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Robin Bradbury (British Contemporary), On Anglesey, oil on block canvas, signed bottom right. Measurements 30 x 80 cm Robin Bradbury is a British contemporary artist based in North Wales, where he maintains a studio and gallery. He has a background in philosophy, art history and theology, having spent much of his working life in the church, and his sympathies with early romanticism and idealist philosophy are evident within his artwork. Bradbury was a close friend of fellow artists John Knapp-Fisher and Chris Dunbabin, he paints predominantly in oil, combining an intensity of colour and tonal subtlety that compliments his atmospheric compositions. In addition to writing the forward to Knapp-Fishers books of Pembrokeshire, Bradbury has also released two publications of his own The Magi and the Moontree and Borders of Perception.

Anthony Wishaw RA (British Contemporary, b.1930), Gossip, mixed media on paper, signed bottom right, titled 'Gossip', mounted and framed. 1990 - 96, label verso, Art First London, framed. Measurements 22 x 29.5 cm, frame 42 x 49 cm Wishaw is a London based contemporary artist who claims no affiliation with any particular artistic movement. He is a member of The London Group and has been elected to The Royal Academy.

Paul Peter Piech (American Contemporary) Bela Bartok, signed bottom left, dated 1993, mounted and framed. Measurements 57 x 37 cm (i), frame 76 x 55.5 cm Provenance: Acquired by the vendor from the exhibition 'Dedicated to all Defenders of Human Freedoms, The Art of Peter Paul Piech', 2016-2017 Piech grew up in New York and began his career as a graphic artist for the Dorlands Advertising Agency under Herbert Bayer. During World War Two he was stationed in Cardiff with the US Air Foce where he met his future wife and decided to remain in the UK following the end of the conflict. He studied at the Chelsea College of Art before continuing in the advertising industry. Piech set up his own independant press, Taurus Press. He is best known for his politically-charged linocut imagery. Piech's works can be seen in a number of national collections including the V&A, British Library, National Library of Wales and Aberystwyth University Collection.

Robin Bradbury (British Contemporary), At the Coast North Wales, oil on canvas paper, signed bottom right, mounted and framed. Measurements 16.5 x 26.5 cm, frame 34 x 44 cm Robin Bradbury is a British contemporary artist based in North Wales, where he maintains a studio and gallery. He has a background in philosophy, art history and theology, having spent much of his working life in the church, and his sympathies with early romanticism and idealist philosophy are evident within his artwork. Bradbury was a close friend of fellow artists John Knapp-Fisher and Chris Dunbabin, he paints predominantly in oil, combining an intensity of colour and tonal subtlety that compliments his atmospheric compositions. In addition to writing the forward to Knapp-Fishers books of Pembrokeshire, Bradbury has also released two publications of his own The Magi and the Moontree and Borders of Perception.

Robin Bradbury (British Contemporary) At Llyn Ogwen, oil on canvas paper, signed bottom right, mounted and framed. Measurements 20 x 19.5, frame 33 x 33  Robin Bradbury is a British contemporary artist based in North Wales, where he maintains a studio and gallery. He has a background in philosophy, art history and theology, having spent much of his working life in the church, and his sympathies with early romanticism and idealist philosophy are evident within his artwork. Bradbury was a close friend of fellow artists John Knapp-Fisher and Chris Dunbabin, he paints predominantly in oil, combining an intensity of colour and tonal subtlety that compliments his atmospheric compositions. In addition to writing the forward to Knapp-Fishers books of Pembrokeshire, Bradbury has also released two publications of his own The Magi and the Moontree and Borders of Perception.

Artist: Karima Muyaes (Mexican, b.1960). Title: "Woman at the Window". Medium: Collage with acrylic and fabric on board. Date: Composed 1985. Dimensions: Overall size: 15 1/4 x 12 5/8 in. (387 x 321 mm).Lot Note(s): Signed lower right. Fine condition. Provenance: Estate of a Private Collector, Cuernavaca, Mexico. A Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [29983-0-400]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Navajo". Medium: Color linocut. Date: Composed 2008. Dimensions: Overall size: 18 x 12 in. (457 x 305 mm). Image size: 12 x 8 in. (305 x 203 mm).Lot Note(s): Signed and dated in pencil. Edition of 15. Black wove paper. Full margins. Fine impression. Fine condition. Two color plates utilized. Literature/catalogue raisonne: James Orr's provisional catalogue number PR142. Provenance: Private collection, Rockford, Illinois. A Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [23478-0-225]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Mujer con Mascara". Medium: Color linoleum cut. Date: Composed 1992. Dimensions: Overall size: 13 3/4 x 9 7/8 in. (349 x 251 mm). Image size: 11 11/16 x 7 7/8 in. (297 x 200 mm).Lot Note(s): Signed and dated in pencil, lower right; numbered in pencil, lower left. Edition of 10. Grey laid paper. Wide (full?) margins. Fine impression. Very good condition. Literature/catalogue raisonne: James Orr's provisional catalogue number PR56. Provenance: Private collection, New York City (Manhattan). Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [22063-0-225]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Mis Manos". Medium: Linocut. Date: Composed 2007. Dimensions: Overall size: 6 5/8 x 9 1/2 in. (168 x 241 mm). Image size: 5 1/4 x 7 1/4 in. (133 x 184 mm).Lot Note(s): Signed, numbered (P/A), titled and dated in pencil. Artist proof aside from the proposed edition of 10. Bark paper; the work was created using the "Jaledcut" technique. Fine impression. Flaw in the paper about 1 1/2 in. long on the mid-right side of image, more visible on the verso; otherwise fine condition. Upon request, a Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [19578-0-125]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Encanto Nocturno". Medium: White line color etching with aquatint. Date: Composed 2007. Dimensions: Image size: 11 3/16 x 15 3/4 in. (284 x 400 mm).Lot Note(s): Signed, titled, dated and numbered in pencil. Edition of 30. Pale cream wove paper. Full margins. Fine impression. Fine condition. Literature/catalogue raisonne: James Orr's provisional catalogue number PR157. Provenance: Private collection, New Canaan, Connecticut. A Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [18288-0-400]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Dualidad". Medium: Color monoprint. Date: Composed 1985. Dimensions: Image size: 21 1/2 x 29 3/8 in. (546 x 746 mm).Lot Note(s): Signed and dated, lower right; editioned lower left; annotated in the Artist's hand "Febrero/21/85" in pencil, verso. Print #1 of edition of 1. Cream amate (bark) paper. Printed to the edge of the sheet. Fine impression. Very good condition. Provenance: Collection of the Artist. A Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [24423-0-400]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Casas de Papel y Tinta". Medium: Color linocut. Date: Composed 2004. Dimensions: Overall size: 6 7/8 x 4 7/8 in. (175 x 124 mm). Image size: 6 x 4 1/16 in. (152 x 103 mm).Lot Note(s): Signed and dated in pencil, lower right. Annotated "P/A," lower left. Artist proof aside from edition of 100. Full margins. Fine impression. Fine condition. Upon request, a Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [19576-0-150]

CONTEMPORARY ART DECO DESIGN SILK CARPET, 350cm x 250cm, geometric silver field.

Artist: Andy Warhol (American, 1928 - 1987). Title: "Marilyn Monroe I Love Your Kiss Forever Forever". Medium: Color lithograph. Date: Composed 1964. Dimensions: Overall size: 16 1/8 x 22 1/2 in. (410 x 571 mm).Lot Note(s): Signed in pencil, lower right. Edition of 2,000. White wove paper. The full sheet. Fine impression with fresh colors. Very good to fine condition; two sheets as issued, joined; conservation backing. Literature/catalogue raisonne: Feldman/Schellmann II.5. Comment(s): Our example is from the edition of 2,000, which was unsigned, hence the signature is a complimentary one. For Walasse Ting's "1¢ Life." Prints from the One Cent Life portfolio are in most major and public collections worldwide including MoMA (New York), Tate Modern (London), Museum of Contemporary Art (Montreal) and the Andy Warhol Museum (Pittsburg). Image copyright © 2001 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [26821-4-3000]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Awareness Mandala". Medium: Gouache on paper. Date: Composed 2011. Dimensions: Overall size: 20 1/4 x 16 1/4 in. (514 x 413 mm). Image size: 20 1/4 x 16 1/4 in. (514 x 413 mm).Lot Note(s): Signed and dated lower right. Light cream heavily-textured hand-made San Augustin (Oaxaca) paper. Fine condition. Provenance: Estate of a private collector, New York City (Manhattan), acquired directly from the artist. A Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [27775-0-700]

Artist: Andy Warhol (American, 1928 - 1987). Title: "Willie Shoemaker". Medium: Color offset lithograph. Date: Composed 1981. Dimensions: Overall size: 35 1/8 x 21 1/4 in. (892 x 540 mm). Image size: 19 3/8 x 19 1/2 in. (492 x 495 mm).Lot Note(s): Signed in black marker, lower right. Edition unknown, probably very small. Light cream wove paper. The full sheet. Fine impression with bright colors. Comment(s): Rare. No auction records located. The poster was created for the joint exhibition (with LeRoy Neiman) at the Los Angeles Institute of Contemporary Art, November 1981 to January 1982. A poster was also issued with a Neiman image. Undoubtedly to be included in the forthcoming catalogue raisonne of Warhol's non-commissioined posters by Paul Marechal. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [28406-5-1600]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Nimfa". Medium: Color monoprint. Date: Composed 1984. Dimensions: Overall size: 23 1/8 x 15 1/8 in. (587 x 384 mm). Image size: 23 1/8 x 15 1/8 in. (587 x 384 mm).Lot Note(s): Signed and dated, lower right; numbered, lower left. Print #1 of Edition of 1. Printed on Amate (bark) paper. Fine condition. Upon request, a Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [19784-0-600]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Let It Go". Medium: Gouache on paper. Date: Composed 2010. Dimensions: Overall size: 11 x 8 in. (279 x 203 mm).Lot Note(s): Signed and dated, lower right. Wove paper. Fine condition. Literature/catalogue raisonne: This work will be included in James Orr's forthcoming catalogue raisonne of Muyaes’s oeuvre. Provenance: Estate of a private collector, Rye, New York. A Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [29415-0-400]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Historia del Quijote". Medium: Etching with aquatint. Date: Composed c1980s. Dimensions: Overall size: 15 x 11 1/16 in. (381 x 281 mm). Image size: 13 3/4 x 9 5/8 in. (349 x 244 mm).Lot Note(s): Signed in pencil, lower right; titled in pencil, lower center; editioned in pencil, lower left. Very good to fine condition. Upon request, a Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [19251-0-250]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Espejo". Medium: Color monoprint. Date: Composed 1984. Dimensions: Image size: 15 5/8 x 23 5/8 in. (397 x 600 mm).Lot Note(s): Signed and dated lower right; editioned lower left; annotated in the Artist's hand "12/Oct/84" in pencil, verso. Print #1 of edition of 1. Cream amate (bark) paper. Printed to the edge of the sheet. Fine impression. Very good condition. Provenance: Private collection, San Francisco, California. A Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [24417-0-400]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Dos Mujeres". Medium: Colored drawing with oil paint (Santos Balmori, who perfected this technique, refered to it as "dibujo al oleo"). Date: Composed 1988. Dimensions: Overall size: 15 1/2 x 13 3/16 in. (394 x 335 mm). Image size: 15 1/2 x 13 3/16 in. (394 x 335 mm).Lot Note(s): Signed and dated in pencil, lower right. Upon request, a Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [20620-0-500]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Dialogando". Medium: Color linocut. Date: Composed 2007. Dimensions: Overall size: 18 11/16 x 23 5/8 in. (475 x 600 mm). Image size: 12 x 17 13/16 in. (305 x 452 mm).Lot Note(s): Signed and dated in pencil, lower right; titled in pencil, lower center; numbered in pencil, lower left. Print #3 of Edition of 4. Full margins. Fine impression. Fine condition; a "Jaledcut manner" work. Upon request, a Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [19597-0-300]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Cenote". Medium: Color monoprint. Date: Composed 1987. Dimensions: Overall size: 30 x 22 in. (762 x 559 mm).Lot Note(s): Signed and dated with metallic marker, lower right. Edition of 1. Printed on handmade amate (Mexican bark) paper. Printed to the edge of the sheet. Fine impression with vibrant colors. Fine condition. Literature/catalogue raisonne: This work will be included in James Orr's forthcoming catalogue raisonne of Muyaes’s oeuvre. Provenance: Estate of a private collector, Seattle, Washington. A Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [29405-0-600]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Travelers". Medium: Oil and pigments on paper. Date: Composed 2010. Dimensions: Overall size: 15 3/4 x 23 3/4 in. (400 x 603 mm).Lot Note(s): Signed lower right. Fine Condition. Provenance: Private collection, San Miguel de Allende, Guanajuato, Mexico. A Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [29971-0-800]

Artist: Kiki Kogelnik [kiki o.k.] (Austrian, 1935-1997). Title: "Rocket Ship". Medium: Color lithograph. Date: Composed 1963. Dimensions: Overall size: 16 x 23 1/8 in. (406 x 587 mm). Image size: 15 3/4 x 22 in. (400 x 559 mm).Lot Note(s): Signed with the initial in the plate, lower right. Edition of 2,000. White wove paper. The full sheet. Fine impression with fresh colors. Joined sheets as issued; conservation backing. Comment(s): For Walasse Ting's "1¢ Life." Prints from the One Cent Life portfolio are in most major and public collections worldwide including MoMA (New York), Tate Modern (London), Museum of Contemporary Art (Montreal) and the Andy Warhol Museum (Pittsburg). [26803-4-300]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Parabola del Mar IX ("Black" version)". Medium: Color linoleum cut. Date: Composed 1989. Dimensions: Overall size: 18 3/4 x 13 7/8 in. (476 x 352 mm). Image size: 11 7/8 x 7 7/8 in. (302 x 200 mm).Lot Note(s): Signed and dated in pencil, lower right; annotated "P/A" in pencil, lower left; annotated "IX" in pencil, lower center. Artist proof, aside from regular edition of 20. Cream wove paper. Wide (full?) margins. Fine impression. Literature/catalogue raisonne: James Orr's provisional catalogue number PR47i. Upon request, a Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): From "10 Grabados en Linoleo de Karima Muyaes, Textos de Sylvia Rittner." Printed by the artist. A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [22054-0-300]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Ostrich". Medium: Color collagraph. Date: Composed c1980s. Dimensions: Overall size: 13 15/16 x 10 7/8 in. (354 x 276 mm). Image size: 12 3/4 x 9 3/4 in. (324 x 248 mm).Lot Note(s): Signed in pencil, lower right; annotated "P/A" in pencil, lower left. Artist proof. Upon request, a Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [20212-0-225]

Gustavo Pérez (Mexican 1950-) Vessel, 2013 initialled, dated and numbered '13-123', stoneware(23cm x 28cm x 22cm (9in x 11in x 8.7in))Footnote: “I want to be forgotten, only that my pots survive” Gustavo Pérez is considered Mexico’s leading contemporary ceramic artist, whose aim has always been to create forms that serve as three-dimensional canvases, with sophisticated surface treatments that transcends simple patterning bringing his work into the realm of the sculptural object alongside showing influence of ancestral traditions of Asia and Meso-America. Pérez’s ceramics have now achieved international recognition and were the subject of a major retrospective at the Museum of Modern Art in Mexico City. His work is represented worldwide, including the Los Angeles County Museum of Art, The Museum of Contemporary Ceramic Art, Shiga, Japan; The Museum of Fine Arts, Quebec, Canada and Keramikmuseum Westerwald, Hohr-Grenzhausen, Germany.

§ Robyn Denny (British 1930-2014) LA Red 3, 1985-6 signed and dated (lower right) and numbered '3' (lower left), acrylic on paper(76cm x 57cm (30in x 22.5in))Footnote: Provenance: Hirschl Contemporary Art, London; Private Collection, UK.

Banksy (British, b. 1975)Weston Super Mare 1999 taggedacrylic on canvas76.5 by 76.5 cm.30 1/8 by 30 1/8 in.This work was executed in 1999.Footnotes:This work is accompanied by a certificate of authenticity issued by Pest Control Office.ProvenancePrivate Collection, UKSale: Sotheby's, Olympia, Contemporary Art, 19 June 2006, Lot 560Acquired directly from the above by the present ownerLiteratureRobin Banksy, Banging your head against a brick wall, London 2001, n.p., illustratedBanksy's best works always have at their heart his distinctive, often brutal sense of humour. So much of his early work focuses on that peculiarly British characteristic that celebrates the mundane and the ordinary, in the tradition of the kitchen sink painters such as Stanley Spencer of the mid-Twentieth Century. Banksy often plays with this national personality trait, repurposing twee landscapes and inserting shocking images in the Crude Oil series, or, as in the case with the present lot, memorialising a town synonymous with drabness and faded glamour and building the composition on the image of a lonely figure sitting on a bench. The sheer unsuitability of this as a subject for a major work of art is where the humour lies and yet it also gives a glimpse into the personality of this mercurial artist. Weston-Super-Mare is a seaside town near Banksy's native Bristol and the location of his 2015 theme park Dismaland. Best known as the site of the once celebrated Tropicana Lido, closed since 2000, Weston-Super-Mare is not the obvious choice for a new amusement park and so it would have immediately appealed to Banksy's post-modern sense of irony. This is also a political choice; by celebrating the hinterland and indeed the degraded, disenfranchised figure at the heart of the composition of the present lot, Banksy is using his platform to drag focus away from traditional art world contexts. Always a self-confessed outsider, so much of Banksy's art exists to poke fun at traditional hierarchies and, in light of his astonishing success, also at himself. If everyone is fair game for mockery in Banksy's world then no one is more so than he himself and in that sense the figure on the bench can be seen as a self-portrait, revealing his own sense of ordinariness and feeding into the theme of being an imposter that features so often in his work. Weston Super Mare can therefore be seen as a work of searing honesty and self-revelation; a very personal painting that gives a clear, if very rare, insight into the artist's background and personality. Executed in 1999, this work is one of the earliest and most significant canvases by the artist to come to auction.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

Glenn Ligon (born 1960)Photo Pocket 1995 cotton canvas, vinyl, metal rings, rope, acetate and chromogenic prints 132.1 by 33 by 33 cm. 52 by 13 by 13 in.This work was executed in 1995, and is number one from an edition of seven.Footnotes:ProvenancePrivate CollectionSale: Phillips, New York, Contemporary Art Day, 16 May 2014, Lot 321Acquired directly from the above by the present ownerExhibitedPhiladelphia, Fabric Workshop and Museum; Boston, Massachusetts Institute of Technology List Visual Arts Center, Glenn Ligon: Skin Tight, 1995 (another example exhibited)LiteratureDavid Chandler, John Gill, Tania Guha and Gilane Tawadros Eds., Boxer: an Anthology of Writings on Boxing and Visual Arts Practice, London 1996, p. 60-61 and 68-69 another example illustrated in colour (installation view) and p. 65 another example illustrated in colourMarion Boulton Stroud, New Material as New Media: The Fabric Workshop, Philadelphia 2002, p. 173, another example illustrated in colourThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Banksy (British, b. 1975)Oh My God 2006 tagged; signed and dated 21 July 2006 on the reversespray paint and emulsion on found metal129.5 by 91.5 cm.51 by 36 in.This work is unique.Footnotes:This work is accompanied by a certificate of authenticity issued by Pest Control Office.ProvenancePrivate Collection, Los Angeles (acquired directly from the Barely Legal exhibition)Robert Berman Gallery, Santa MonicaAcquired directly from the above by the present owner in 2011ExhibitedLos Angeles, Barely Legal, 2006Literature and FilmBanksy, Wall and Piece - Now with 10% More Crap, London 2006, p. 240 illustrated in colourElio Espana, Banksy and the Rise of Outlaw Art, 2020, 1:32:05 (installation view)One of the definitive artists of the new millennium, Banksy has left an indelible mark on the walls of art history as a true maverick of the genre. From his emergence as a figurehead of street art, Banksy has risen to the heights of global superstardom through a course of breakthrough exhibitions, political activism, and artistic showmanship. Presented here for sale, Oh My God was first displayed at Banksy's most significant exhibition, Barely Legal, his debut show in the United States in Los Angeles in 2006. Irreverent, playful, and littered with art historical and cultural allusions, Oh My God is a work in Banksy's quintessential stenciling style on a rare metal support, demonstrating all the panache and appeal that places this amongst his most collectible works.Painted on a found piece of metal, the present work reflects the gritty, urban environment that Banksy was borne of – a painting true to his roots as a street artist and anti-establishment renegade. In a typical revisionist twist on the classical portrait, the iconography of the image feels remarkably familiar, whose sitter's tilted glance conjures the timeless pose of Johannes Vermeer's Girl with a Pearl Earing (1665) or Pablo Picasso's compelling portraits of Dora Maar produced at the end of the 1930s. Such comparisons have long since become entirely apt for the anonymous British artist, whose career has defined the cultural landscape of the last two decades, and become synonymous with contemporary art criticism and political discourse in the twenty-first century. Known for his sardonic wit and pointed irony, Banksy has never shied away from a searing commentary of the art world that has embraced him. In the present work this is brought to the fore with a piquant and wry humour. Feigning interest or enthusiasm for the role of the artist, Banksy's depiction of his subject pokes fun at the superficiality of the cultural dilettante and part-time art lover; it is a picture of the artists perspective of the patent triviality of the 'in' crowd who laud him. Like all great artists, Banksy's aloofness and ardent refusal to heed his now-celebrity status has only cemented his legacy as a true outlier and hero to the public who view him in the vein of Robin Hood, undermining and ridiculing the established order of contemporary art. He is also the embodiment of that peculiarly British, self-effacing sense of humour whereby he mocks the faux seriousness of artists, their overweening narcissism and therefore his own. Here is the essence of his work: he is polemic, scathing and satiric and everyone is a possible target, including himself.It was in keeping with his raison d'être that Banky organised Barely Legal; an exhibition that drew celebrity and global press attention, culminating in the watershed moment of the artist's career. Already amassing a cult following through his self-initiated solo exhibitions in London in the early 2000s, it was a break-out event attended by leading collectors, and dealers, whose guest list teemed with Hollywood A-listers including Brad Pitt, Angelina Jolie, Jude Law, and Cameron Diaz. Such hype, however, did not stymie the artist's unshakeable faith in his work to speak truth to power, producing a complete exhibition of works that called out the twisted realities of consumer culture. In Banksy's own words, 'as soon as I cut my first stencil I could feel the power there. I like the political edge. All graffiti is low-level dissent, but stencils have an extra history. They've been used to start revolutions and to stop wars' (the artist in 'The Story Behind Banksy,' Will Ellsworth-Jones, The Smithsonian, February 2013, online).His taste for theater, black humour and activism have distinguished him from his street art kin such as Blek Le Rat and Shepard Fairey, and placed Banksy in a category of his own. Undoubtedly, his anonymity and resilience as a political entity in his own right – who single-handedly became a symbol of hope stenciling graffiti in the Gaza Strip in 2015, and more recently launched an independent search-and-rescue vessel for asylum seekers adrift in the Mediterranean – has meant Banksy's legacy is unrivalled in its depth and scope not only in graffiti circles, but in the art world at large. At his core, he remains one of the greatest artists of our time, and the present work is a veritable embodiment of the adroit hand, cunning mind and values that have made him so celebrated and his works so highly sought-after. As Banksy's profile and collectability has developed, unique works of exceptional history and quality become still more prized. Presented here for sale is such a painting that demonstrates the British artist's indisputable and enduring currency as social commentator and contemporary artist. His technique remains singular and immediately identifiable, and Oh My God is amongst those most rare of Banksy works whose subject appears completely unique. Exhibited first at Barely Legal, the exhibition that would redefine Banksy as one of the most admired artists of the period, Oh My God is central to the mythology that accompanies his work and the cult following he has garnered, and its sale represents an opportunity to acquire one of the finest examples from the crucible of Banksy's career to date.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A. R. Penck (German, 1939-2017)Standart TTABTTT 5 1984 signed and titledacrylic on canvas160 by 130 cm.63 by 51 3/16 in.This work was executed in 1984.Footnotes:ProvenanceWaddington Galleries, LondonPrivate Collection, New YorkSale: Sotheby's, New York, Impressionist, Modern and Contemporary Paintings, Drawings and Sculpture, 8 October 1986, Lot 95Germans Van Eck Gallery, New York (AP102)Guy Pieters Gallery, KnokkeAcquired directly from the above by the present owner circa 1987ExhibitedLondon, Waddington Galleries, A.R. Penck, 1984Teeming with the symbols, cyphers and metaphors embedded in A.R. Penck's practice and executed at a pivotal moment in his career, Standard TTABTTT 5 is consummate example from the artist's celebrated oeuvre. Having remained in the same collection for over thirty years, the present work is a rare opportunity to acquire a painting, not only entirely fresh to the market, but also permeated with the intense atmosphere and raw vitality found in all of the artists best known and most coveted works in private and institutional collections.Born in Dresden in 1939, Ralf Winkler was old enough to see and remember the city burning in 1945. The traumatic experience and his life in a war-torn and soon to be separated Germany would influence his life and work profoundly. Taking the decision to remain in East Berlin after the wall had been erected in 1961, Winkler experienced artistic isolation, surveillance and censorship by the secret police. In 1957 he began a lifelong friendship with Georg Kern (later to become Baselitz) and after meeting the Gallerist Michael Werner in 1968, he started illicitly exhibiting in the West. To avoid the unwanted attention of the state and facilitate smuggling his paintings across the border Winkler used a variety of pseudonyms, including 'Mike Hammer', 'Theodor Marx', 'a. Y' and just 'Y'. It was 'A.R. Penck', adopted after reading the work of the geographer and geologist Albrecht Penck that eventually stuck.Penck's iconic 'Standart' works employ a lexicon of pictograph-like marks he referred to as building blocks. First developed in the 1960s and derived from the words 'standard' and 'art', with an echo of the German word 'Standarte', signifying a banner or flag, the term represented a universally accessible aesthetic, a standard art for all, which would transcend language, boundaries and borders and addressed complex, socio-political themes. Penck claimed never to have heard of conceptualism at the start of his career which would go on to span five decades, but whilst his art developed more or less in isolation behind the wall, it soon found wide spread appreciation in the West especially in the New York art scene that welcomed him with open arms. In 1980, Penck was forced to emigrate to the West and became part of a milieu of Neo-Expressionist painters which included Markus Lüpertz and Jörg Immendorff. In New York he met likeminded artists such as Jean-Michel Basquiat with whom he shared a great mutual respect and artistic exchange that is visible in both artists' works from that time. In 1984, Penck payed homage to his friend with a poem that was published in Basquiat's exhibition catalogue of the same year.In Standard TTABTTT 5 a monumental, almost life-sized central stick figure, part man, part abstract primitive deity, is surrounded by the rudimentary shapes and symbols that form Penck's artistic language. Executed in the vibrant colours Penck began to use more after emigrating to the West, the work conveys a vibrant energy and confident execution of an artist at the height of his career. Whilst this phase of his life coincided with a period of disillusionment caused by the major upheaval in his life, it was also a time of significant artistic recognition. The theme of duality in Standard TTABTTT 5, red against blue, a figure split by use of subtle colour variations, seems highly politically charged and appears to echo the strained relations between the Federal and Democratic Republics, two entirely opposed ideologies of Soviet Communism and Western Capitalism. The fluid, vibrant brush strokes and rhythmic composition pay homage to the artists love of Jazz music; Penck himself was a drummer and played in the band Triple Trip Touch in the late 1980s. Whilst Penck is often described as one of the fathers of Graffitism, his work is difficult to put into any category and his legacy is yet to be fully evaluated. Whilst his work is often associated with Keith Haring and Jean-Michel Basquiat, Penck's inspirations were manifold, ranging from Ernst Ludwig Kirchner to ancient cave paintings. His colourful pictorial language represents a constant dialogue between Primitivism and Art Brut, between painting and Street Art. Penck's work was included in the ground-breaking Zeitgeist show at the Martin-Gropius-Bau, Berlin (1982), A New Spirit in Painting at the Royal Academy of Arts (1981) and New Art, Tate (1983). Penck went on to participate in the 1984 Venice Biennale, the same year Standard TTABTTT 5 was painted, as well as in four editions of Documenta. His work fell out of favour after the heyday of the 1980s, but in recent years regained relevance and is seen as a significant influence on many contemporary artists. Today, his works are held in the collections of the Art Institute of Chicago, The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Kunstmuseum Basel, and the Städel Museum in Frankfurt.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Christo (American, Bulgaria 1935-2020)Store Front (Project) 1964 signed, titled and dated 64; signed, titled, dated 1964 and inscribed 1 Lampe 25w on the reverseenamel, pencil, charcoal, plywood, electric light, metal wire and plexiglas mounted on wood60 by 85 by 10 cm.23 5/8 by 33 7/16 by 3 15/16 in.Footnotes:This work is registered in the Christo & Jeanne-Claude archive.ProvenancePrivate Collection, Europe (acquired directly from the artist)Sale: Dorotheum, Vienna, Contemporary Art, 25 November 2009, Lot 3Acquired directly from the above by the present ownerOn the same day in June 1935, Christo and Jeanne-Claude were born into very different worlds – Christo Valdimirov Javacheff in Bulgaria and Jeanne-Claude Guillebon in French Morocco. Meeting in Paris in 1958, their personal and professional lives would be forever intertwined, eventually becoming the most important artist-duo of the second half of the 20th century. Their unique vision would bring their wrapped works and large-scale installations to cities and landscapes across the globe, including a final work to be presented in Paris in September 2021, L'Arc de Triomphe, Wrapped, posthumously in accordance with the artists' wishes. It is however in the artists' earlier Store Fronts and Store Front Projects where we can really begin to see this initial scaling-up of their unique aesthetic. A series of works that were initiated after their move to New York City in 1964, the present work Store Front (Project) from the same year is a delicate and thoughtful example of his preparatory works from this landmark series.After fleeing communist Bulgaria via Czechoslovakia and Vienna, Christo made his way to the French capital, where his quintessential style of wrapping cans, bottles and everyday domestic items was immediately established. In Paris, Christo gravitated towards the Nouveau Réalisme movement, joining the ranks of Yves Klein, Martial Raysse and Niki de Saint Phalle however soon after his marriage to Jeanne-Claude and the birth of their son, the young family decide to emigrate to New York. Initially installing themselves at the Chelsea Hotel, renown home-from-home for many artists, they would eventually move to a loft in downtown Manhattan, gifting the Chelsea Hotel owner with one of his Store Front Projects as collateral for the bill. To-scale shop façades created from wood and painted in a variety of colours, each Store Front was preceded by detailed architectural maquette-like sketches, typical of Christo's lifelong working process. The present work is a rare and intricate example of these preparatory works, with every detail of the eventual Store Front replicated: from the precise to scale measurements to the metal grill on the windows and the internal lights illuminating the colourful interior. Born from the Show Cases Christo was already creating from found medicine cabinets in Paris in 1963, the Store Fronts should be understood as their scaling-up. Similar to the evolution of the early Wrapped Cans or Packages, which would eventually evolve into projects such as The Pont Neuf Wrapped (1979), the Store Fronts recall the imposing architecture of New York City. 'The result was enigmatic, architectonically elusive, evocative: Store Fronts were of great beauty, possessed of quiet melancholy and a sense of loneliness that recalled the work of American painter Edward Hopper or the boxes of Joseph Cornell. The pervasive sense of mystery [leaving] the observer wondering what was behind the façades' (Jacob Baal-Teshuva, Christo and Jeanne-Claude, New York 2001, p. 27). If the Show Cases are understood as the precursor to the Store Fronts, the Store Fronts are understood by the artist as precursors to the Valley Curtains in Colorado (1972) and the Running Fence in California (1976). It is in the Store Fronts that the concept of internal and external space is initially explored, 'the store fronts radiate a kind of suspense, as if the blocked windows or the closed door might admit one if you only knew the hours of opening. However, our perceptual and physical links are arrested as the invitation stays unfulfilled. What Christo [and Jeanne-Claude have] done is to turn physical space into psychological response, as the façade becomes a wall, absolutely cancelling the inside... [They] cancel the internal space that we anticipate and define space as what is between us and the glass. The spectator's investigative, voyeuristic impulse is converted into an experience of himself, as an object in space' (Lawrence Alloway, Christo, New York 1969, p. VII). The Store Fronts act as a vehicle for our conceptual understanding of space in direct relation to our surroundings. Diverging from the work of the Minimalists, Christo's approach to space is specifically architectural, addressing our every-day interactions to the world around us and how we manipulate and manoeuvre within that space daily. Like the wrapping of the Pont Neuf or the Valley Curtain, the Store Fronts force the viewer to renegotiate their relationship to that space both physically and psychologically. The familiarity of these buildings and spaces is ruptured by the artist's intervention forcing us to confront our own physicality.While as much technical drawings as they are works of art in their own right, the preparatory works represent a lasting testament to the fleeting nature of their monumental culminations. The present work is a rare example within the Store Front Projects in its inclusion of internal light-fittings, its internal illumination bringing the potential of this project to life. The precise architectural nature of the Store Front Projects is evidence of Christo and Jeanne-Claude's unique vision as sculptors but also as visionaries who have made the world's cities and landscape their canvas. Christo's work has been celebrated in the world's most important museums with his Store Fronts and Store Front Projects found in some prominent collections including the Museum of Modern Art, New York, the Hirsshorn Museum, Washington D.C., the Kaiser Wilhelm Museum, Krefeld, Germany and the Museum of Contemporary Art, Los Angeles. His work can also be found in the collections of the Art Institute of Chicago, the Tate Modern, London and the Centre Pompidou, Paris, where the artist's work is currently being exhibited in a landmark retrospective, where an entire room has been dedicated to the extraordinary Store Fronts and Store Front Projects.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

Barry Flanagan, R.A. (British, 1941-2009)Acrobats 1988 incised with the artist's monogram, stamped with the foundry mark AA and numbered 4/5 bronze303.8 by 88.9 by 69.9 cm.119 5/8 by 35 by 27 1/2 in.This work was executed in 1988, and is from an edition of five numbered versions and 3 artist's casts.Footnotes:ProvenanceJohn Berggruen Gallery, San FranciscoAcquired directly from the above by the present owner in 1992ExhibitedLondon, Waddington Galleries and The Economist Plaza, 1990, p. 19, no. 8, another example illustrated in colour New York, The Pace Gallery, Barry Flanagan, 1990, np., no. 8, another example illustrated in colourBerlin, Haus am Waldsee, Animalia: Stellvertreter, 1990, p. 50, another example illustrated in colourFréjus, Musée Temporaire, Foundation Daniel Templon: La Sculpture Contemporaine après 1970, 1991, p. 89, another example illustrated in colourNew York, Paul Kasmin Gallery, Barry Flanagan: Sculptures, 2004, another example exhibitedLiteratureRichard Dorment, 'First catch your hare' in: The Daily Telegraph, 29 May 1990, another example illustratedTowering at nearly 10 feet tall, Barry Flanagan's Acrobats is undoubtably one of the late Welsh artist's most significant works. First appearing in 1979, the figure of the hare dominated Flanagan's practice ever since, and is represented in institutional collections and beloved public sculptures around the world. When asked about this particular choice of subject, Flanagan stated: 'I find that the hare is a rich and expressive form that can carry the conventions of the cartoon and the attributes of the human into the animal world. So I use the hare as a surrogate or as a vehicle to entertain in a way. The abstract realm that sculpture somehow demands is a very awkward way to work, so I abstract myself from the human figure, choosing the hare to behave as a human occasionally.' (the artist in: Barry Flanagan: Sculpture 1965-2005, exh. cat., Irish Museum of Modern Art, Dublin, 2006, p. 65)In the 1970s, Flanagan moved away from his earlier conceptual work towards a more figurative practice. He started modelling the human form and a range of different animals in bronze, but the motif of the hare is really the one that stuck in the collective mind and came to symbolise his practice. Allegedly inspired by both a hare he watched hopping happily across the English countryside in the late 1970s, and by George Ewart Evans' book The Leaping Hare published in 1972, Flanagan first represented the animal in his now-seminal work Leaping Hare from 1979. A study of the hare's significance around the world in folklore, poetry, mythology and art throughout history, George Ewart Evans' delightfully light-hearted book fuelled Flanagan's interest for the remainder of his artistic practice. The subject of the present work, two anthropomorphised hares balanced on top of each other, first appeared in a smaller format in 1981 which was shown in the very first exhibition of Flanagan's bronzes at Waddington Galleries in London that same year. A resounding success, the exhibition of Flanagan's sculptures truly propelled his career, and he represented Britain at the Venice Biennale in 1982.Flanagan's most iconic sculptures, of which Acrobats is a quintessential example, all succeed in conveying a sense of movement and physical tension whilst remaining wonderfully playful. One can't help but smile at the comical representation of humanlike hares engaging in sporting activities, such as boxing or acrobatics, which unlocks childhood memories of absolute freedom and whimsy. As author Paul Levy puts it, 'nothing is more free, vital, spontaneous and alive – from Aesop's hare outrun by the tortoise to Bugs Bunny – than a capering hare. In France and most of Central Europe, it is the hare that lays eggs at Easter and so promises renewal. In fact, Flanagan's hares do not carry much of this historic symbolic freight; they simply frolic freely and expressively. They don't symbolise life, they live it.' (Paul Levy, Barry Flanagan: Linear Sculptures in Bronze and Stone Carvings, exh. cat., Waddington Galleries, London, 2004)The present work was acquired over 25 years ago by prominent American collector and philanthropist Gerard L. Cafesjian, and remained in his Estate's collection until now. Born in 1925 in Brooklyn to Armenian immigrant parents, Mr. Cafesjian became a highly successful editor at West Publishing - a firm specialising in legal materials - and spearheaded the launch of the annual 'Art and the Law' exhibition, for which he received the prestigious Business in the Arts Award. Mr. Cafesjian's passion for collecting began with a childhood fascination with geology and gemstones, which later branched into fine art. Over the years, he patroned and developed personal relationships with world-renowned sculptors and ultimately assembled an impressive collection of both lapidary and fine works of art.Upon his retirement, Mr. Cafesjian committed his time to art and charity, as he founded the Cafesijan Family Foundation to support mostly Armenian causes. He founded the Scottsdale Museum of Contemporary Art in Arizona in 1999, and, in the early 2000s, he set his sights on an enormous, unfinished and crumbling Soviet structure in Armenia's capital city as the site for a private museum. The building's ambitious renovation and expansion resulted in the creation of the Cafesjian Center for the Arts, which, upon its inauguration in 2009, was touted by the New York Times as being a modern-day 'Hanging Gardens of Armenia' and is best known for its world-class sculpture garden.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

James Campbell (British, 1828-1893)A Pastoral Rehearsal oil on canvas63.5 x 115.2cm (25 x 45 3/8in).Footnotes:ExhibitedLiverpool Academy, 1860, no. 95.Literature Marillier, H.C., The Liverpool School of Painters, London, 1904, p. 84.This recently re-discovered work by the Liverpool artist James Campbell has been identified as his 1860 Liverpool Academy exhibit, A Pastoral Rehearsal. A group of men, women and children are gathered among a grove of trees on the edge of a village to sing and play. Led by the standing figure of a man who raises his right arm and bow to conduct, while holding his fiddle to his grey-bearded chin, and accompanied by a seated 'cellist and a third musician who plays a clarinet, six villagers sit side-by-side to form the choir. On the right, a man seems to gaze as if transfixed by the rhythm of the music and to which he beats time on a tambourine. At the centre, a flaxen-haired child wearing a pale coloured smock and with a school-satchel across his shoulder, holds the score for the violinist and 'cellist. On the left side of the composition, a youth with white shirtsleeves and a black cap rests in a wheelbarrow and holds a younger child – perhaps his sister – on his lap. One further spectator – a dark-haired woman – stands on the left side before a moss-covered drystone wall, holding a piece of embroidery or knitting. As the painting's exhibited title indicates, the folk seen together are preparing for a musical performance, perhaps as part of a wedding or May Day celebration. The various participants seem to be wearing workaday clothes, with the possible exception of the violinist/conductor who wears a shabby frockcoat and check trousers, so it may be assumed that the rehearsal is taking place at the end of the working day and when the children present have been released from school.James Campbell specialised in subjects showing the life of working-class men and women in his native city of Liverpool and surrounding countryside. For biographical information on the artist we depend on a short chapter in H.C. Marillier's The Liverpool School of Painters (1904). According to this source, Campbell studied at the Royal Academy schools in London (although, if this is the case, the academic training received there seems to have left no mark upon him). In 1851, having returned to Liverpool, he entered the Liverpool Academy as a probationer, exhibiting there for the first time the following year. Campbell was elected as an associate of the Liverpool Academy in 1854 and a full member in 1856. In 1857 he contributed to the Russell Place exhibition of Pre-Raphaelite art in London, being represented by works lent from the collection of the Liverpool collector and art entrepreneur John Miller and for which Ford Madox Brown had negotiated. In 1858 Campbell was invited to send works to the exhibition of contemporary British art shown that year in New York, Philadelphia and Boston. That Campbell was regarded in a friendly way by members of the progressive circle of painters is demonstrated by his having subsequently been admitted to membership of the Hogarth Club. Among Campbell's most loyal patrons, in addition to Miller himself, were George Rae, of Birkenhead, and James Leathart, of Gateshead.In the 1850s Campbell sent works to the Liverpool Academy from an address in Brunswick Square, Kirkdale (now part of Liverpool itself and lying to the north of the city centre). Particular works in urban settings by Campbell, such as Twilight – Trudging Homewards (private collection), in which two itinerant musicians, each of them blind, lead one another home at the end of the day, or Dinner in View (Christie's, 6 November 1995, lot 127), also of 1858 and showing gaunt figures dazed by hunger, are amongst the most extraordinary images of deprivation to come down to us from the mid 19th century. On other occasions, Campbell made painting expeditions into the Cheshire countryside, taking lodgings at Eastham Woods on the Mersey western shore, and on other occasions working at Bidston on the Wirral. These were both places favoured by the Liverpool artists in the middle years of the 19th century, and it is likely that the present rustic subject was made in one or other of them. Campbell's career as an artist was cut short by failing eyesight and from which he suffered even while he was still in his thirties. He exhibited at the Liverpool Academy only until 1864, while the following year he showed for the last time at the Liverpool Institution of Fine Arts. He was eventually awarded a pension and the offer of accommodation by the Royal Academy, and for which support his patrons Rae and Leathart had petitioned. The fact that Campbell had such a short working career – hardly longer than a decade and a half – and because he painted in such an exacting and meticulous way, explains why his works are rare.The loving attention to detail that Campbell paid in his figurative subjects owed much to the example of the Pre-Raphaelites. In addition, it seems likely that he studied Dutch genre paintings (and perhaps also French art of the 17th century – on occasions his works seems curiously akin to that of the Le Nain brothers). The way in which Campbell documented the lives of the folk he observed – describing as he did the privations they endured with such humanity – gives his works an idiosyncratic quality that makes them compelling.We are grateful to Christopher Newall for compiling this catalogue entry.For further information on this lot please visit Bonhams.com

Elizabeth Adela Stanhope Forbes, ARWS (Canadian, 1859-1912)The Gipsy signed and indistinctly dated 'EAFORBES.' (lower left); signed and inscribed ''The Gipsy'/Mrs Elizabeth Stanhope Forbes/Trewarveneth/Newlyn/Penzance' (on a label attached to the frame) oil on canvas96.5 x 122.5cm (38 x 48 1/4in).Footnotes:Provenance(possibly) CD Morton Esq., by 1906.(possibly) Sotheby's 22 February 1972.1Property of a deceased's estate.ExhibitedLondon, Royal Academy, 1901, no. 315.Literature'Women's Studios', The Gentlewoman, 6 April 1901, p. 40.Royal Academy Illustrated, 1901, p. 22.Pall Mall Magazine 'Extra', Pictures of 1901, 1901, p. 64 (illustrated).'The Royal Academy – Second Notice', The Times, 24 May 1901, p. 13.The Royal Academy – Supplement to the Illustrated London News, 18 May 1901, p. IV (illustrated). 'The Royal Academy – Final Notice', Pall Mall Gazette, 16 May 1901, p. 2.Gladys B Crozier, 'Elizabeth Stanhope Forbes', The Art Journal, 1904, p. 383.Mrs Lionel Birch, Stanhope A Forbes ARA and Elizabeth Stanhope Forbes ARWS, 1906, Cassell & Co, p. 80 (illustrated).Austin Chester, 'The Art of Mrs Stanhope Forbes', Windsor Magazine, vol XXVIII, November 1908, p. 628. Judith Cook, Melissa Hardie and Christiana Payne, Singing from the Walls, The Life and Art of Elizabeth Forbes, 2000, Sansom & Co, no 4.97, p. 181.By 1900 the radical first phase of Newlyn School painting had passed, and many original 1880s founders of the colony had left west Cornwall. The recent news that Stanhope and Elizabeth Forbes had opened an art school however, initiated a new phase for the artists' colony that would, in the early years of the century, see the emergence of a distinguished cast of young artists that included Harold Harvey, Dod and Ernest Procter, and Laura and Harold Knight. The continuing success of the colony however, depended upon the Forbes's ability to diversify – to expand its focus on the heroic fisherman and encompass, in Elizabeth Forbes's case, child-lore, chivalric romance, and tales of fairies and woodland sprites. For these, the woods behind Trewarveneth, her home on the hilltop above the town, provided, as Austin Chester noted, 'the inspiration'.2 Depicted with the dedication of a devotee of Bastien-Lepage, according to E Bonney Steyne in The Studio, works such as At the Edge of the Wood (1894, Wolverhampton Art Gallery), demonstrate the use of 'square brush' technique that persists in the treatment of trees in the present lot.3 Painted over the winter of 1900-1, the canvas was not the first modern representation of gypsies. Forbes's husband, Stanhope Alexander Forbes, had addressed the subject in Their ever-shifting home, the progress of which he reported to Elizabeth, then his fiancé, in 1887.4 This stern piece of social realism casts the Romany family as penniless vagrants, viewed with suspicion by local cottagers. In the ensuing decade, the factual reporter in Stanhope left poetic fancy to Elizabeth. When, in 1900, a gypsy girl entered her woodland it signified a moment when serious interest in the origins and lifestyle of the Romany was growing. Within a year of the showing of Their ever-shifting home, the Gypsy Lore Society had been formed and although in its first incarnation it lasted only a few years, the interest was maintained by enthusiasts such as John Sampson, the librarian at University College, London, who took Augustus John, then a Slade student and arch-bohemian, under his wing. As the society, and its journal revived in the early years of the century, many bourgeois travellers inspired by Matthew Arnold's Scholar Gypsy took to the open road. Although lampooned by Jerome K Jerome in the character of 'Mr Toad', these renegades from the suburbs would form the membership of the Caravan Club. In this social and cultural phenomenon, Forbes's The Gipsy, and her husband's Nomads, (Royal Academy 1903, no. 258, unlocated) have been neglected. The work's re-appearance at this moment is therefore significant. The characterisation of Forbes's young woman is also of great interest. Clearly not one of the downtrodden of the earth, she sports a striped skirt and red bandana and by her side is her fiddle. Dance and song, as musicologists and composers were currently discovering, defined the Romany. Her life, unlike that portrayed by Forbes's husband, was to be envied, not pitied, and as the artist indicates, her music comes directly from the natural world, from the birds that surround her. One enthusiastic onlooker, who ironically credited Elizabeth Forbes's work to her husband, read the picture's clues: 'Here The Gypsy[sic] touches actuality as Sinfi Lovell, or the dauntless women of Borrow's wanderings touched a more commonplace present. But this gypsy, alone, with fiddle mute beside her, listening in a pause of her own music to the lyrical pipe of a robin in the leafless woods has a more plaintive charm.5 This unidentified reviewer touched upon the possible sources of the work. While George Borrow's classics, Lavengro (1851) and The Romany Rye (1857) remained in print, Theodore Watts-Dunton's Aylwin published in December 1898, was very much current when Forbes began her painting. A lengthy novel which draws on gypsy lore it tells the tale of the young Hal Aylwin who enlists the assistance of Sinfi Lovell – a 'sublime creation' according to critics – while in search of his true love, Winifred. Sinfi's 'dukkeripen' (fortune-telling in Romany) was the fount of ancient wisdom. Forbes does not of course identify a specific literary source for her work, and gypsies in Cornwall were not an unusual sight, but this young woman asserts more solidity and as much spiritual power as Will-o-the-wisp (1900), in the triptych she had recently shown at the Women's Exhibition at Earl's Court. In the following years, Forbes would return to the celebration of child lore in her Leicester Galleries exhibition of 1904, but it was the emblematic Gipsy that would resonate in the wanderings of Augustus John, the joyful gypsy parades of Alfred Munnings, and the dark-eyed Romany girls of Laura Knight. We are grateful to Professor Kenneth McConkey for compiling this catalogue entry. 1 Cook and Hardie 2000 indicate that two pictures, and possibly three, bear the title, Gypsy, or The Gypsy. They cite a work sold at Newlyn Art Gallery in 1906 for £10, in addition to that owned by CD Morton. At such a low price, the former may be no more than a drawing for the present work which, as contemporary illustrations confirm, is that which appeared at the Royal Academy. 2 Austin Chester, 'The Art of Mrs Stanhope Forbes', Windsor Magazine, vol XXVIII, November 1908, p. 628.3 EBS, 'The Paintings and Etchings of Mrs Stanhope Forbes', The Studio, vol IV, 1894, p. 188. 4 See Caroline Fox and Francis Greenacre, Artists of the Newlyn School, 1880-1900, 1979, exhibition catalogue, Newlyn, Plymouth and Bristol Art Galleries, pp. 83-4.5 EWR, 'The Royal Academy – Local Exhibits', The Western Daily Press, 20 May 1901, p. 3.For further information on this lot please visit Bonhams.com

NO RESERVE Blore (Edward) The Monumental Remains of Noble and Eminent Persons..., engraved plates, title lightly soiled, occasional offsetting, very occasional light foxing to plates, upper cover contemporary diced calf, ornately gilt decorative edges, spine and lower cover 20th century roan, inner dentelles to upper cover, 1826 § Hope (Thomas) Costume of The Ancients, 2 vol., plates, some foxing and browning, title torn and repaired, light browned, 20th century calf-backed boards, 1841 § Arnold (Hugh) Stained Glass of the Middle Ages in England and France, colour-printed plates, damp-staining, light foxing, original pictorial cloth, 1913; and a quantity of others, art, art history, architecture etc., v.s. (lge qty)

David Boyd (Australian 1924-2011) Pathway Through the Mountains Oil on canvas laid to board Signed lower left 51 x 76cm (20 x 29¾ in.)Provenance: Wagner Art Gallery, Paddington, New South Wales, Australia Purchased from the above by Rear Admiral Sir Joseph Henley KCVO CB in 1985 Thence by descent to the present owner in 1999To view a video of this lot, click here. Exhibited: Paddington, New South Wales, Wagner Art Gallery, Four Seasons, 1985, no. 21 Rear Admiral Sir Joseph Henley KCVO CB and Lady Henley moved permanently to Sydney in the late 1960s after his retirement from the Royal Navy. His final naval appointment was as the Flag Officer Royal Yachts (FORY), in command of HMY Britannia 1961-1965.David Boyd (1924-2011) was one of the most iconic and significant Australian artists of the 20th century whose talent strengthened the family's artistic dynasty. Boyd's primary focus was colonial history and he created many works relating to the history of aboriginal Tasmanians in Australia. Some of these works caused controversy amongst contemporary Australian critics but his fluid landscape paintings captured emotion through colour and became renowned with the Boyd artistic dynasty. Through splashes of colour the artist has captured the children playing in the pass through the mountains creating an almost dreamlike effect with white cockatoos swooping down around their heads. Boyd loved to experiment and discovered a method of using candle flame in 1966. He named the technique Sfumato, inspired by Leonardo da Vinci who had used the word to describe graduations of misty tones.

λ Peter Hayes (British b. 1946)Black TotemSculpture with patina disc, raku semi porcelainHeight 49.5cm Provenance:Courcoux & Courcoux Contemporary Art, Stockbridge, Hampshire Private Collection, Keith William Sleeman (1941-2020)Part of a collection of works assembled by Keith William Sleeman (1941-2020). Keith was a founding partner of the architectural firm Lyons + Sleeman + Hoare, retiring in 1980. Following his retirement Keith amassed nearly 200 paintings and sculptures focused primarily on British artists who were either born or lived in the 20th Century. His collection included works by both established and lesser known artists. The collection was proudly displayed in Keith's private residences in Newbury and London where he would take friends, neighbours and family members on 'tours' of his cherished pieces. Condition Report: A couple of minor surface scuffs particularly to the lower part of the sculpture close to the base. Otherwise, in good original condition.Condition Report Disclaimer

λ Keith Coventry (British b. 1958)Stentor KebabOil on canvas 65 x 55cm (25½ x 21½ in.)Overall 84 x 74cm (33 1/8 x 29 1/8in.)Provenance:Haunch of Venison, London Sale, Sotheby's Online,Contemporary Art Online, 31 July 2018, Lot 36

Tom Early (British 1914-1967)Rocky Landscape, c.1947Ink and watercolourTitled verso16.5 x 24.5cm (6¼ x 9½ in.)Provenance:The artist's estateBelgrave St. Ives, Modern & Contemporary Art, St. IvesPrivate Collection, Keith William Sleeman (1941-2020) (acquired from the above in 2017)Part of a collection of works assembled by Keith William Sleeman (1941-2020). Keith was a founding partner of the architectural firm Lyons + Sleeman + Hoare, retiring in 1980. Following his retirement Keith amassed nearly 200 paintings and sculptures focused primarily on British artists who were either born or lived in the 20th Century. His collection included works by both established and lesser known artists. The collection was proudly displayed in Keith's private residences in Newbury and London where he would take friends, neighbours and family members on 'tours' of his cherished pieces.  Literature:Wilcox & Miller, Tom Early, The Catalogued Works, 2008, p.114

MERULA SALAMAN (1914-2000) - WOOLWORK PICTURE a woolwork picture with a depiction of two Deer within a landscape scene, with the sun setting behind trees. With labels on the reverse, Merula Salaman, Deer at Sunset, and with a label for James Huntington-Whiteley, Modern and Contemporary Art. *Merula Salaman was born in Porlock in 1914, she was an actress best known for Twelfth Night (1939) and was married to Alec Guinness. Her work was exhibited by James Huntington-Whiteley in 1997 in London. Frame 33cms by 29cms

A contemporary bulbous glass vase with Art Deco style decoration depicting birds in flight, on a smoky grey ground, unsigned, height 15cm.Additional InformationLight wear to base.

UNATTRIBUTED; a contemporary painted metal piece of wall art, unsigned, 107 x 103cm.Additional InformationAs detailed, this is unsigned, there is some scuffing to the edges of the metal frame and some surface scratches. Some sections of paint missing.

NICOLA SCHELLANDER (Scottish, contemporary); an art glass vase with splashed yellow detail on blue ground, signed to base, height 15cm, a satin finished yellow ground vase, indistinctly signed to base and a bowl with trailed decoration, marked to base 'MK '10 GP' (3).Additional InformationLight general wear, some scuffs and marks to the satin finished vase.

A collection of good quality art books, mainly contemporary.

A contemporary Art Deco inspired oak lounge chair upholstered in faux leather. Measures; 86cm high.

*John Piper CH (1903-1992)Willington Dovecote, Bedfordshire (Levinson 286)lithograph printed in colours, signed and numbered 1/120 in pencil, printed at the Curwen Studio, published by Christie's Contemporary Art and The National Trust, on wove paper42 x 55cm;with original Christie's certificate and pamphlet*Artist's Resale Right may apply to this lot.

*Gabriel Summers (b.1962)'Cherub Feeder - Hey! Don't clip her wings!'signed and dated 89 l.r., oil on canvas92 x 71cm*Artist's Resale Right may apply to this lot.Gabriel Summers, painter, etcher and dealer-researcher, was born in Dorset, the grandson of the artists Gerald and Nora Summers. Summers' interest in art was encouraged as a child and he won an art scholarship to Canford School, 1975-80, where he was taught by Robin J Noscoe. He graduated in the history of art at Reading University, 1980-83 and gained his masters in that subject at the Courtauld Institute, 1983-84, concentrating on British romantic art, a continuing interest. In 1990, Summers was featured in the episode 'In Search of Bohemia', part of the BBC television 'Abroad in Britain' series, with Jonathan Meades. Group shows included 'Nudes for St Valentine', Bartley Drey Gallery, 1996; 'Contemporary British Art', The Millinery Works, 2003; and 'Little Venice Drawing Group', The Clifton Gallery, 2003. He had solo exhibitions at Odd Fellows Hall, Wimborne, 1997, and Canford School Library, 1999.

*Jean Field (b.1939)The Nativitysigned and dated 1977 verso, oil on canvas137 x 103cmJean Field began painting seriously in her mid-thirties, when she studied at the Hammersmith College of Art in 1973. Her first solo exhibition was in 1979 for the Federation of British Artists.This work was an exercise in group painting as Jean Field felt this was lacking in contemporary painting. The composition for this work was inspired by 'The Adoration of the Shepherds' by the Le Nain Brothers in the National Gallery.*Artist's Resale Right may apply to this lot.Condition report: No obvious condition issues.

*Paul Neagu (British-Romanian, 1938-2004)'Hyphen'signed, titled and dated 1980 u.l., pencil and coloured crayon25.5 x 35cmProvenance: Contemporary Art Society Market.*Artist's Resale Right may apply to this lot.

*Nigel Hall (b.1943)'Drawing No. 468'signed, dated '85 and numbered #468 l.l., charcoal and gouache on paper76 x 56.5cmProvenance: Juda Rowan Gallery, London;Contemporary Art Society Market.*Artist's Resale Right may apply to this lot.Condition report: Glass dirty, paper not completely flat in frame.

CONTEMPORARY ART DECO DESIGN SILK CARPET, 350cm x 250cm, geometric silver field.

Francis Bacon (1909-1992) ''Second Version, Triptych'' Each signed and inscribed E.A, lithographs printed in colours, 1989, epreuves d'artistes aside from the edition of 60, printed by Art Estampe, Paris, published by Michel Archimbaud for the Librairie Seguier for IRCAM-Centre Pompidou, on Arches paper, with full margins, 68cm by 52cm (3) Provenance: Dreweatts & Bloomsbury Auctions London: Modern and Contemporary Prints, Thursday, July 3, 2014 Lot 00126 Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration Born in Dublin to wealthy middle-class parents, the young Francis was shy and sensitive which caused great strain between child and parents. After being ostracised from the family home, Bacon travelled around Europe, flitting between the nightclubs of London, Paris and Berlin. He began to draw and paint after seeing a Picasso exhibition in 1927 in Paris. Bacon is undeniably one of the most engaging artists to emerge from the post war era and his twisted, contorted, pulsating images of blood and flesh perfectly capture the zeitgeist of a Europe so recently brutalised by war. Taking his cue from Old Masters like Velazquez and Breughel as well as modern masters like Picasso and Dali, Bacon's works are held by many of the great collections across the world.

George Smart (1774-1846) feltwork collage picture of The Earth Stopper, the rear of the picture with a label detailing in print ‘The Business of an Earth Stopper, the Night previous to a Day’s Sport, is to stop up the Fox’s Earth whilst he is out Feeding. The above gentle Swain is supposed to be on his way home, when by a sudden turn of the Lane he is brought plump upon what he conceives to be nothing more or less than the Devil, but which in fact is a simple Sweep and his Donkey’. 17cm X 24cmGeorge Smart was a tailor in the Sussex village of Frant. A local celebrity, references to him appear in various contemporary guidebooks from the early 1820's onwards. Contemporary prints show Smart’s house in the village, with an array of cloth figures displayed on the wall; George Smart himself can be seen standing in the road, tempting passers-by with his wares. The Postman is one ‘Old Bright’, a familiar local sight at the time, who trudged the road between Tunbridge Wells and Frant, ‘satchel across his shoulder and leading his ass.’ George Smart was a tailor and cloth collage artist noted for his portraits and dummyboards. Recognised as one of the key figures within the history of English Folk Art twenty one works by Smart were included in Tate Britain's British Folk Art exhibition in 2014.Tunbridge Wells Museum has nine examples of his work in their permanent collection and Compton Verney in Warwickshire has a further two works.

Unknown - A contemporary art glass vase, circa 1980s, of tapering form decorated with a blue spiral trail and black and amber veining against the frosted amber ground, indistinct signature, height 12.5cm.

POUL KJÆRHOLMPair of armchairs, model no. PK 31, designed 1958, produced 1959-1981Leather, chromium-plated spring steel.Each: 71 x 76 x 76 cm Manufactured by E. Kold Christensen, Copenhagen, Denmark. Each frame impressed with manufacturer's mark.Footnotes:LiteratureFrederik Sieck, Contemporary Danish Furniture Design – a short illustrated review, Copenhagen, 1990, p. 146Christoffer Harlang, Keld Helmer-Petersen and Krestine Kjærholm, eds., Poul Kjærholm, Copenhagen, 1999, pp. 49, 51, 58, 98-99, 153, 178Charlotte and Peter Fiell, eds., Decorative Art 60s, Cologne, 2000, p. 75Michael Sheridan, The Furniture of Poul Kjærholm: Catalogue Raisonné, New York, 2007, pp. 110-113This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Robin DayRare tall sideboard, model no. 582/8, from the 'Dining Group' series, designed 1949, produced 1950sMansonia painted wood, cherry-veneered wood, clear glass, coloured glass, brass. 126 x 185 x 42.5 cmManufactured by S. Hille & Co. LTD., United Kingdom and distributed by John Stuart Inc., New York. Footnotes:LiteratureArchitect's Journal, London, 22 February 1951, p. 234 'Decorative Art', Studio Yearbook, London, 1951-1952, p. 32Roberto Aloi, Esempi Di Arredamento Moderno, Di Tutto Il Mondo, Sale Da Pranzo, Milan, 1953, fig. 179Lesley Jackson, Robin and Lucienne Day: Pioneers of Contemporary Design, London, 2011, p. 35Bonhams wishes to thank Lesley Jackson for her kind assistance with cataloguing the present lot.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

TAPIO WIRKKALAVase, model no. 3825, from the 'Jäävuori' (Iceberg) series, 1956-1969Still-mould blown crystal glass.21 x 20 x 18 cm Produced by Iittala, Finland. Underside incised TAPIO WIRKKALA IITTALA 3825.Footnotes:ProvenancePrivate collection, FinlandBukowskis Modern and Contemporary Design, 23 August 2014, lot 260Gallery Lemmetti, HelsinkiAcquired from the above by the present ownerLiteratureDomus, no. 256, March 1951, p. 40Benedict Zilliacus, Finnish Design, Helsinki, 1955, n.p.The Finnish Glass Museum, Glass manufacturers' brochures from the 1950s, Riihimäki, 1994, front cover, pp. 4, 6, 13, 30Marianne Aav, Rosa Barovier Mentasti and Gordon Bowyer, et al., Tapio Wirkkala - eye, hand and thought, exh. cat., Museum of Art and Design, Helsinki, 2000, p. 307Marianne Aav and Eeva Viljanen, eds., 125 Years of Finnish Glass Complete History with all Designers, Helsinki, 2006, pp. 62-63, 246For further information on this lot please visit Bonhams.com