett). Aufrufzeit: 11.12.2020 - ca. 15.46 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONHenryk Stazewski 1894 Warschau - 1988 Warschau Ohne Titel. 1979. Oil on fibreboard, mounted on panel. Verso signed and dated. 64 x 64.2 cm (25.1 x 25.2 in). [CH]. • Late relief from the 1970s when Stazewski experimented with the combination of strictly geometrical fields and frames of subtle lines. • In 1966 Stazewski participated in the Venice Biennial. • In the 1970s and 1980s his works were part of significant group exhibitions of Polish artists, among others at the Museum of Modern Art in New York (1976), the Musée d'art Moderne (1977), the Centre Georges Pompidou in Paris (1983) and at the London Royal Academy (1970/1984). • Works by the Polish Constructivist are at, among others, the London Tate, the Museum of Modern Art in New York, the Museum of Contemporary Art in Los Angeles, the Stedelijk Museum in Amsterdam and in the Daimler Art Collection. PROVENANCE: Private collection Switzerland (acquired directly from the artist). EXHIBITION: Galerie Seestraße, Rapperswil (with the gallery label on verso). Called up: December 11, 2020 - ca. 15.42 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).

Leon Tarasewicz 1957 Stacja Walily (Polen) - lebt und arbeitet in Walily (Polen) Untitled (Triptychon). 1994. Öl auf Leinwand. Jeweils verso auf der Leinwand signiert, in der Reihenfolge nummeriert und mit den Maßangaben sowie einem zusätzlichen Hinweis zur Reihenfolge bezeichnet. Der erste Bildteil verso auf der Leinwand außerdem datiert. Jeweils 190 x 130 cm (74,8 x 51,1 in). Gesamtmaß: 190 x 390 cm (74,8 x 153,5 in). [CH]. • Großformatiges, raumgreifendes Triptychon. • Erstmals auf dem Auktionsmarkt angeboten (Quelle: www.artprice.com) • Den monumentalen Arbeiten von Leon Tarasewicz gelingt eine beeindruckende Symbiose zwischen minimalistischer Schlichtheit und atmosphärisch-dichter, vibrierender Ausdrucksstärke. PROVENIENZ: Privatsammlung, direkt vom Künstler erworben. Nach seinem Studium an der Akademie der Bildenden Künste in Warschau zieht es den Künstler 1984 zurück in seinen von dichtem Birkenwald umgebenen Heimatort in der polnischen Provinz nahe Gródek - dorthin, von wo aus es bereits viele Bewohner aus der entlegenen Einöde in die Städte gezogen hat. An diesem Ort, mitten im ländlichen Polen, abseits der Großstadt und der flirrenden, schnelltaktigen internationalen Kunstwelt, pflegt der Künstler einen ständigen, engen Kontakt zu der ihn umgebenden Natur - der wichtigsten Inspirationsquelle seiner Kunst. Zunächst sind diese Einflüsse in seinen Werken noch im Ansatz zu erkennen. Doch im Laufe der Jahre wird der Aufbau der Gemälde strenger, geometrischer. Tarasewicz setzt seine Bilder nun häufig aus ganz parallel verlaufenden Streifen zusammen, die in ihrer Farbintensität und Strahlkraft eine eigene Lichtquelle in sich zu tragen scheinen. Der Künstler gilt heute als einer der führenden zeitgenössischen Maler Polens (Museum of Modern Art in Warschau). Seine Werke befinden sich heute nicht mehr nur in den namhaftesten polnischen Museen, sondern auch in zahlreichen internationalen Sammlungen, u. a. im National Museum of Contemporary Art in Seoul, im Moderna Museet in Stockholm und in der Arthur Sackler Collection, New York. 2001 vertritt der Künstler sein Heimatland Polen auf der Biennale in Venedig. [CH] Aufrufzeit: 11.12.2020 - ca. 15.39 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONLeon Tarasewicz 1957 Stacja Walily (Polen) - lebt und arbeitet in Walily (Polen) Untitled (Triptychon). 1994. Oil on canvas. Each signed on verso of the canvas, inscribed with the consecutive number and the dimensions as well as with additional information on the order. The first part also dated on verso. Each 190 x 130 cm (74.8 x 51.1 in). Total dimensions: 190 x 390 cm x 390 cm (74,8 x 153,5 in). [CH]. • Large-format, expansive triptych. • For the first time offered on the auction market. • Leon Tarasewicz's monumental works achieve an impressive symbiosis between minimalist simplicity and atmospheric, dense, vibrating expressiveness. PROVENANCE: Acquired directy from the artist. Called up: December 11, 2020 - ca. 15.39 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).

K.R.H. (d.i. Kurt R. Hoffmann) Sonderborg 1923 Sønderborg (Dänemark) - 2008 Hamburg Ohne Titel. 1971. Öl auf Leinwand. Rechts unten signiert und datiert. 130 x 81 cm (51,1 x 31,8 in). [CH]. • K. R. H. Sonderborg verwendet in seinem malerischen wie auch grafischen Œuvre fast ausschließlich die 'Nicht-Farben' Schwarz und Weiß. • Seine Werke gehören zu den markantesten Beispielen des deutschen Informel. • Dem so charakteristischen Stil seiner gestisch-abstrakten Arbeiten liegen unter anderem Einflüsse aus der asiatischen Kalligrafie, dem amerikanischen abstrakten Expressionismus und der künstlerischen Methode des Automatismus zu Grunde. • 1959 und 1964 nimmt Sonderborg an der Documenta II und III teil, 1964 und 1970 an der Biennale in Venedig. PROVENIENZ: Privatsammlung Baden-Württemberg (seit 2005). LITERATUR: Van Ham Kunstauktionen, Köln, Moderne und Zeitgenössische Kunst, 1.12.2005, Lot 571 (mit ganzseitiger Abb.). Aufrufzeit: 11.12.2020 - ca. 14.51 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONK.R.H. (d.i. Kurt R. Hoffmann) Sonderborg 1923 Sønderborg (Dänemark) - 2008 Hamburg Ohne Titel. 1971. Oil on canvas. Lower right signed and dated. 130 x 81 cm (51.1 x 31.8 in). [CH]. • K. R. H. Sonderborg uses the 'non-colors' black and white almost exclusively in his painterly and graphic oeuvre. • His works are among the most striking examples of German Informalism. • The characteristic style of his gestural-abstract work is based on influences from Asian calligraphy, American Abstract Expressionism and the artistic method of automatism. • In 1959 and 1964 Sonderborg took part in Documenta II and III, in 1964 and in the Venice Biennial in 1970. PROVENANCE: Private collection Baden-Württemberg (since 2005). LITERATURE: Van Ham Kunstauktionen, Cologne, Modern and Contemporary Art, December 1, 2005, lot 571 (with full-page illu.). Called up: December 11, 2020 - ca. 14.51 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Erich Heckel 1883 Döbeln/Sachsen - 1970 Radolfzell/Bodensee Siddi Heckel und Maschka Mueller. Frühe 1920er Jahre. Farbige Kreidezeichnung und Bleistift. Verso im Grußtext signiert. Auf einer Blanko-Postkarte. 15 x 11 cm (5,9 x 4,3 in). Postkarte von Erich Heckel an den Erfurter Kunstsammler und Mäzen Alfred Hess (1879-1931). [SM]. • Eine der gefragten Künstlerpostkarten • Aus der herausragenden Sammlung von Alfred und Tekla Hess • Spannendes Zeitzeugnis, das uns in die Kreise der 'Brücke'-Künstler einführt. Wir danken Frau Renate Ebner und Herrn Hans Geissler, Nachlass Erich Heckel, Hemmenhofen am Bodensee, für die freundliche Beratung. PROVENIENZ: Sammlung Alfred und Tekla Hess, Erfurt. Privatsammlung Wilhelm Grosshennig, Düsseldorf (1983). Privatsammlung Essen (vom Vorgenannten erworben). Wolfgang Wittrock Kunsthandel, Düsseldorf (1988). Privatsammlung Rheinland. Angebot mit freundlichem Einverständnis der Erben nach Alfred und Tekla Hess. AUSSTELLUNG: Ausstellung deutscher und französischer Meisterwerke, Galerie Wilhelm Grosshennig, Düsseldorf, 3. Mai - Mitte Juli 1983; Farbabb. S. 46. LITERATUR: Wolfgang Wittrock Kunsthandel, Düsseldorf, Katalog Nr. 8: Künstler der Brücke, März 1988, Abb. Nr. 2. Aufrufzeit: 12.12.2020 - ca. 17.42 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErich Heckel 1883 Döbeln/Sachsen - 1970 Radolfzell/Bodensee Siddi Heckel und Maschka Mueller. Frühe 1920s. Colored chalk drawing and pencil. Signed in greeting on verso. On a blank postcard. 15 x 11 cm (5.9 x 4.3 in). Postcard from Erich Heckel to the Erfurt collector and patron Alfred Hess (1879-1931). [SM]. • One of the sought-after artist postcards • From the important collection of Alfred and Tekla Hess • Fascinating contemporary document that takes us into the circle of the Brücke artists. We are grateful to Mrs Renate Ebner and Mr Hans Geissler, Estate Erich Heckel, Hemmenhofen on Lake Constance, for the kind support in cataloging this lot. PROVENANCE: Collection Alfred and Tekla Hess, Erfurt. Private collection Wilhelm Grosshennig, Düsseldorf (1983). Private collection Essen (acquired froma forementioned). Wolfgang Wittrock art trader, Düsseldorf (1988). Private collection Rhineland. Offered with the kind consent of the heirs after Alfred and Tekla Hess. EXHIBITION: Ausstellung deutscher und französischer Meisterwerke, Galerie Wilhelm Grosshennig, Düsseldorf, May 3 - mid July 1983; color illu on p. 46. LITERATURE: Galerie Wittrock, catalog no. 8, Künstler der Brücke, March 1988, illu. no. 2. Called up: December 12, 2020 - ca. 17.42 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Vic Grainger (contemporary), A dynamic study of a hound leaping a ramshackle wire fence as his quarry, a hare, darts off in the opposite direction across snow covered ploughed farmland, watercolour, signed and dated 1986, in card mount and moulded frame under glass, 892 cm x 71 cm, [Vic Granger was born between the Wars in a Nottinghamshire. He studied at Mansfield School of Art, going on to serve an apprenticeship in the design studio of the Metal Box Company and thereafter work in graphic design. From 1975 he has focused on the painting of sporting and other dogs.]

Vic Grainger (contemporary), A warm study of a greyhound and her pups, watercolour, signed, in double card mount and moulded parcel-gilt frame under glass, 55 cm x 71 cm, [Vic Granger was born between the Wars in a Nottinghamshire. He studied at Mansfield School of Art, going on to serve an apprenticeship in the design studio of the Metal Box Company and thereafter work in graphic design. From 1975 he has focused on the painting of sporting and other dogs.]

A LARGE QUANTITY OF VOLUMES ON CHINESE CONTEMPORARY AND OLDER ART AND ARTISTS

Good contemporary Liandro Di Vicenza double bass by and labelled Anton Posch, Master Art Model Bass Violin, Fifth Five String Tuning Model 38" Mensure, Made Expressly for Samuel Kolstein & Son, Ltd. Anno 2015, bow stamped A. Zeller, padded transit bag *This double bass was partly made in Prague and completed in New York. The number five string currently tuned in fifths (low CGDAE high), *This instrument is also sold with a Stagg folding double bass stand , set of D'Addario Helicore Orchestral strings for 4ths tuning and various papers from Kolstein violin shop

Grayson Perry CBE RA (British, b.1960). 'Queen of Diamonds', limited edition digital print on Giclee Hahnemuhle Pearl paper. Signed and numbered A/P (artists proof). From an addition size of 2. Sheet size 61 x 42.5cm. Grayson Perry is an English contemporary artist. He is known for his ceramic vases, tapestries and cross-dressing, as well as his observations of the contemporary arts scene, and for dissecting British ""prejudices, fashions and foibles"".Perry's vases have classical forms and are decorated in bright colours, depicting subjects at odds with their attractive appearance. There is a strong autobiographical element in his work, in which images of Perry as ""Claire"", his female alter-ego, and ""Alan Measles"", his childhood teddy bear, often appear.Perry has had solo exhibitions at Stedelijk Museum Amsterdam, at the Barbican Centre, the British Museum and Serpentine Gallery in London, at The Andy Warhol Museum in Pittsburgh, and at the 21st Century Museum of Contemporary Art, Kanazawa, Japan. His work is held in the permanent collections of the British Council and Arts Council, Crafts Council, Stedelijk Museum Amsterdam, Tate and Victoria and Albert Museum, London.He was awarded the Turner Prize in 2003. In 2008 he was ranked number 32 in The Daily Telegraph's list of the "100 most powerful people in British culture". In 2012, Perry was among the British cultural icons selected by artist Peter Blake to appear in a new version of his most famous artworkthe Beatles' Sgt. Pepper's Lonely Hearts Club Band album coverto celebrate the British cultural figures of his life. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future. Please note that there is no buyers premium payable on this sale if bidding on Ewbank's Live, online fee of 6% inc VAT is payable bidding via the-saleroom.com. Added to the hammer price. Ewbank's are also waiving all vendor commission for the charity.

David Shrigley OBE (British, b.1968). 'Ace of Clubs'. Paint on card, signed 'D.Shrig' and dated verso. 30 x 21cm. David John Shrigley OBE is a British visual artist. He lived and worked in Glasgow, Scotland for 27 years before moving to Brighton, England in 2015.As well as authoring several books, he directed the video for Blur's Good Song and also for Bonnie 'Prince' Billy's Agnes, Queen of Sorrow. In 2005 he designed a London Underground leaflet cover. Since 2005, he has contributed a cartoon for The Guardian's Weekend magazine every Saturday.[16] Other projects have included the album Worried Noodles (Tom Lab, 2007) where musicians interpret his writings as lyrics, including collaborations by David Byrne, Hot Chip, and Franz Ferdinand.Recent notable solo exhibitions include Animate, Turku Art Museum, Finland (2011); Kelvingrove Museum, Glasgow International Festival of Visual Arts, Glasgow, Scotland (2010); New Powers, Kunsthalle Mainz, Germany (2009); David Shrigley, Museum Ludwig, Cologne, Germany (2008); Baltic Centre for Contemporary Art, Gateshead, UK (2008); Everything Must Have a Name, Malmö Konsthall, Malmo, Sweden (2007) and David Shrigley, Dundee Contemporary Arts, Dundee, Scotland (2006).Shrigley's sculpture Really Good was installed on Trafalgar Square's Fourth plinth in September 2016 until March 2018. The bronze cast of a fist with an out-of-proportion thumbs-up was the winning commission for the Fourth Plinth Project, which has been inviting artists since 1999 to make a proposal for the empty plinth, originally intended to hold an equestrian statue of William IV that was never made. I made a drawing of an elongated thumb that said everything is good and I wrote some text that sounded like some sort of weird political satire: If we make this sculpture, we can make the world a better place through some kind of self–fulfilling prophecy.”In 2019, he designed the yellow and red card of the AS Velasca.Shrigley was appointed Officer of the Order of the British Empire (OBE) in the 2020 New Year Honours for services to visual arts. www.davidshrigley.com. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future. Please note that there is no buyers premium payable on this sale if bidding on Ewbank's Live, online fee of 6% inc VAT is payable bidding via the-saleroom.com. Added to the hammer price. Ewbank's are also waiving all vendor commission for the charity.