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Arthur Segal, BücherstilllebenÖl auf Malpappe. 62,3 x 81,8 cm. Gerahmt. Unten rechts grau signiert 'A. Segal' und unten links datiert '1930'. - In sehr guter, farbfrischer Erhaltung.Herzogenrath/Liska 391ProvenienzSammlung van Leer, Amsterdam; Privatsammlung NiederlandeAusstellungenBerlin 1930 (Schloss Bellevue), Große Berliner Kunstausstellung, Gemälde, Kat. Nr. 387; Berlin 1933 (Verein der Künstlerinnen zu Berlin), Kollektiv-Ausstellung Arthur Segal, Kat. Nr. 16; Berlin 1935 (Damen-Komitee der Künstlerhilfe der Jüdischen Gemeinde Berlin), Arthur Segal. Ausstellung seiner Werke, Kat. Nr. 16; London 1945 (The Royal Society of British Artists Galleries), Memorial Exhibition (1894-1944) by Arthur Segal, Kat. Nr. 57; Köln/Berlin/Regensburg/Ascona/Tel Aviv 1987/88 (Kunstverein Köln/Haus am Waldsee/Museum Ostdeutsche Galerie/Museo Comunale d'Arte Moderna/The Tel Aviv Museum), Arthur Segal, 1875 - 1944, Nr. 391 (mit rückwärtigem Etikett)LiteraturAdolf Behne, A Personality of Importance in Contemporary German Art, in: The Studio, London 1930, Abb. S. 128

John McCracken (Berkeley, Kalifornien 1934 – 2011 New York City). Untitled (Plank). Um 1970Emaille auf Holzrelief. 109 × 25,3 × 6,5 cm (42 ⅞ × 10 × 2 ½ in.). [3356] Provenienz: Ace Gallery, Vancouver (1972) / Nicholas Wilder Gallery (1975) / Privatsammlung, USA / Auktion: Post-War and Contemporary Art, New York, Bonhams, 12.05.2016, Los 3, an den derzeitigen EigentümerWir berechnen auf den Hammerpreis 27% Aufgeld und auf Hammerpreis und Aufgeld die zum Auktionszeitpunkt geltende Umsatzsteuer.

Adolf Luther (Krefeld-Uerdingen 1912 – 1990 Krefeld). „Licht und Materie“. 1968Spiegel und Kunststofflinsen, im Acrylglaskasten. 79,8 × 79,8 × 10,6 cm (31 ⅜ × 31 ⅜ × 4 ⅛ in.). Rückseitig mit Filzstift in Schwarz gewidmet, signiert und datiert: Für Bernd Peters A. Luther 68. Ebendort mit einem Stempel in Rot: LUTHER LICHT u. MATERIE.[3146] Provenienz: Galerie Denise René Hans Mayer, Düsseldorf / Auktion: Post-War and Contemporary Art, Amsterdam, Christie´s, 4.11.2015, Los 2, an den derzeitigen EigentümerWir berechnen auf den Hammerpreis 32% Aufgeld.

AN AMUSING BRONZE OKIMONO OF A KAPPA WITH CUCUMBER, ATTRIBUTED TO SHOKAKENAttributed to Shokaken (Oshima Yasutaro), unsignedJapan, Meiji period (1868-1912)The bronze finely cast and bearing an attractive sentoku finish, set on an oval base with four lobed feet, depicting a kappa dancing on top of a large, leafy cucumber, and wearing a tattered lotus leaf hat, the details finely incised and chiseled.HEIGHT 19 cmWEIGHT 1,330 gCondition: Good condition with minor expected wear and few casting irregularities. Minor losses to the tips of the leaves.Oshima Yasutaro (artist name: Shokaken) was born to a prominent family of metalworkers in 1849 and was the son of Oshima Takajiro. Together with his younger brother Oshima Joun (1858–1940), he successfully ran a studio called Sanseisha and produced bronzes of the finest quality. In Recollections of Oshima Joun, by Katori Hozuma published in 1941 by Tokyo Chukin-kai (Tokyo Cast Metalwork Association), he talked of his older brother who died young as being of the first rank of bronze metalwork artists in 1878, producing works of the very highest quality and commissioned for the world exhibitions. Shokaken indeed exhibited his works at numerous international expositions, including a metalwork incense burner at the Vienna World Exposition in 1873, which is now housed in the Austrian Museum of Applied Arts and Contemporary Art, Vienna (Illustrated in Arts of East and West from World Expositions 1855-1900: Paris, Vienna and Chicago (Commemorating the 2005 World Exposition, Aichi, Japan), (Osaka, 2004), p. 20, plate l-16).Auction comparison: Compare a closely related bronze okimono of a kappa, by Shokaken and signed Shokaken, at Christie's, Japanese and Korean Art, 18 September 2002, New York, lot 341 (sold at USD 1,673).

A GILT LACQUERED WOOD FIGURE OF JUICHIMEN KANNON, MUROMACHIJapan, 16th century, late Muromachi period (1338-1573) Finely carved, the four-armed bodhisattva clothed clasping two hands in mida no jouin (dhyana mudra) and holding an alms bowl, clothed in voluminous robes falling in elegant folds and opened at the chest. Kannon's face set with a serene expression with heavy-lidded eyes, a circular rock crystal byakugo (urna) flanked by sinuous brows, butterfly lips, and long pendulous lobes. The head adorned with an eleven-headed crown with a metal inlay and crested by a circular rock crystal finial.HEIGHT 33.3 cm (excl. stand), 39.5 cm (incl. stand)Condition: Good condition, commensurate with age, with wear, losses, some flaking, light scratches, small nicks, expected age cracks, presenting overall very well. Provenance: Kunsthaus Lempertz, 12 June 1993, lot 1155. From a private collection in Germany. An old label to the base, 'Japan Senju Kannon Bosatsu.' Copy of the old invoice from Kunsthaus Lempertz, dated 14 June 1993 and listing the sale price of DEM 10,580, accompanies this lot.Mounted on a wood base. Juichimen Kannon (lit. 'eleven-headed Kannon'), is an important bodhisattva in the Esoteric schools of Buddhism. Atop the deity's own head are eleven additional heads. Ten of these take the form of bodhisattvas and represent the ten stages toward enlightenment. The topmost head is that of Amida (Sanskrit: Amitabha), the Buddha from whom Kannon emanates.Auction comparison:Compare a related figure of Juichimen Kannon, dated to the 16th century, at Christie's, Asobi: Ingenious Creativity, Japanese Works of Art from Antiquity to Contemporary and Ceramics from the Collection of Bernard Leach, 15 October 2013, London, lot 11 (sold for GBP 18,750).

Simon Claridge (Scottish, b. 1980) It's All Just Make Believe Isn't It - Diamond Dust collection  Silkscreen on canvas hand finished with diamond dust Signed and titled to margin Yvonne Much love x bottom left 63 x 78cm (25" x 30.5") Simon Claridge (born 1980 in Edinburgh, United Kingdom) is a British contemporary artist known primarily for his use of diamond dust in paintings depicting iconic women of the 20th and 21st century, such as Marilyn Monroe, Audrey Hepburn and Debbie Harry. In 2002 Claridge graduated from the University of Reading with a degree in Fine Art before working at an art gallery in Windsor, United Kingdom whilst he developed his artistic practice. In 2005 Birmingham-based art publishers Washington Green Fine Art offered Claridge a contract, in which his limited edition artwork would be sold in galleries across the United Kingdom.Collectors of Claridge's work include musician Rod Stewart, celebrity stylist Rachel Zoe and Formula One racing driver David Coulthard. Claridge is known for his black and white portraits of iconic women of stage and screen, though in 2015 Claridge exhibited a collection which also featured Elvis Presley and John Lennon. Typically employing the silkscreen technique, Claridge also frequently uses diamond dust, a form of glitter derived from diamonds and glass. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Salvador Dali (Spanish, 1904-1989) L'enfer Canto 22 - 1965 from the Divine Comedy Wood blocking engraving  Signed by artist Framed  33 x 26 cm  (13" x 10 1/8") Salvador Dalí (Spanish 1904 – 1989)  was a Spanish surrealist artist renowned for his technical skill, precise draftsmanship, and the striking and bizarre images in his work. Influenced by Impressionism and the Renaissance masters from a young age he became increasingly attracted to Cubism and avant-garde movements. He moved closer to Surrealism in the late 1920s and joined the Surrealist group in 1929, soon becoming one of its leading exponents. His best-known work, The Persistence of Memory, was completed in August 1931, and is one of the most famous Surrealist paintings. Dalí lived in France throughout the Spanish Civil War (1936 to 1939) before leaving for the United States in 1940 where he achieved commercial success. He returned to Spain in 1948 where he announced his return to the Catholic faith and developed his "nuclear mysticism" style, based on his interest in classicism, mysticism, and recent scientific developments. Dalí's artistic repertoire included painting, graphic arts, film, sculpture, design and photography, at times in collaboration with other artists. He also wrote fiction, poetry, autobiography, essays and criticism. Major themes in his work include dreams, the subconscious, sexuality, religion, science and his closest personal relationships. To the dismay of those who held his work in high regard, and to the irritation of his critics, his eccentric and ostentatious public behavior often drew more attention than his artwork. His public support for the Francoist regime, his commercial activities and the quality and authenticity of some of his late works have also been controversial. His life and work were an important influence on other Surrealists, pop art and contemporary artists such as Jeff Koons and Damien Hirst. There are two major museums devoted to Salvador Dalí's work: the Dalí Theatre-Museum in Figueres, Spain, and the Salvador Dalí Museum in St. Petersburg, Florida.

Shoichi Hasegawa (Japanese, b. 1929) Splendeurs sous-marines Etching on Moulin de Gue paper Signed and titled in pencil on margins Numbered EA 3/25 Framed  62 x 52cm (24" x 20.2")  Shoichi Hasegawa (Japanese, b 1929) is a contemporary Japanese abstract painter and printmaker. His watercolors, transparent yet dense and symbolically coded, are influenced by Lyrical Abstraction and artists like Mark Rothko and Paul Klee. He employs soft, pastel palettes and layered textures to create works that reflect the laborious process that goes into their making. Born in Yazu, Japan in 1929, Hasegawa studied drawing and painting at the Kokuga Institute in Kyoto, Japan. In 1961, he moved to Paris to work with the British artist Stanley William Hayter at Atelier 17, and began showing work internationally at that time. Today, Hasegawa’s paintings and delicate prints are in the collections of the Bibliothèque nationale in Paris, The Museum of Modern Art in New York, the Victoria and Albert Museum in London, the Norrköpings Museum of Art, and the Museum Fuji in Tokyo. Hasegawa lives and works in Val-d'Oise, France—notably, the same place where the celebrated Impressionist master Claude Monet once lived. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Shoichi Hasegawa (Japanese, b. 1929) Riviere Bleue Etching on Moulin du Gue paper Signed and titled in pencil on margins Numbered 37/110 Framed  62 x 52cm (24" x 20.2")  Shoichi Hasegawa (Japanese, b 1929) is a contemporary Japanese abstract painter and printmaker. His watercolors, transparent yet dense and symbolically coded, are influenced by Lyrical Abstraction and artists like Mark Rothko and Paul Klee. He employs soft, pastel palettes and layered textures to create works that reflect the laborious process that goes into their making. Born in Yazu, Japan in 1929, Hasegawa studied drawing and painting at the Kokuga Institute in Kyoto, Japan. In 1961, he moved to Paris to work with the British artist Stanley William Hayter at Atelier 17, and began showing work internationally at that time. Today, Hasegawa’s paintings and delicate prints are in the collections of the Bibliothèque nationale in Paris, The Museum of Modern Art in New York, the Victoria and Albert Museum in London, the Norrköpings Museum of Art, and the Museum Fuji in Tokyo. Hasegawa lives and works in Val-d'Oise, France—notably, the same place where the celebrated Impressionist master Claude Monet once lived. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Bonnie Hawkins (British, b. 1969) Me, Myself and I  Oil on Canvas Signed by artist bottom left 79 x 100cm (31" x 39.5") Bonnie Hawkins (British, 1969), is a British contemporary artist and award winning illustrator. She studied at Falmouth School of Art and Design 1989-90 and later at Gwent College of Higher Education. Her work has been featured in many exhibitions in the UK, Europe and America and is held in private collections worldwide.  Corporate clients include Orion Publishing, Gollancz, Monmouthshire CC, The Trevor Osborne Group, Pegasus Life, Denbighshire CC , Vallee-Rose Publishing, UTZ books, St. Johns Trust, The Princes Trust and the Hedgehog Press. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Ivor Abrahams (British, 1935-2015) Oxford Gardens, 1977 Screenprints x 10 Limited edition No. 64/250 Signed and dated on each print by artist on margin  Largest 16 x 28cm (6.5" x 11") From the Bernard Jacobson Gallery Collection Ivor Abrahams (British, b 1935-2015) was a British sculptor, ceramicist, and printmaker best known for his polychrome sculptures and his stylised prints of garden scenes. He studied at Saint Martin's School of Art under Anthony Caro from 1952 to 1953 and at Camberwell School of Arts and Crafts under Karel Vogel from 1954 to 1957. In 1957, Abrahams went on to apprentice at the Fiorini Art Bronze Foundry and worked as a display artist for Adel Rootstein. After traveling extensively through Europe, Abrahams began his teaching career in 1960. He served as a visiting lecturer at Birmingham School of Art, Coventry College of Art, Goldsmiths' College, the Royal College of Art, and the Slade School of Fine Art. From 2007 to 2010, he was a professor of sculpture at the Royal Academy Schools.  Ivor Abrahams's first show was with Peter Blake at Portal Gallery in 1960. He also exhibited in the landmark 22 Young Sculptors exhibition at the Institute of Contemporary Arts in 1961. By the late 1960s, Abrahams found inspiration in the imagery of domestic gardens. He began experimenting with new materials, including bronze, nylon flocking, pre-vulcanized latex, styrene and plastics. His first solo show in the United States took place at Richard Feigen Gallery in 1970. Abrahams established his international reputation with a major museum show at the Kölnischer Kunstverein in Cologne in 1973. He went on to have many solo shows in museums and private galleries across Europe and the United States. These shows included a major retrospective at the Yorkshire Sculpture Park in 1984. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Peter Blake (British, b. 1932) For John Constable - Liberty as Suffolk child by John Constable Etching, signed and numbered 66/100. Comes with two postcards, comprising "A Suffolk Child" by John Constable printed for V & A museum and the Blake's etching.  Published by Bernard Jacobson 1976. 13 x 11.5cm ( 5" x 4 6/8") From the Bernard Jacobson Gallery Collection Sir Peter Thomas Blake CBE RDI RA (born 25 June 1932) is an English pop artist. He co-created the sleeve design for the Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band. His other works include the covers for two of The Who's albums, the cover of the Band Aid single "Do They Know It's Christmas?", and the Live Aid concert poster. Blake also designed the 2012 Brit Award statuette. Blake is a prominent figure in the pop art movement. Central to his paintings are his interest in images from popular culture which have infused his collages. In 2002 he was knighted at Buckingham Palace for his services to art. From the late 1950s, Blake's paintings included imagery from advertisements, music hall entertainment, and wrestlers, often including collaged elements. Blake was included in group exhibitions at the Institute of Contemporary Arts. In the "Young Contemporaries" exhibition of 1961 in which he exhibited alongside David Hockney and R. B. Kitaj, he was first identified with the emerging British Pop Art movement. Blake won the (1961) John Moores junior award for Self Portrait with Badges. He came to wider public attention when, along with Pauline Boty, Derek Boshier and Peter Phillips, he featured in Ken Russell's Monitor film on pop art, Pop Goes the Easel, broadcast on BBC television in 1962. From 1963, Blake was represented by Robert Fraser placing him at the centre of Swinging London and bringing him into contact with leading figures of popular culture. Blake had his first solo exhibition with Robert Fraser Gallery in 1965 and appeared on the front cover of LIFE International in a photograph by Lord Snowdon. Blake was given the final exhibition held at Robert Fraser Gallery which closed in 1969. The same year, Blake had his first exhibition with Waddington Galleries, owned by Leslie Waddington who became his lifelong supporter and representative. In 1999, Blake painted Leslie Waddington with Portrait of a Young Man by Hans Memling. Blake participated in Prince Edward's charity television special The Grand Knockout Tournament in 1987. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

David Shrigley (British, b. 1968) Untitled (SOME OF MY BEST FRIENDS ARE PIGS) - One of the Four Animal series , 2019 Lithograph prints on paper 2020 Printed by Narayana Press, Published by ShrigShop, Copenhagen Unsigned and unframed  80 x 60cm (31 1/2 x 23 5/8")  David Shrigley was born in 1968 in Macclesfield, UK. He lives and works in Brighton and Devon, UK. In January 2020 the artist was awarded the decoration of Officer of the Most Excellent Order of the British Empire or OBE. His digital animations such as ‘Headless Drummer’ and ‘The Artist’ demonstrate what Shrigley calls ‘the economy of telling stories’, delivering a deftly crafted mix of dark and light through the simplest of forms. In his sculptural works, rendered in materials such as bronze and ceramic, the artist makes physical some of his more curious and eccentric propositions by transforming found objects or by playing with their scale. Taking Lewis Carroll's perspective of Wonderland, Shrigley enlarges objects and imbues them with curious proportions.  Shrigley was a Turner Prize nominee in 2013, following his major mid-career retrospective ‘Brain Activity' at the Hayward Gallery, London. In September 2016, his monumental sculpture ‘Really Good' was unveiled in Trafalgar Square, London for the Fourth Plinth Commission. Other solo museum exhibitions include those at Copenhagen Contemporary, Denmark (2020); Newstead Abbey Historic House & Gardens, Nottinghamshire, England (2019); Museo de arte Carrillo Gil, Mexico City, Mexico (2019); Art Omi, Ghent, New York, USA (2019); Spritmuseum, Stockholm, Sweden (2018); Deste Foundation Project Space, Greece (2018); Fabrica, Brighton, England (2018); Rose Art Museum, Brandeis University, Massachusetts, USA (2016); National Gallery of Victoria, Melbourne, Australia (2014); Pinakothek der Moderne, Munich, Germany (2014); Hayward Gallery, London, England touring to Yerba Beuna Centre for the Arts, San Francisco, USA (2013); Cornerhouse, Manchester, UK (2012); Mumbai Art Rooms, Mumbai, India (2012); Turku Art Museum, Turku, Finland (2011) and Bergen Kunsthall, Bergen, Norway (2009). Shrigley’s works are included in prominent collections internationally, including Museum of Modern Art, New York, USA; Art Institute of Chicago, Illinois, USA; Museum Ludwig, Cologne, Germany; Pinakothek der Moderne, Munich, Germany; Centre Pompidou, Paris, France; Statens Museum for Kunst, Copenhagen, Denmark; Thyssen-Bornemisza Contemporary Art Foundation, Vienna, Austria; Scottish National Gallery of Modern Art, Edinburgh, Scotland; Tate, London, England; British Council, London, England; and National Gallery of Victoria, Melbourne, Australia. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Salvador Dali (1904-1989) The Twelve Apostles, 1972 Lithograph on paper Numbered 278/350 and signed by artist Framed  49 x 46cm (19" x 18") Salvador Dalí (11 May 1904 – 23 January 1989)  was born in Figueres, Catalonia, Spain. A Spanish surrealist artist renowned for his technical skill, precise draftsmanship, and the striking and bizarre images in his work. Dalí received his formal education in fine arts in Madrid. Influenced by Impressionism and the Renaissance masters from a young age he became increasingly attracted to Cubism and avant-garde movements. He moved closer to Surrealism in the late 1920s and joined the Surrealist group in 1929, soon becoming one of its leading exponents. His best-known work, The Persistence of Memory, was completed in August 1931, and is one of the most famous Surrealist paintings. Dalí lived in France throughout the Spanish Civil War (1936 to 1939) before leaving for the United States in 1940 where he achieved commercial success. He returned to Spain in 1948 where he announced his return to the Catholic faith and developed his "nuclear mysticism" style, based on his interest in classicism, mysticism, and recent scientific developments. Dalí's artistic repertoire included painting, graphic arts, film, sculpture, design and photography, at times in collaboration with other artists. He also wrote fiction, poetry, autobiography, essays and criticism. Major themes in his work include dreams, the subconscious, sexuality, religion, science and his closest personal relationships. To the dismay of those who held his work in high regard, and to the irritation of his critics, his eccentric and ostentatious public behavior often drew more attention than his artwork. His public support for the Francoist regime, his commercial activities and the quality and authenticity of some of his late works have also been controversial. His life and work were an important influence on other Surrealists, pop art and contemporary artists such as Jeff Koons and Damien Hirst. There are two major museums devoted to Salvador Dalí's work: the Dalí Theatre-Museum in Figueres, Spain, and the Salvador Dalí Museum in St. Petersburg, Florida. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Grayson Perry (British, b 1960)  100% ART  Fine bone china plate with gold lustre Developed for the Holburne Museum, in collaboration with Kit Grover. Designed exclusively for the Holburne Museum in Grayson Perry’s inimitable style celebrates the exhibition The Pre-Therapy Years 21.5cm diameter (8.5") Grayson Perry (British, b.1960), British potter who embedded in his work images of violence and other disturbing social issues.  Perry was born into a working-class family, and his interest in ceramics was kindled during childhood. By age 13 he had confided his transvestism to his diary. He studied at the Braintree College of Further Education in Essex and at Portsmouth Polytechnic in Hampshire, but it was not until the early 1980s, when he was living in a squatters’ community in London’s Camden Town, that he returned to the serious study of ceramics by way of evening art classes. At the time, he was appearing in performance pieces and art films and nursing his own aspirations as a filmmaker. He disliked the compromising and collaborating that he felt went hand in hand with filmmaking, however, and when in 1984 the first solo exhibition of his ceramic works—all created in his evening classes—sold well, he made pottery his main art form, though he continued to work in other media. From the 1990s Perry also worked in embroidery, creating such pieces as Mother of All Battles (1996), a woman’s folk costume stitched with ethnic symbols and images of weapons and killings, and Claire’s Coming Out Dress (2000). Perry was also the author of a novel, Cycle of Violence (1992). Perry achieved celebrity status in 2003 when he won the Turner Prize, one of the art world’s premier honours. His receipt of the award stirred some controversy, not only because he was the first potter to win the prize but also because of his tendency to appear in public as a cross-dresser, frequently as his alter ego, Claire, and often accompanied by his wife and daughter. In 2004 Perry mounted a solo exhibition at the Tate St. Ives museum of modern and contemporary art in Cornwall. The exhibition featured his classically shaped vases, the colourful surfaces of which served as a seductive camouflage for inscribed images and messages that were distinctly at odds with their decorative medium. Domestic violence, child abuse, pedophilia, and cultural stereotypes were some of the troubling themes that the artist habitually explored in these inscriptions. Perry acknowledged his exploitation of the decorative appeal of his pots, describing them as a “guerrilla tactic” under the cover of which “a polemic or an ideology” waited to be discovered. I Want to Be an Artist (1996), the first of his vases to be sold at auction, fetched £36,000, more than twice the presale estimate. Perry was appointed Commander of the Order of the British Empire (CBE) in the 2013 Queen’s Birthday Honours for services to contemporary art. In 2023 he was awarded a Knighthood (Knight Bachelor) for services to the Arts in the King’s New Year Honours. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Salvador Dali (1904-1989) Lenin Tiger, c. 1963 Lithograph on Japanese Paper Artist's Proof (AP) Hand signed in pencil by artist Publisher: Jaffe Press Framed & glazed 56 x 45.5cm With Certificate of Authenticity from Edward Weston Fine Art Salvador Dalí was an icon of Surrealism, the 20th-century avant-garde movement that sought to release unconscious creative potential through art that featured dreamlike imagery. Dalí’s fantastical prints, paintings, sculptures, films, and writing helped cement the movement’s identity. Working off psychoanalytic ideas, Dalí rendered fantastical creatures and landscapes that could unsettle and awe. Dalí's artistic repertoire included painting, graphic arts, film, sculpture, design and photography, at times in collaboration with other artists. He also wrote fiction, poetry, autobiography, essays and criticism. Major themes in his work include dreams, the subconscious, sexuality, religion, science and his closest personal relationships. To the dismay of those who held his work in high regard, and to the irritation of his critics, his eccentric and ostentatious public behaviour often drew more attention than his artwork. His public support for the Francoist regime, his commercial activities and the quality and authenticity of some of his late works have also been controversial. His life and work were an important influence on other Surrealists, pop art and contemporary artists such as Jeff Koons and Damien Hirst. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Willem Oorebeek (Dutch, b 1953)  Blackout Le Male-  Jean Paul Gaultier Sailor Signed by the artist - for Andrew Webbs' 33rd birthday 29, 01'01 Print on paper Framed in wooden frame. 29 x 22cm (11.5" x 8.5") Willem Oorebeek is a Dutch Postwar & Contemporary artist who was born in 1953. Their work is currently being shown at Z33 House for Contemporary Art in Hasselt. Numerous key galleries and museums such as Galeria Quadrado Azul, Porto have featured Willem Oorebeek's work in the past.Willem Oorebeek's work has been offered at auction multiple times, with realized prices ranging from 58 USD to 774 USD, depending on the size and medium of the artwork. Since 2017 the record price for this artist at auction is 774 USD for "Double séances (head BC)", sold at Veritas Art Auctioneers in 2022. Willem Oorebeek has been featured in articles for Frieze Magazine, e-flux and ArtDaily. The most recent article is unExhibit written for Frieze Magazine in May 2011. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Fabian Perez (Argentina, b. 1967) Saba with Glass of Red Wine Print on paper Signed & number in pencil Limited edition No. 204/495 Framed & glazed  Biography of the artist to back from DeMontfort Fine Art Fabian Perez was nominated for the Artist of the Year 2014 award from the Italian Academy of Artists and the highly coveted Art Tour International Magazine Master of Contemporary Art award. Fabian is now one of the world’s most collected artists, with celebrity admirers ranging from sporting superstars including Sugar Ray Leonard, Shaquille O’Neal and Lionel Messi, to musicians Scott Weiland, Rihanna, Shakira and Phil Campbell, comedian John Bishop, actors Mickey Rourke, Mario Lopez and Megan Fox, singer songwriter Juan Gabriel, President of the Latin Grammy Awards Gabriel Abora, President of the American Grammy Awards Neil Portnow; Fabian was recently a guest at the Vatican where he presented Pope Francis with his original portrait which now hangs in the Pontiff’s personal private collection. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Grayson Perry (British, b. 1960)  Non-fungible Token Mug  Fine bone china plate with platinum lustre Stamped by artist estate 21.5 cm diameter (8.5") 8.9 x 12.4 x 8.5 cm (3.5" x 5" x 3.5") Weighs approximately 230g Grayson Perry (British, b 1960) is a British potter who embedded in his work images of violence and other disturbing social issues.  Perry was born into a working-class family, and his interest in ceramics was kindled during childhood. By age 13 he had confided his transvestism to his diary. He studied at the Braintree College of Further Education in Essex and at Portsmouth Polytechnic in Hampshire, but it was not until the early 1980s, when he was living in a squatters’ community in London’s Camden Town, that he returned to the serious study of ceramics by way of evening art classes. At the time, he was appearing in performance pieces and art films and nursing his own aspirations as a filmmaker. He disliked the compromising and collaborating that he felt went hand in hand with filmmaking, however, and when in 1984 the first solo exhibition of his ceramic works—all created in his evening classes—sold well, he made pottery his main art form, though he continued to work in other media. From the 1990s Perry also worked in embroidery, creating such pieces as Mother of All Battles (1996), a woman’s folk costume stitched with ethnic symbols and images of weapons and killings, and Claire’s Coming Out Dress (2000). Perry was also the author of a novel, Cycle of Violence (1992). Perry achieved celebrity status in 2003 when he won the Turner Prize, one of the art world’s premier honours. His receipt of the award stirred some controversy, not only because he was the first potter to win the prize but also because of his tendency to appear in public as a cross-dresser, frequently as his alter ego, Claire, and often accompanied by his wife and daughter. In 2004 Perry mounted a solo exhibition at the Tate St. Ives museum of modern and contemporary art in Cornwall. The exhibition featured his classically shaped vases, the colourful surfaces of which served as a seductive camouflage for inscribed images and messages that were distinctly at odds with their decorative medium. Domestic violence, child abuse, pedophilia, and cultural stereotypes were some of the troubling themes that the artist habitually explored in these inscriptions. Perry acknowledged his exploitation of the decorative appeal of his pots, describing them as a “guerrilla tactic” under the cover of which “a polemic or an ideology” waited to be discovered. I Want to Be an Artist (1996), the first of his vases to be sold at auction, fetched £36,000, more than twice the presale estimate. Perry was appointed Commander of the Order of the British Empire (CBE) in the 2013 Queen’s Birthday Honours for services to contemporary art. In 2023 he was awarded a Knighthood (Knight Bachelor) for services to the Arts in the King’s New Year Honours. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Tom Frost (British contemporary)  'Even on calm waters waves will rise' (21st century) Screen print on paper Unsigned Mounted, framed & glazed 14 x 17cm (5.5" x 6.75") Tom Frost studied illustration at Falmouth College of Art, and since graduating in 2001, has worked as a freelance illustrator in Bristol and become a member at the wonderful Snap Studios in central Bristol in order to pursue his love of screen printing.  Now living in Pembrokeshire and working from his studio in the garden, his work is inspired by his passion for old match boxes, vintage tin toys, folk art, children’s books and stamps. Utilising screen printing, plywood, vintage Meccano, acrylic paint, Gocco machines and perspiration, he hopes to create items that people will cherish for years to come. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Grayson Perry (British, b 1960)  The Lion Queen  Fine bone china plate with gold lustre Stamped by artist estate 21.5 cm diameter (8.5") Grayson Perry (British, b 1960), British potter who embedded in his work images of violence and other disturbing social issues.  Perry was born into a working-class family, and his interest in ceramics was kindled during childhood. By age 13 he had confided his transvestism to his diary. He studied at the Braintree College of Further Education in Essex and at Portsmouth Polytechnic in Hampshire, but it was not until the early 1980s, when he was living in a squatters’ community in London’s Camden Town, that he returned to the serious study of ceramics by way of evening art classes. At the time, he was appearing in performance pieces and art films and nursing his own aspirations as a filmmaker. He disliked the compromising and collaborating that he felt went hand in hand with filmmaking, however, and when in 1984 the first solo exhibition of his ceramic works—all created in his evening classes—sold well, he made pottery his main art form, though he continued to work in other media. From the 1990s Perry also worked in embroidery, creating such pieces as Mother of All Battles (1996), a woman’s folk costume stitched with ethnic symbols and images of weapons and killings, and Claire’s Coming Out Dress (2000). Perry was also the author of a novel, Cycle of Violence (1992). Perry achieved celebrity status in 2003 when he won the Turner Prize, one of the art world’s premier honours. His receipt of the award stirred some controversy, not only because he was the first potter to win the prize but also because of his tendency to appear in public as a cross-dresser, frequently as his alter ego, Claire, and often accompanied by his wife and daughter. In 2004 Perry mounted a solo exhibition at the Tate St. Ives museum of modern and contemporary art in Cornwall. The exhibition featured his classically shaped vases, the colourful surfaces of which served as a seductive camouflage for inscribed images and messages that were distinctly at odds with their decorative medium. Domestic violence, child abuse, pedophilia, and cultural stereotypes were some of the troubling themes that the artist habitually explored in these inscriptions. Perry acknowledged his exploitation of the decorative appeal of his pots, describing them as a “guerrilla tactic” under the cover of which “a polemic or an ideology” waited to be discovered. I Want to Be an Artist (1996), the first of his vases to be sold at auction, fetched £36,000, more than twice the presale estimate. Perry was appointed Commander of the Order of the British Empire (CBE) in the 2013 Queen’s Birthday Honours for services to contemporary art. In 2023 he was awarded a Knighthood (Knight Bachelor) for services to the Arts in the King’s New Year Honours. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Artist hand signed lower right in pencil on arches paper. A large serigraph print on arches paper, a limited unnumbered edition of an original Modernist work by Russian born artist Igor Galanin (b. 1937) whose work has been featured in Vanity Fair, The Christian Science Monitor, Penthouse Magazine, and The New York Times, and been exhibited at the Rose Art Museum in Boston, the London Gallery in Montreal, and Museum of Contemporary Art, La Jolla, CA. Artist signed in pencil lower right. Artist: Igor GalaninIssued: 1985Dimensions: 42.5"H x 35.25"WCountry of Origin: United States

NAGASAWA ROSETSU (1754-1799): PERSIMMON WITH RED AUTUMN LEAVES AND PUPPIESJapan, 18th century. Ink and watercolor on silk. Mounted as a hanging scroll, with a silk brocade coated paper frame and wooden handles. The free brushwork and playful composition depicting two recumbent puppies sitting under a tree.Inscriptions: To the bottom-left, signed ‘Rosetsu.’ One seal, ‘Gyo’ 魚. The tomobako (storage box) with inscriptions, to the cover, inscribed ‘Rosetsu, Two Puppies,’ a collector’s label to one side ‘Rosetsu komainu-ko (hakushi)’ 蘆雪狛子 (‘Puppies by Rosetsu’), the other side 第三一七號、蘆雪、柿紅葉狛 (‘Number 317, Rosetsu, Persimmon with red autumn leaves and puppies’).Provenance: Collection of Baron Masuda Takashi, Tokyo, Japan, by repute. Louis Pappas Works of Art, San Francisco, 8 August 1969. The James and Marilynn Alsdorf Collection, Chicago, acquired from the above and thence by descent. Baron Masuda Takashi (1848-1938) was a Japanese industrialist, investor, and art collector. He was a prominent entrepreneur in Meiji, Taishō and early Shōwa period Japan, responsible for transforming Mitsui into a zaibatsu through the creation of a general trading company, Mitsui Bussan. Masuda's collection was a legend during his lifetime but was sold by his son after Masuda's death in 1938. Most of the collection is said to have been purchased at that time by Tokyo art dealer Setsu Inosuke. Louis Pappas (1926 - 2018) was an important art dealer in San Francisco, United States. James and Marilynn Alsdorf got married in 1952 and built a life that was centered on art, philanthropy and family. Studying and collecting art was their all-consuming passion, and it took them all over the world. Their spirit of adventure was unique; they went places that few collectors at the time were curious and confident enough to explore. As their interests diversified, so did their collection. ‘They were not strategic in their collecting,’ recalls Bridget Alsdorf, the couple’s granddaughter. ‘They were guided by what fascinated them and gave them pleasure, by knowledge and instinct. They were an incredible team.’ As well as being great collectors, the Alsdorfs were loyal supporters of museums and cultural institutions across Chicago and the wider United States, including the National Gallery of Art in Washington, D.C., the Leigh Block Museum of Art at Northwestern University and the Art Institute of Chicago. James Alsdorf served as Chairman of the AIC from 1975 to 1978, and Marilynn sat on various committees. In 1967, the Alsdorfs joined other prominent Chicago collectors, including, Edwin and Lindy Bergman and Robert and Beatrice Mayer, in founding the Museum of Contemporary Art Chicago, an institution to which they would provide extensive financial and personal leadership. After James’s passing in 1990, Marilynn, who was known as ‘the queen of the Chicago arts community’, continued to build upon her husband’s legacy in art and philanthropy, making a transformative bequest to the AIC in 1997, and funding a curatorial position in Indian and Southeast Asian Art at the AIC in 2006. Condition: Excellent condition with only minor wear. The silk brocade mounting in excellent condition with expected wear.Dimensions: Image size 118.8 x 46 cm, Size incl. mounting 211 x 58.5 cmWith an inscribed tomobako storage box. (2)Following the style of his early teacher Maruyama Ōkyo, especially his naturalistic depiction of animals, birds, and fish, Rosetsu established a reputation as an unrestrained and imaginative painter.Nagasawa Rosetsu (1754-1799) was an 18th-century Japanese painter of the Maruyama School, known for his versatile style. He was born to the family of a low-ranking samurai. He studied with Maruyama Ōkyo in Kyoto. Rosetsu's early period works are in the style of Maruyama Ōkyo, although critics agree that the pupil's skill quickly surpassed his master's. Finally, they had a falling out and Rosetsu left the school. After the break, he worked under the patronage of the feudal lord of Yodo and accepted commissions at several temples. His works are kept in many museums worldwide, including the Dallas Museum of Art, the Walters Art Museum, the Princeton University Art Museum, the Harvard Art Museums, the Los Angeles County Museum of Art, the British Museum, the Minneapolis Institute of Art, and many more.Museum comparison:Compare a closely related painting by Nagasaw Rosetsu in The Walters Art Museum, Baltimore, USA, accession no. 35.74.

Frederic Leighton, 1st Baron Leighton P.R.A., R.W.S., known as Sir Frederic Leighton (British, 1830-1896): An important bronze figure of 'An Athlete Wrestling A Python'The posthumous cast published by Ernest Brown and Phillips at the Leicester Galleries, circa 1909On rectangular naturalistic base, signed, dated and numbered to one side F. LEIGHTON 1877 XVI, and inscribed to the base verso PUBD BY ERNEST BROWN & PHILLIPS AT THE LEICESTER GALLERIES, LEICESTER SQUARE, LONDON., brown patina, raised on a corresponding verde antico shallow square plinth, the bronze, 52cm high, 34m wide, 29cm deep, the marble plinth, 2.5vm high, 31cm wide, 22cm deepFootnotes:ProvenanceAcquired by Sunderland businessman, Paul Wayman, circa 1920Thence by family descent to the present owner. Although Leighton's fame as a renowned and celebrated painter was firmly established by the close of the third quarter of the 19th century, his success in sculptural terms did come until 1877 when he debuted his work 'Athlete Wrestling with a Python' at the Royal Academy. At the time of exhibition, it was also alternatively known to reviewers as 'An Athlete Strangling a Python' and 'An Athlete Struggling with a Python'. Whichever title its reviewers used, the finished work was held to great acclaim by both critics and the public and it catapulted Leighton to an international spotlight, later leading him to be proclaimed as 'the father of the English New Sculpture movement'. However, even though he only returned to the medium of sculpture on two subsequent occasions with his figures of 'Needless Alarms' and 'The Sluggard', both of which also proved highly successful, it was this sculpture that defined him for posterity to both critics and the public alike. Influenced by antique Greek sculpture and particularly 'The Laocoön' which formed part of the Vatican sculpture collection, the work represents a dramatic life and death scene of a classical male nude contending a python which is coiled around his left thigh and whose head is held at bay by his rigidly outstretched arm. Leighton's powerful and complex design commands a sense of suppressed energy and opposing forces momentarily balanced at a point of supreme tension. Although the realism of the figures anatomy was undoubtedly influenced by the sculptors of antiquity and the Renaissance including the work of Michelangelo, it also owned a debt to contemporary French sculpture which gave it a naturalism far removed from the uniform excesses of the neo-classical works produced by sculptors of a generation before.The model for the work was the professional sitter, Angelo Colorosi who was a leading figure in the Italian group of professional male models in the later 19th century. From contemporary interviews which Leighton made with the Studio magazine in the early 1890's, he confirmed he originally modelled the piece as a small-scale clay figure. However, the decision to turn it into a large-scale bronze was made on the encouragement of either the sculptor Jules Dalou (French, 1838-1901) who was in exile in London during that time or perhaps his contemporary, Alphonse Legros (French, 1837-1911). Assisted by Leighton's protégé, Thomas Brock (British, 1847-1922), the full-size model was first modelled in plaster and then cast in bronze by Cox & Son before it was exhibited at the Royal Academy. Its influence was also far reaching to the new generation of emerging New Sculpture artists including the young Brock, Hamo Thorneycroft, Edward Onslow Ford, George Frampton and interestingly, Alfred Gilbert, who's first work, a figure of 'Icarus' was coincidentally commissioned by Leighton. The sculpture's popularity was sealed when it was purchased on behalf of the Tate by the Chantrey Bequest in 1877 and it won the gold medal when it appeared at the prestigious Exposition Universelle in Paris the following year. A monumental marble replica of the sculpture was subsequently commissioned by the wealthy Danish brewer Carl Jacobsen for the museum bearing his name in 1882 and much of the carving for this work was done by the New Sculpture sculptor Frederick Pomeroy (British, 1856-1924) at the start of his career whilst still working in Brocks studios.Reductions of the bronze were posthumously published in edition casts of two similar sizes between 1903-1910. The first edition was published by Arthur Collie. The second edition was published by Ernest Brown and Phillips at the Leicester Galleries. In 1909, The Magazine of Art announced that the Leicester Galleries were to publish Leighton's 'An Athlete Struggling with a Python' in an unspecified limited edition. The offered lot appears to be a relatively early cast from this second edition.Frederic Leighton was the son of doctor and began his artistic education in Italy when he travelled to Rome and Florence in 1840 before becoming a pupil of Zanetti and meeting the American sculptor Hiram Powers. Moving to Frankfurt in 1844 he studied under the Nazarene painter E. J. von Steinle at the Institut Staedel before travelling to Brussels and Paris then finally returning to Rome in 1852.Surrounded by a group of ex-patriot writers and artists such as Thackeray, Browning and Gibson, he established his reputation as a painter with his work 'Cimabue's Madonna carried in Procession' which was exhibited at the Royal Academy in 1855 and subsequently purchased by Queen Victorian and Prince Albert for the Royal Collection.At the Royal Academy, Leighton progressed from ARA in 1864 and RA in 1868 to become President in 1878. At the same time in keeping with his growing stature he also began work on his house, no. 2 Holland Park Road (now the Leighton House Museum) in 1865. In public life, he was the only sculptor to receive a barony being created a baronet in 1886 and Baron Leighton of Stretton in 1896.Related LiteratureStephen Jones, Christopher Newall, Leonée Ormond, Richard Ormond, Benedict Read, Frederic, Lord Leighton, Eminent Victorian Artist, 1996, Harry N. Abrams, Inc, Pub. with The Royal Academy of Arts, London, p. 182-183.Peyton Skipwith, Sir Alfred Gilbert & The New Sculpture, British Sculpture 1850-1930, The Fine Art Society in association with Robert Bowman, p. 72-75.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A near pair of early 19th century boxwood and ebony strung and crossbanded amboyna and mahogany miniature collectors cabinets containing an interesting contemporary collection of sulphide 'buttons', various English and French sulphide profile portrait plaques, red and green paste intaglio 'gems' and a part set of red wax miniature reliefs of British royal portraitsThe boxes manufactured by the same cabinet maker and apparently acquired at the same time to house a contemporary collection,of slightly differing sizes with similarly inlaid panelled decoration, each with a pair of doors opening to six graduated drawers with turned ivory knopped handles and inset central plaques numbered from 1 to 6, the mahogany cabinet containing the majority of a part set of numbered miniature oval and circular wax portrait reliefs depicting George I, II and III and their extended families together with ink written numbered paper keys of the sitters taken from Tassier's catalogue, the amboyna cabinet containing the remainder of the wax portrait reliefs together with a set of twenty four sulphide 'buttons' depicting winged putti at various pursuits, twenty four red glass oval 'gems', apparently intaglio from or used to create the sulphide 'button' subjects, the sulphide profile portraits including 15 unmounted subjects of late 18th and early 19th century British royally, together with a circular plaque of Louis XVI and a Baccarat oval plaque of a classical youth (as found), and seven green paste oval 'gems', apparently intaglios taken from or used to create the sulphide profile portrait subjects, and two other amber paste intaglio 'gems', the cabinets, 13cm x 18cm x 10cm, and 113cm x 16.5cm x 10cm (2)Footnotes:LiteraturePaul Jokelson 'Sulphides, The Art of Cameo Incrustation', Galahad Books, New York, 1968, pg 71.Paul H Dunlop 'The Jokelson Collection of Antique Cameo Incrustation', Papier Presse, USA, 1991, pg 68 and pg 95.This lot containing ivory has been registered in accordance with the Ivory Act (Section 10), T6HPQAABThis lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com

[SCHUMANN ROBERT]: (1810-1856) German composer and pianist of the Romantic era. SCHUMANN CLARA (1819-1896) German pianist and composer of the Romantic era, wife of Robert Schumann from 1840 until his death. A fine Autograph Letter ‘Signed’, Robert, three pages, 8vo, Endenich, 14th September 1854 (written later), to his wife, in German. The closely written letter is Clara Schumann’s contemporary autograph transcript of the first letter that her husband wrote to her following his self-admission to the mental asylum at Endenich, stating, in part, ‘How happy I am, beloved Clara, to recognise your handwriting; thank you, that you write to me these days…..May I see you once more and speak! But the journey is still too long. I would like to know so many things about you, how your life is going…..and whether you always play wonderfully, whether Marie and Elsie are always making progress, whether they sing as well – whether you still have the Klems piano – where are the collections of my scores (the printed ones), our album, which contains the autographs of Goethe, Jean Paul, Mozart, Beethoven, Weber and many letters addressed to you……Do you still have all the letters I wrote to you and the love verses, which I sent to you from Vienna to Paris? Could you send me maybe something interesting…..I also miss a lot music paper, sometimes I would like to write some music. My life is very simple, and I only rejoice in the beautiful view of Bonn…..I would like to know, dear Clara, if you took care of my clothing and if you perhaps could send me cigars. I care very much to know. Write to me still more the details of the children, whether they are still playing Beethoven, Mozart……and how are Ludwig, Ferdinand and good Eugenie. Oh, how I would still like to hear your wonderful art! It seems like a dream, last winter in Holland, the splendid reception you were given, especially in Rotterdam…..how you played so grandly the Concerto in E-flat major, Beethoven’s Sonatas in C major and F-flat, Chopin’s Etudes, Mendelssohn’s Lieder ofme Worle, and also my new piece for Concerto in D. Do you also remember a theme in E-flat major, which I had heard at night, and the Variations I wrote from it? Could you send them to me and maybe some of your own compositions as well? So many questions and so many favours I ask…..If you want to spread a veil over this or what I ask, do so. Be well, beloved Clara and dear children, and write to me soon!’. A letter of extraordinarily poignant content, transcribed by Clara with the probable intent of giving it to Johannes Brahms with whom the Schumann’s maintained a close relationship. VGIn late February 1854 Robert Schumann’s melancholic depressive symptoms increased and the composer attempted to commit suicide. As a result he asked to be placed in an asylum for the insane and was admitted to Dr. Franz Richarz’s sanatorium in Endenich, a quarter of Bonn, in March 1854 and remained there until his death in July 1856 at the age of 46. It was not until September 1854 that Schumann enquired about his family, as reflected in the present letter, although he was forbidden from seeing Clara during his confinement. However, Brahms was allowed to call upon him. Clara finally visited her husband two days before his death. Robert appeared to recognise her but was able to only speak a few words.

Johnson (Arthur, binder).- Ginzburg (Ralph, editor) Avant Garde #8: Picasso's Erotic Gravures, illustrations, book-label to rear free endpaper, original wrappers bound at end, bound in red goatskin, by Arthur Johnson, inlaid with goatskin shapes of many colours including shades of green, blue, orange, purple and yellow to create an abstract erotic scene inspired by Picasso's gravures, titled in white and yellow up spine, signed & dated "A.J. 1970" at foot of rear turn-in, one or two barely perceptible small scratches, preserved in a red cloth drop-back box (little rubbed), 4to (binding 285 x 275mm.), New York, 1969.⁂ Arthur W. Johnson (1920-2004), bookbinder and renowned teacher of bookbinding, trained at Hornsey College of Art and Camberwell School of Art, and lectured in bookbinding at London College of Printing. He was a founder member of the Hampstead Guild of Scribes and Bookbinders, which became the Guild of Contemporary Bookbinders and then Designer Bookbinders, and wrote several books on the craft of bookbinding. He is known for his bold and colourful designs.

JOY KIRTON-SMITH (BRITISH, CONTEMPORARY) 'Cascade I'signed lower right, limited edition coloured lithograph numbered 96/295, 66cm x 45cm Provenance: acquired from Washington Green Fine Art.

JOY KIRTON-SMITH (BRITISH, CONTEMPORARY) 'Dance of Passion' signed lower right, limited edition coloured lithograph numbered 26/195, 75cm x 98cm certificate of authenticity reverseProvenance: Acquired from Washington Green Fine Art.

JOY KIRTON-SMITH (BRITISH, CONTEMPORARY) 'Much ado about nothing' signed lower right, limited edition coloured lithograph numbered 189/295, 65cm x 65cmProvenance: acquired from Washington Green Fine Art.

Five assorted illustrated/art realted titles, including John Ruskin: 'Giotto and His Works in Padua: Being an Explanatory Notice of the Series of Woodcuts Executed for the Arundel Society After the Frescoes in the Arena Chapel', Arundel Society, 1854, 1st edition, 124pp, ills. in text, contemporary full morocco gilt by Cawthorne, Leeds, inner dentelles gilt, gauffered edges, Edmund Dulac (ill.): 'The Rubaiyat of Omar Khayyam', L, Hodder & Stoughton, [nd], c.1938, 12 tipped in colour plates as called for, original cloth gilt, Paul Gallico: 'The Snow Goose', 1952, 27th impression, signed Paul Gallico on FFEP, orig. cloth, dust wrapper, plus 1954 1st edition of 'Love of Seven Dolls' in dust wrapper, and William Russell Flint: 'Models of Propriety. Occasional Caprices for the Edification of Ladies an dthe Delight of Gentlemen', 1951, 1st edition, illustrations throughout, orig. cloth, dust wrapper (5)

Rembrandt van Rijn; Edme Francois Gersaint: 'Catalogue raisonné de toutes les pieces qui forment l'oeuvre de Rembrandt...avec les augmentations nécessaires, par les sieurs Helle & Glomy.', Paris, Chez Hochereau, 1751, 1st edition, engraved portrait frontis of Rembrandt-Van-Rhein by Jean-Baptiste Glomy as called for, second part with separate printed title page 'Supplement au catalogue raisonné de ... Rembrandt.', by Pierre Yver, Amsterdam, Pierre Yver, 1756, first part xxxii,326pp., second part viii,187,[11]pp. + errata leaf, the copy of George Fairholme of Greenknowe (1789-1846), Geologist, land owner, banker, traveller and naturalist, with his armorial bookplate to front pastedown, and copious manuscript pen & ink notes to text and margins throughout, stating sizes and various remarks about the works "Mr B. has an impression of this , great part of which is unfinished, the figures at bottom of angels being only traced out" (No.43 L'Annonciation aux Bergers) "another landscape, on the right are houses, particularly a large one with a turret, surrounded by trees, a river runs through in the foreground on the left...and in the background a view of Amsterdam with windmills...in the middle are two small figures on horseback, one of which seems pointing at the prospect. It has neither name nor date, and is one of those that he washed in Indian Ink - it is extremely scarce, as I never saw another - J.B.", 12mo, contemporary calf gilt, morocco gilt label to spine, together with John Evelyn: 'culptura historico-technica: or, The history and art of engraving...To which is now added, A chronological and historical series of the painters from the eleventh century. Extracted from Baldinucci, Florent Le Compte, Fairthorne, the Abecedario pittorico, and others authors. With copper-plates.', L, J. Marks, 1770, 4th edition, 10 engraved plates as called for, xi,264pp., contemporary calf, morocco gilt label to spine, armorial book plate of George Fairholme of Greenknowe. His father, William Fairholme (mother Elizabeth) made his living from banking and was a serious art collector. Nothing is known of George's childhood years and there is no record of his attending any university. But he was probably tutored at home and self-taught in keeping with his family’s wealthy financial situation. In 1800 an uncle bequeathed to him the Greenknowe estate (5000 plus acres) near Gordon, Berwickshire. Like many in his day he used his wealth to pursue his study of geology both in Britain and in Europe. On 15 November 1818 he married Caroline Forbes, who was the eldest daughter of the eighteenth Lord Forbes and granddaughter of the sixth Duke of Atholl. They lived in Perth; Greenknowe; Berne, Switzerland; Brussels; Ramsgate, Kent; and many other locations in Europe. They had five children, William, James (a naval officer lost on the Franklin Expedition), George, Charles and Elizabeth Marjory. George died in November 1846 in Royal Leamington Spa, willing homes, paintings and nearly 3000 pounds to each child. From the estate of George Fairholme, provenance by descent (2)

Contemporary Art Deco style polished metal framed wall mirror, H108cm x W73cm

Andrew Skilleter (contemporary) "Biggles Does Some Homework", the original cover art for the book, gouache on paper, signed and dated 2007, mounted on card, 30 cm x 39 cm overall

MACIEJOWSKI, MARCIN1974 Babice/PolenTitel: "07:15". Datierung: 2008. Technik: Öl auf Leinwand. Maße: 170 x 130cm. Bezeichnung: Betitelt, bezeichnet, signiert und datiert verso unten rechts: "07:15" (wg. "Dwanascie" M. Swietlickiego) MARCIN MACIEJOWSKI 2008. Hier zudem mit Werkangaben versehen. Provenienz:- Galerie Meyer Kainer, Wien- Privatsammlung Süddeutschland (seit 2010)Ausstellungen:- Kunstforum Ostdeutsche Galerie, Regensburg 2010Der 1974 in Babice bei Krakau geborene Maler Marcin Maciejowski ist einer der bekanntesten zeitgenössischen Künstler Polens. Von 1996 bis 2001 studiert er an der Kunstakademie in Krakau und erlangt internationale Bekanntheit als Gründungsmitglied der Grupa ?adnie (Hübsche Gruppe), zu der auch Rafa? Bujnowski, Marek Firek, Wilhelm Sasnal, und Jósef Tomczyk Kurosawa gehören. Maciejowski hält Szenen aus dem Alltag fest und bedient sich dabei einer Vielzahl von Medien - darunter Zeitungen, Fernsehen, Werbung, Comics sowie eigene Fotografien. Die sozialen und politischen Implikationen von Maciejowskis Vorlagen werden in seinen gemalten Versionen beibehalten und durch den Wechsel des Mediums in den Mittelpunkt gerückt. Er verbindet eine Comic-Ästhetik mit dem Realismus altmeisterlicher Gemälde, um eine rätselhafte Form des sozialen Kommentars zu finden. Das vorliegende Gemälde gleicht einem Polaroid-Foto, nicht nur inhaltlich, sondern auch formal: Am unteren Rand sehen wir, fast wie auf einem Beweisfoto, das Datum und die Uhrzeit der festgehaltenen Szene. Zwei Männer und Frauen befinden sich in einer leeren Bar, tanzend oder vor ihren leeren Gläsern an der Bar sitzend oder stehend. Das grelle Licht der Polaroid-Kamera scheint die vier Personen ganz ungefiltert zu treffen. Dem Betrachter stellt sich unmittelbar die Frage, wer die Dargestellten sind, wo sie sich befinden und wie sie zueinander gehören. Ausgelassen und glücklich wirkt keine der dargestellten Personen. In der gewählten Farbigkeit schwingt eine melancholische, fast bedrohliche Stimmung mit. Maciejowski gelingt es meisterhaft, den Betrachtenden im Ungewissen zu lassen und gleichzeitig, fein nuanciert, seinen persönlichen Blick auf die photographische Vorlage preiszugeben. Marcin Maciejowskis Werke finden sich u.a. im Centre Georges Pompidou in Paris, im Center for Contemporary Art in Warschau, im San Francisco Museum of Modern Art, im Solomon R. Guggenheim Museum und im Whitney Museum of American Art, beide in New York sowie in zahlreichen namhaften Privatsammlungen weltweit. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog

COPLEY, WILLIAM NELSON1919 New York - 1996 Key WestTitel: Scottish Ms.Datierung: 1974. Technik: Acryl auf Leinwand. Maße: 117 x 89cm. Bezeichnung: Signiert und datiert unten rechts: CPLY 74. Rahmen/Sockel: Atelierleiste. Provenienz:- CPLY Art Trust, 1976 (Aufkleber, direkt vom Künstler)- William N. Copley Estate- Paul Kasmin Gallery, New York (Aufkleber)- Sammlung Prof. Dr. Thomas Olbricht, Essen (2010 vom Vorgenannten erworben)Ausstellungen:- Paul Kasmin Gallery, New York 2010- me Collectors Room, Berlin 2011Literatur:- Ausst.-Kat. William N. Copley, X-Rated, Paul Kasmin Gallery, New York 2010, S. 121, Abb.- Charakteristisch erotisch-humorvolle Arbeit aus dem Hauptwerk des Künstlers- Unverwechselbare Farbigkeit als Beleg für Copleys Vorreiterrolle in der Pop Art- William N. Copley gilt als Bindeglied zwischen Pop Art und SurrealismusWilliam Copley, der auch unter CPLY firmierte, begann seine Karriere als Galerist und stelle Größen des Surrealismus aus. Unter den von ihm vertretenen Künstlern finden sich Namen wie René Magritte, Max Ernst oder Man Ray, die er auch als Sammler unterstütze. Heute unvorstellbar, gelang es ihm aber nicht, die Künstler erfolgreich zu vermarkten. Der Künstler Copley wird selbst oft als Vertreter des Surrealismus und als Vorläufer der Pop-Art bezeichnet. Sein Stil ist jedoch zu einzigartig, um ihn einer bestimmten Künstlergruppierung zuordnen zu können. Mit seiner unverwechselbaren Ausdrucksweise - zeichnerisch und comichaft - porträtiert er amerikanische Stereotypen und zitiert Kunst auf parodierende Weise. Thematisch beschäftigt sich das ikonische Werk des amerikanischen Provokateurs und Pop-Art-Surrealisten häufig mit dem sexuellen Begehren und der weiblichen Lust.Die hier angebotene großformatige und farbkräftige Arbeit zeigt eine junge blonde Frau, die bis auf ihre Kniestrümpfe komplett entblößt ist und dem Betrachter mit ihren gespreizten Beinen lustvoll den Blick auf ihren behaarten Intimbereich offenbart. Der wohlgeformte Körper der Frau nimmt dabei den ganzen Bildraum ein. Die linke Hand der Frau liegt auf ihren nackten Brüsten. Ihr Kopf ist nur im Anschnitt dargestellt, sodass die Identität der Frau im Verborgenen bleibt. Lediglich das von einem Pfeil durchbohrte Herz-Tattoo auf dem Gesäß unterscheidet die junge Frau von anderen und verleiht ihr ein persönliches Erkennungsmerkmal. Es steht symbolisch für Liebe und Leidenschaft und wird in Kombination mit dem Pfeil oft auch als Warnung vor emotionalen Verletzungen verstanden. Das großmaschige Karomuster der Kniestrümpfe spiegelt sich im Hintergrund und in der Bettwäsche wider. Dieses markante Webmuster der Stoffe scheint in Verbindung mit dem Bildtitel "Scottish Ms." Auskunft über die Herkunft der jungen Frau geben zu wollen.Damit zählt das Gemälde zu einer Reihe von berühmten Werken von William N. Copley, die ab Mitte der 1960er Jahre entstehen und Stereotypen sowie triviale Motive wie unter anderem Pin-Up-Mädchen zeigen, welche Copley teils mit Staatssymbolen, wie z.B. Länderflaggen, kombiniert und so subtil ironisiert.Inspiriert von surrealistischen Gemälden und Walt-Disney Zeichentrickfilmen überzeugt die dargestellte Arbeit "Scottish Ms.", aber vor allem in ihrer unverwechselbaren und einzigartigen Bildsprache. Copleys Werke scheinen flach wie Ausschnitte, aber das Zusammenspiel der Muster in starken Farbkombinationen erzeugt eine meisterhafte Illusion von Volumen und Tiefe ähnlich wie bei den Gemälden von Künstlern wie Henri Matisse. Dem Werk von William N. Copley wurde in den letzten Jahren verstärkt Beachtung geschenkt, z.B. im Zuge einer umfassenden Retrospektive in der Menil Collection in Houston und der Fondazione Prada in Mailand oder wie 2018/19 in einer großen Ausstellung im Institute of Contemporary Art in Miami. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog

Merrill Wagner, American b.1935 - Untitled, 1976; tape on card, signed and dated lower right 'M Wagner 1976', 71.5 x 56.5 cm Provenance:Christie's, London, Post-War and Contemporary Art, 17th April 2013, lot 280 (1 of 2) (unsold)

Richard Wilson RA, British b.1953 -  2nd Draft, Serpentine Gallery, April,1996; ink and coloured pencil on paper, signed, titled and dated lower right 'Richard Wilson April 1996', 27.3 x 38 cm: together with another work on paper by the same artist entitled 'Eye for an Eye (Jamming Gears)', 1996,  30 x 40.7 cm (unframed, the second) (2) (ARR) Provenance (the first): with Matt's Gallery, London (according to the stamped on the reverse of the frame); with Contemporary Art Society Market, London (according to the label attached to the reverse of the frame) 

Julia Goldman, American b.1982 - Swimmers, 2009; oil on canvas, signed, titled and dated on the reverse 'Julia Goldman Swimmers 2009', 117 x 101.8 cm (unframed) (VAT charged on hammer price) Provenance:Museum Gallery 52, New York; private collection, UK, acquired from the above in 2009 Exhibited: The Saatchi Gallery, Lonodon, 'Making Waves: International Contemporary Art', 2012 

Keith Coventry,  British b.1958 -  Ontological Picture, 2010;  oil on canvas board, signed and dated on the reverse 'K. Coventry 2010', 20 x 14.9 cm (ARR)  Note: The Ontological Picture series (1996-2004) encapsulates Coventry’s desire to bring contemporary political, social and cultural issues into dialogue with key movements of twentieth-century art and philosophy. The series is closely related to his earlier Estate Paintings (1992-2000) which isolated visual elements from British council estate aerial view maps in order to resemble works of key modernist figures such as Kazimir Malevich or Piet Mondrian. For the present series, Coventry appropriated the ‘You Are Here’ arrows from the same maps and turned them into wooden models which he scattered arbitrarily across the canvas, creating the forms of the work. Coventry ironically uses the art language associated with the modernist utopian idealism that spawned these high-density housing projects to comment on the realities of contemporary city life.Coventry is hugely respected as both an artist and curator. He co-founded and curated City Racing, an influential not-for-profit gallery in Kennington, South London from 1988 to 1998. The gallery gave valuable exposure to artists such as Sarah Lucas, Gillian Wearing and Fiona Banner. Earlier this year Pace Gallery exhibited ‘Keith Coventry: City Racing’, showing celebrated bodies of work alongside a new series. In 2010 he won the John Moores Painting Prize for his Spectrum Jesus painting. His work has been exhibited widely in the United Kingdom and Europe and is included in collections worldwide, including the British Council; Tate Modern; Arts Council of England; Walker Art Center, Minneapolis; and The Museum of Modern Art, New York.

Michael Ayrton (British, 1921-1975)Goat at Cumae signed and dated 'Michael Ayrton/7.5.56' (upper right)ink and wash on paper51 x 30cm (20 1/16 x 11 13/16in).Footnotes:ProvenanceSale; Bonhams, London, 28 November 2006, lot 1, where acquired by the present owner Private Collection, U.K.ExhibitedManchester, February 1957LiteratureC.P. Snow, Michael Ayrton, Drawings & Sculpture, Cory, Adams & Mackay, London, 1966, no. 20, illustratedIn May 1956, while travelling in Italy, Ayrton visited Cumae, just west of Naples - site of one of the oldest Greek colonies in Italy and fabled home of the Cumaean Sibyl, one of the most notable oracles of Antiquity. It was an experience which marked a turning point in his career; the beginning of an involvement with the Greek myths of Daedalus and Icarus, the Minotaur and the Oracle, which he himself described as obsessive, and which defined his art thereafter. Initially, however, it was as much the place itself as its legendary past which fascinated him: for days he sat on a terrace halfway up the slope of the Acropolis, drawing the landscape. This quickly attracted the attention of the local population, especially the small boys who herded the goats belonging to the nearby village. Out of this came a series of drawings of goats, including the present lot. The following year, back in his studio, he painted the large Cumaean Sibyl, a landscape which interweaves mythic past and prosaic present, and in which goats (a traditional feature of both) play a prominent part. The resemblance between the foreground goat and the present lot is clear. This process of overlapping past with present, myth with reality lay at the core of Ayrton's work - he referred to it as a 'kind of temporary truth in split time', and it fed his sense of myth as something that could, and should, be as relevant to contemporary experience as to the ancient world. Things of the world around him, vineyards and archaeological excavations, RAF pilots and astronauts in training - and goats - acted as the anchors he used to bring ancient stories alive for a modern audience. But above all he drew for the joy of drawing (virtually every day of his life from the age of 14 until his death at 54), and he always enjoyed drawing goats.We are grateful to Dr Justine Hopkins for her 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

Dame Ethel Walker DBE ARA, British 1861-1951 - The Passing of Night; watercolour on paper, signed lower right 'Ethel Walker', 51.3 x 34.2 cm Provenance: with Alex Reid & Lefevre, Ltd., London (according to the label attached to the reverse of the frame); Christie's, London, Twentieth Century British Art, 1st June 2000, lot 55; private collection Note:this is likely a sketch from a series of murals, or 'decorations' as the artist titled them, painted over from the 1910s to the early 1930s. Many of these works feature mythological figures, such as the figure of Night here in her chariot and evoke a female utopia, similar to the imagery of her French contemporary, Marie Laurencin. Tate Britain currently has several of these decorations on display until March 2024, including one of her largest paintings, 'Decoration: The Excursion of Nausicaa, 1920', and 'The Zone of Hate, 1914-15'. The artist exhibited widely in the UK during her lifetime and was the subject of a major retrospective at the Tate in 1951, alongside her contemporaries Gwen John and Frances Hodgkins and organised by John Rothenstein. More recently, her work was central to Tate Britain's 'Queer British Art 1861-1967' in 2017. 

A contemporary hallmarked 9ct gold and garnet Art Nouveau style pendant necklace. Weight 3.6g. Chain measures 48cm. Pendant measures 3cm. All weights, measurements and sizes are approximate

A contemporary 925 silver Art Nouveau style Plique A Jour pendant. Weight approx 7.7g. All weights, measurements and sizes are approximate

A pair of contemporary 925 silver and marcasite and synthetic opal Art Deco style drop earrings. Weight approx 7.9g. Measures approx 6cm drop. All weights, measurements and sizes are approximate

An Art Deco carved emerald, sapphire and diamond jardinière brooch, circa 1930, the vase formed from a pear-shaped emerald bead, weighing 13.60 carats, carved to both sides with an undulating pattern, with vari-shaped step-cut diamond detailing, the whole issuing a tree with brilliant-cut diamond foliage and fruits set with buff-top sapphires and vari-cut diamonds, mounted in platinum, unsigned, French assay mark, numbered ‘3563’, cased by Boucheron, total diamond weight very approximately 8.00 carats, length 6cm. £10,000-£15,000 --- Accompanied by a report from The Gem and Pearl Laboratory. Please contact the department for further details. During the early decades of the 20th century the use of carved Mughal emeralds in contemporary jewellery reflected the growing fascination of master jewellers with the decorative arts of India. Louis Boucheron and Jacques Cartier, amongst others, were charmed by the ‘exotic’ arts and splendour of India and frequently visited seeking commissions and purchasing gemstones for their Western clients. These Indian-inspired jewels were particularly popular amongst British clientele due to the Imperial interests of the country at the time. The cultural fascination between the two continents was, however, reciprocal and the Indian nobility regularly travelled to Europe, visiting Boucheron, Cartier and other firms, to have their historical jewels remodelled into contemporary designs. This brooch encapsulates several influences and innovations of the period, not only through the use of an Indian carved emerald bead but also in the Japanese-inspired motif of the Bonsai tree. The fascination with non-European cultures also extended to the arts of China and Japan. Oriental motifs were readily incorporated into designs and the brooch offered here exemplifies the Japanese influence on the traditional European giardinetto brooch. Advancements in cutting techniques also enabled the fine jewellery houses of the period to combine vari-cut gemstones and create the defining geometric shapes of the era. Literature: Nadelhoffer H., ‘Cartier’, London 1984, pub. Thames & Hudson. Néret, G., ‘Boucheron, Four Generations of a World-Renowned Jeweler’, New York, 1988, pub. Rizzoli. Condition Report Accompanied by a report from The Gem and Pearl Laboratory stating that the emerald, weighing 13.58 carats, is of Colombian origin with evidence of moderate clarity enhancement. Later clip fitting. Some spot repairs to reverse - likely as a result of neat removal of original brooch fitting. Later added spikes to reverse to aid clip fitting. Clip with good tension, side-to-side movement of pins when closed. Diamonds bright and lively. Sapphires well matched. Emerald with good transparency, some eye visible inclusions as typical for material, iridescent patch bottom left (from front). Light wear to platinum. Gallery with French dog’s head assay mark for platinum. Base of jardiniere numbered ‘3563’. Unsigned. Overall good condition. Gross weight 24.2gm. Case in good condition.

Contemporary Villeroy & Boch 'Wonderful World' black ground Easy Collection part tea service, printed black marks, with broad black borders, in the Art Deco style, comprising: a teapot and cover, an oval sugar bowl and cover and milk jug 

Ernst Haeckel Kunstformen der Natur. Leipzig und Wien, Bibliographisches Institut 1904. • Erste Ausgabe • Vollständiges Exemplar mit dem Supplement 'Wie schön die Natur sein kann, führt kaum jemand so eindrücklich vor Augen wie Ernst Haeckel. Der berühmte Naturforscher, ein Zeitgenosse Darwins, hat Abbildungen von bestechender Ästhetik und Detailtreue geschaffen.' (FAZ vom 2.4.2003) Vollständig mit sämtlichen 100 Tafeln sowie dem Supplementheft unter dem Titel Allgemeine Erläuterung und systematische Übersicht . - Mit dem Werk wollte Haeckel seiner lebenslangen Faszination an der mikroskopischen, fremdartigen Schönheit der Einzeller Ausdruck verleihen. 'Dagegen ist den meisten Menschen größtenteils aber ganz unbekannt jenes unermeßliche Gebiet der niederen Lebensformen, die versteckt in den Tiefen des Meeres wohnen oder wegen ihrer geringen Größe dem unbewaffneten Auge verschlossen bleiben .. Die vorliegenden Kunstformen der Natur verfolgen den Zweck, jene verborgenen Schätze ans Licht zu ziehen und einem größeren Kreise von Freunden der Kunst und der Natur zugänglich zu machen' (aus dem Vorwort). Haeckel verstand die Tafelsammlung, für die sein bewährter Mitarbeiter Adolf Glitsch die Lithographien schuf, auch als Vorlagenwerk für die moderne bildende Kunst und das mit dem Jugendstil aufblühende Kunstgewerbe, die 'in diesen wahren Kunstformen der Natur eine reiche Fülle neuer und schöner Motive finden werden'. EINBAND: Grüner Orig.-Leinenband mit Deckelillustration in Weiß und Schwarz. 36 : 28 cm. - ILLUSTRATION: Mit 100 tls. farbig lithographierten Tafeln mit zahlreichen Abbildungen. - ZUSTAND: Auf Anfrage. - LITERATUR: Nissen 1783 und II, 336ff. - DSB VI, 10. 1 Beigabe zu Ernst Haeckel. - Significant plates that excellently combine the knowledge of natural science with contemporary art. First edition, complete copy with all 100 plates, partly printed in color, and including the supplement. - Orig. green illustrated cloth. - Only outer margins, edges and binding partly slightly foxed, joints slightly damaged; overall good copy. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

La Lune en Rodage I Basel, Editions Panderma - Carl Laszlo 1960. • Wichtige Anthologie zur zeitgenössischen Kunst • Mit zahlreichen künstlerischen Originalbeiträgen • Der seltene erste Band Exemplar außerhalb der Numerierung. - Der sehr seltene erste Band dieser wichtigen und aufwendig hergestellten Anthologie moderner und zeitgenössischer Graphiken; die Arbeiten größtenteils signiert, teils auch datiert. Mit Beiträgen von Bazon Brock (Kundendienst), F. Hundertwasser (Eiöl-Tempera, mit sehr eigenwilliger Signatur), R. Hains (Farbcollage), V. Vasarely (Serigrafie), L. Fontana (Concetto spaziale, Kugelschreiberzeichnung auf perforiertem Metallkarton), E. Castellani (Prägedruck), P. Heliczer (Poem Number One, Faltgedicht), Man Ray (Fotografie), P. A. Benoit (Gedicht und Serigrafie), M. Oppenheim (Farblinolschnitt), Carl Laszlo (Testament 23), O. Piene (Rauchzeichnung), H. Mack (Lithographie), P. Manzoni (getöntes Sandpapier), E. Baj (Farblithographie), F. Arman (Mischtechnik), Lucien Clergue/Jean Cocteau (Fotografie), P. Brüning (Radierung), B. Munari (Faltobjekt), H. Arp (Holzschnitt; Arntz 200a) u. v. a. - Das Titelblatt mit 4 kleinen Abbildungen von J. Pollock, Wols, M. Tobey uns K. R. H. Sonderborg. EINBAND: Orig.-Halb-Sackleinenband mit Schraubenbindung, Deckel- und Rückentitel in Schwarz sowie kl. Metallobjekt von Gio Pomodoro auf dem Vorderdeckel. 33 : 35,5 cm. - ILLUSTRATION: Mit 62 meist signierten Orig.-Graphiken und anderen Original-Beiträgen, montiert auf Tafeln. - ZUSTAND: Auf Anfrage. - PROVENIENZ: Privatsammlung Schweiz. - Famous portable collection of Post War and Contemporary Art, with several unique modern artworks. The scarce first volume of the important anthology. - Copy omitted in numbering. With 62 mostly signed orig. graphics and objects on plates. Orig. half cloth with screw joints, front cover with metall plastic object by G. Pomodoro. - Back partly sligthly cracked, else fine and complete copy from a private Swiss collection. Dieses Objekt wird regelbesteuert angeboten (R).

A Viz Glass Inc contemporary blown art glass centre piece. Height 25cm, Length 60cm.

Stephen Moss-Horton (contemporary), 'House of cards' limited edition 164/275 screen print. Image approx. 744 x 59cm. Frame size 109 x 92cm. Signed by artist bottom right. With certificate of authenticity by Washington Green Fine Art Publishing Company Ltd.

ZEITGENÖSSSICHE KÜNSTLER/INNEN (20,/21. Jh.), Abstrakte Komposition und Objektkunst, 1.) "arles", 1999, betitelt unten links "arles", Öl auf Leinwand, HxB: ca. 30 x 35 cm (HxB Rahmen: ca. 32,5 x 37 cm). 2.) Reutter, Gerold (1924-2021), "Agonie des Kreuzes", rückseitig bezeichnet und betitelt: "GEROLD REUTTER" / "Agonie des Kreuzes" / "WV - 0 - 14 - 12", Öl auf Karton, HxB: ca. 30 x 30 cm (HxB Rahmen: ca. 34,5 x 34 cm). Jeweils Alters- und Beriebspuren. Jeweils mit Rahmen (Beriebspuren).| CONTEMPORARY ARTISTS (20th/21st c.), abstract composition and object art, 1st) "arles", 1999, titled lower left "arles", oil on canvas, HxW: approx. 30 x 35 cm (HxW frame: approx. 32.5 x 37 cm). 2nd) Reutter, Gerold (1924-2021), "Agony of the Cross", inscribed and titled on the reverse: "GEROLD REUTTER" / "Agony of the Cross" / "WV - 0 - 14 - 12", oil on cardboard, HxW: approx. 30 x 30 cm (HxW. frame: approx. 34,5 x 34 cm). Each with signs of age and rubbing. Each with frame (traces of rubbing).

EERO SAARINEN & CHARLES EAMES "Zwei Organic Conference-Chair" Design des 20,Jh. VITRA, formverleimte Holzschale, gepolsterter, Bezugstoff, beine aus Eiche, H: 93,5 cm. Alters-und Gebrauchsspuren.Entworfen für den Wettbewerb "Organic Design in Home Furnishing", den das Department of Industrial Design des Museum of Modern Art in New York am 1. Oktober 1940 ausgeschrieben hatte. Die Initiative ging von Elliot Noyes, dem ersten Kurator dieses neu geschaffenen Departments aus. Ziel war Architekten und Firmen zu motivieren moderne Möbel für ein zeitgemäßes Wohnen auf den Markt zu bringen.| EERO SAARINEN & CHARLES EAMES "Two Organic Conference-Chair".VITRA, moulded wooden shell, upholstered, cover fabric, oak legs, h: 93,5 cm. Signs of age and use.Designed for the competition "Organic Design in Home Furnishing", which was announced by the Department of Industrial Design of the Museum of Modern Art in New York on 1 October 1940. The initiative came from Elliot Noyes, the first curator of this newly created department. The aim was to motivate architects and companies to bring modern furniture for contemporary living onto the market.

EERO SAARINEN & CHARLES EAMES "Zwei Ornanic Conference-Chair" Design des 20.Jh. VITRA, formverleimte Holzschale, gepolsterter, Bezugstoff, beine aus Eiche, H: 93,5 cm. Alters-und Gebrauchsspuren.Entworfen für den Wettbewerb "Organic Design in Home Furnishing", den das Department of Industrial Design des Museum of Modern Art in New York am 1. Oktober 1940 ausgeschrieben hatte. Die Initiative ging von Elliot Noyes, dem ersten Kurator dieses neu geschaffenen Departments aus. Ziel war Architekten und Firmen zu motivieren moderne Möbel für ein zeitgemäßes Wohnen auf den Markt zu bringen.| EERO SAARINEN & CHARLES EAMES "Two Ornanic Conference-Chair".VITRA, moulded wooden shell, upholstered, cover fabric, oak legs, h: 93,5 cm. Signs of age and use.Designed for the competition "Organic Design in Home Furnishing", which was announced by the Department of Industrial Design of the Museum of Modern Art in New York on 1 October 1940. The initiative came from Elliot Noyes, the first curator of this newly created department. The aim was to motivate architects and companies to bring modern furniture for contemporary living onto the market.

A large contemporary amber glass vase, of bowed tapering form with a wavy rim, 37cm high, together with three other art glass vases (4)

"Portrait of the Cornejo Sancho Family"Oil on canvas. Dated 1754.245 x 317 cm.This lot has a valid export permit from the Spanish Ministry of Culture.An extensive and well-documented study by Dr. Clara Zamora Meca is attached. In it, she mentions the possible attribution to the painter Cristóbal de Aguilar. "It is possible to attribute it to Cristóbal de Aguilar, a portraitist who worked in Lima in the second half of the 18th century, a contemporary of Cristóbal de Lozano. His best-known painting is the portrait of Viceroy Amat, painted in 1771 for the Nazarene Monastery. The chronology of his known artworks ranges from 1745 to 1769, some are signed and others attributed."Furthermore, it is relevant that Cristóbal Aguilar was a painter who specialised in portraying members of the Lima nobility and the political elite of the Viceroyalty of Peru. It is logical to assume that the commission of such an important painting by a well-known personality in the period would have been entrusted to one of the best artists of the time. Despite not being signed (as was the case in most instances), its authorship cannot be anonymous.This is an exceptional Lima painting of enormous interest from both a historical, artistic, and iconographic point of view, and because of the extremely interesting information that the painting itself provides, reflecting the different social strata, the Marian invocation that presides over it, the detailed depiction of each character with their personal information, and the union of both continents depicted in the family's transposition to the New World (through two of its members). The information is obtained through the commission of this portrait, as well as the information provided by the study of the painting by Dr. Clara Zamora, which includes data extracted from, the Archivo de Indias or the Archivo Municipal de Arganda, among others.Interesting documents such as Manuel Cornejo's passenger licence to the Indies (1711) and four papal bulls with the signature of José Cornejo are attached to her study, two from Innocent XIII to King Philip V, communicating the provision of the archbishopric of La Plata (Charcas) and the archbishopric of Lima (both from 1723), and the other two from Clement XI to King Philip V, communicating the provision of Nueva Segovia (Ilocos) and Nueva Cáceres (Camarines), both located in the Philippines.In this case, as in other frequent cases, it was customary to make posthumous portraits, as we read in Dr. Zamora's study: "The true boom in portraits occurred in the 18th century. The end of the War of Succession marked a turning point between the predominantly historical and commemorative character of portraiture and that of ostentation, as is the case here, which was introduced, fundamentally, by the French artistic trend. As the elite acquired noble titles, their portraits became richer in decoration, although their expression remained very severe. The portrait was not intended to reproduce the psychology of the sitter, but to manifest their belonging to a social group, a religious community, or a corporation. As in this case, it was common for some portraits to be made posthumously. Some of the subjects were no longer alive when this work was painted in 1754."Regarding the representation of this peculiar portrait, Zamora continues: "It is an atypical composition, a scene with twelve people, who appear between two palatial rooms, in a kind of hallway. The scene is crowned by Our Lady of the Sanctuary of Toledo. There are several artistic relationships between the Cathedral of Toledo and Spanish America during the Modern Age. Our Lady of the Sanctuary was worshipped to an enormous extent in New Spain. The 1672 painting by Francisco Rizi to be sent to Puebla de los Ángeles (Mexico) at the request of Manuel Miranda Palomeque is another example. Our Lady of the Sanctuary was considered "mother and protector," as also stated in the inscription surrounding her in this painting. "Bajo tu protección" (Under your protection) is the oldest hymn currently preserved of the Virgin Mary as Mother of God. The transcription of the text surrounding the virgin in the painting is the same: MONSTRATE ESSE MATREM SUB TUUM PRESIDIUM CONFUGIMUS."The composition is adapted to the style of elite portraits of the time: the subjects stand, with four essential elements: drapery, a heraldic shield (with a marquess crown in this case), cartouches with descriptions of the characters, and elements that allude to the positions of those represented (for example, the mitre belonging to one of them). Colonial painting was almost always executed on canvas, with large-sized canvases. The size of this painting is striking, as is the large family group it depicts, making it an artwork of tremendous interest.Cano Picó and Puig Galindo write about the unmistakable Hispano-American aspect of the work, "The painting has all the characteristics of the portrait painting style that developed in Hispanic America during the Viceroyalty or Colonial period. The background architecture with irregular perspective have all the characteristics of colonial architecture from the Viceroyalty period. Another aspect of the painting related to Hispanic America is in the clothing, such as the use of richly made aprons that complement the attire of important people. In Spain, the attire of aristocratic ladies did not include aprons as accessories, while in Hispanic America, the use of aprons as a complement to the clothing of important ladies was frequent."The painting features a central cartouche with the family crest at the bottom that reads: "DON MANUEL CORNEJO. / I D. JULIANA SANCHO. / I SUS HIJOS." This shield corresponds to the Cornejo Family in Arganda del Rey.At the bottom, there are ten cartouches with the name and titles identifying each of the characters. In this regard, the excellent study carried out by Ramón Cano Picó and Cristina Puig Galindo, which thoroughly delves into each of the characters, is very interesting.Regarding those portrayed, as Zamora notes, "The Sancho Granado family was a very prominent family in Arganda del Rey (Spain). The Sanchos, upon uniting with the Granados, achieved the definitive merger between this place and the Society of Jesus. In 1613, Juan Sancho, mayor of the Holy Brotherhood, led a group of 27 people from Arganda who opposed the sale of the Villa to the powerful Duke of Lerma. This same Sancho led the Villa of Arganda against the power of the Society of Jesus." One of the daughters, Juliana Sancho Granado, married the physician don Manuel Cornejo, forming the Cornejo Sancho family, portrayed in this painting.Two of the sons travelled to New Spain, as Zamora continues, "Lawyer Manuel Cornejo, who appears in the information file and passenger licence to the Indies in the year 1711, with Manuel de la Cruz, a native of Toledo, as a superior commissioner (Archivo General de Indias, Signature: CONTRATACION, 5466, N. 1, R. 19. Date, 1711-07-28). This is the character that serves as a link for us to understand the transposition of this family to the New Spain. Also, the second of them, Juan Hernando, appears as "Dean and Canon of the Holy Metropolitan Church of Santiago" (Santiago de Chile, as it was called, not Santiago de Compostela)."In the conclusion of her study, Dr. Zamora leaves us with a phrase that we would like to highlight: "A very peculiar, ambitious, and rich piece that will spark much discussion in the future if we continue to investigate the path that opens up to all those who are interested in the history of humanity."Attached: - Study by Dr. in Art History, Clara Zamora Meca.Technical report by Ramón Cano Picó and Cristina Puig Galindo.

Marcelle Hanselaar Black Path I, 2023 Etching, collage and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Born in Rotterdam, The Netherlands, lives and works in London. She left art education and is a mainly self-taught artist both an oil painter and printmaker. Work in Public collections: British Museum Prints & Drawings, London; Victoria & Albert Museum Prints & Drawings, London; V&A National Art Library, London; Ashmolean Museum, Oxford; Fitzwilliam Museum, Cambridge; Clifford Chance Art Collection, London; University of Aberystwyth Print Collection, Wales; Ruth Borchard Self Portrait Collection, UK; Soho Works, London, The Ned, London; The Viktor Wynd Museum of Curiosities, London; The Metropolitan Museum, New York, USA; Museum de Reede, Antwerp, Be; Meermanno Museum of the Book, the Hague, NL; Guandong Fine Art Museum, PR China; University of Arizona, Tucson, USA; Swarthmore College, US www.marcellehanselaar.com Education   1962-64 Royal Academy of Arts, The Hague, NL 2001 B-TEC Printmaking, Chelsea & Kensington College, London Select Exhibitions/Awards Awards: Jury award Novosibirsk Print Triennial Clifford Chance Purchase Award at the International Print Biennial 2014 Statutory Awards of MTG - Krakow International Print Triennial 2012, PL; Guangdong Museum Purchase Prize, Qijiang, CN Shortlisted for the Ruth Borchard Self Portrait prize and acquired by the Ruth Borchard Self Portrait collection Birgit Skjold Prize for Pillowbook of Endless Nights, acquired by V&A National Art Library Guangdong Museum Purchase Prize, Qijiang, CN Aberystwyth, University of Wales Purchase Prize, Originals '06, London Presse Papier Award, Biennale Internationale d'estampe Contemporaine de Trois-Rivières, Quebec, Gallery Representation Julian Page, London; Arundel Contemporary, Arundel; De Queeste Art, Belgium. Statement about AOAP Submitted Artwork "The Night-Wanderer expresses the longing to return to the place where I grew up, the bitter, salty wind smell of the sea, an imaginary return to the North-Sea of my childhood. This print is set in between the Lighthouse and the Kurhuis in Scheveningen, a make-believe place where I would wander in the night, looking for something, anything away from the restrictions of reality. The Kurhuis and the lighthouse are in fact not that close together, but both buildings are a signifier of place for me, the lighthouse whose light sweeps were visible through the curtains of our childhood bedroom and the Kurhuis, the 'palace' at the boulevard, a place of great magic, opulence, lights and music, a famous landmark."   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Marcelle Hanselaar Black Path II, 2023 Etching and colour pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Born in Rotterdam, The Netherlands, lives and works in London. She left art education and is a mainly self-taught artist both an oil painter and printmaker. Work in Public collections: British Museum Prints & Drawings, London; Victoria & Albert Museum Prints & Drawings, London; V&A National Art Library, London; Ashmolean Museum, Oxford; Fitzwilliam Museum, Cambridge; Clifford Chance Art Collection, London; University of Aberystwyth Print Collection, Wales; Ruth Borchard Self Portrait Collection, UK; Soho Works, London, The Ned, London; The Viktor Wynd Museum of Curiosities, London; The Metropolitan Museum, New York, USA; Museum de Reede, Antwerp, Be; Meermanno Museum of the Book, the Hague, NL; Guandong Fine Art Museum, PR China; University of Arizona, Tucson, USA; Swarthmore College, US www.marcellehanselaar.com Education   1962-64 Royal Academy of Arts, The Hague, NL 2001 B-TEC Printmaking, Chelsea & Kensington College, London Select Exhibitions/Awards Awards: Jury award Novosibirsk Print Triennial Clifford Chance Purchase Award at the International Print Biennial 2014 Statutory Awards of MTG - Krakow International Print Triennial 2012, PL; Guangdong Museum Purchase Prize, Qijiang, CN Shortlisted for the Ruth Borchard Self Portrait prize and acquired by the Ruth Borchard Self Portrait collection Birgit Skjold Prize for Pillowbook of Endless Nights, acquired by V&A National Art Library Guangdong Museum Purchase Prize, Qijiang, CN Aberystwyth, University of Wales Purchase Prize, Originals '06, London Presse Papier Award, Biennale Internationale d'estampe Contemporaine de Trois-Rivières, Quebec, Gallery Representation Julian Page, London; Arundel Contemporary, Arundel; De Queeste Art, Belgium. Statement about AOAP Submitted Artwork "The Night-Wanderer expresses the longing to return to the place where I grew up, the bitter, salty wind smell of the sea, an imaginary return to the North-Sea of my childhood. This print is set in between the Lighthouse and the Kurhuis in Scheveningen, a make-believe place where I would wander in the night, looking for something, anything away from the restrictions of reality. The Kurhuis and the lighthouse are in fact not that close together, but both buildings are a signifier of place for me, the lighthouse whose light sweeps were visible through the curtains of our childhood bedroom and the Kurhuis, the 'palace' at the boulevard, a place of great magic, opulence, lights and music, a famous landmark."   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Nahem Shoa Gbenya Ilumoka Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Nahem Shoa is a contemporary artist born in Notting Hill where he still lives and works. Nahem has an international reputation as a painter of contemporary multicultural life. Until 2007 Nahem painted from life giant heads of people from black and ethnic backgrounds. 19 of Nahem's portraits are in major museum collections. Nahem then turned to other subjects that drew on 'unreal' sources, photograph, TV and film as well as memory, creating hugely multi-layered paintings bursting with incident, including floods and nuclear explosions. Education Manchester College of Art Post-grad Royal Drawing School Select Exhibitions/Awards Winner of Royal Society of Portrait painters, Face of Britain at Southampton City Art Gallery, Into The Light at Walker Art Gallery, Liverpool, Black Presence, The Atkinson Art Gallery, Southport, Seen and Not Seen at Ferens Art Gallery, Hull, We are Here at The Herbert Art Gallery, Coventry, Into The Wild Abyss, Royal Albert Memorial Museum, Exeter, Youth Culture, The Box, Plymouth, Royal Academy, Summer Show, London BP portrait awards, National Portrait Gallery. Lord Leighton Prize, London, Elizabeth Greenshields Award, What's New, Manchester City Art Gallery, Modern Art, Hatton Gallery Newcastle, V&A, London, Facing Yourself, Bury City Art Gallery, 100 years of Collecting, The Laing Art Gallery, Newcastle. Gallery Representation Gallery East Statement about AOAP Submitted Artwork All the sitters in these paintings are friends, who have sat for all my major museums exhibitions and collections in England. My aim in to readdress the negative images of black people in museums, with my powerful portraits of Black British Londoners. I am already known as the Lucian Freud of Multiculturalism. The four postcards are my decorative, with a bit of imagination thrown in. The portrait of Queen Tiye, is from a 3000-year-old Egyptian portrait of grandmother of Tutankhamun, it is the first realistic portrait in western art and it of a black woman. I just gave her a modern haircut. Please google my name or check me out on Wikipedia.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Nahem Shoa London Woman with Pearl Earring, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Nahem Shoa is a contemporary artist born in Notting Hill where he still lives and works. Nahem has an international reputation as a painter of contemporary multicultural life. Until 2007 Nahem painted from life giant heads of people from black and ethnic backgrounds. 19 of Nahem's portraits are in major museum collections. Nahem then turned to other subjects that drew on 'unreal' sources, photograph, TV and film as well as memory, creating hugely multi-layered paintings bursting with incident, including floods and nuclear explosions. Education Manchester College of Art Post-grad Royal Drawing School Select Exhibitions/Awards Winner of Royal Society of Portrait painters, Face of Britain at Southampton City Art Gallery, Into The Light at Walker Art Gallery, Liverpool, Black Presence, The Atkinson Art Gallery, Southport, Seen and Not Seen at Ferens Art Gallery, Hull, We are Here at The Herbert Art Gallery, Coventry, Into The Wild Abyss, Royal Albert Memorial Museum, Exeter, Youth Culture, The Box, Plymouth, Royal Academy, Summer Show, London BP portrait awards, National Portrait Gallery. Lord Leighton Prize, London, Elizabeth Greenshields Award, What's New, Manchester City Art Gallery, Modern Art, Hatton Gallery Newcastle, V&A, London, Facing Yourself, Bury City Art Gallery, 100 years of Collecting, The Laing Art Gallery, Newcastle. Gallery Representation Gallery East Statement about AOAP Submitted Artwork All the sitters in these paintings are friends, who have sat for all my major museums exhibitions and collections in England. My aim in to readdress the negative images of black people in museums, with my powerful portraits of Black British Londoners. I am already known as the Lucian Freud of Multiculturalism. The four postcards are my decorative, with a bit of imagination thrown in. The portrait of Queen Tiye, is from a 3000-year-old Egyptian portrait of grandmother of Tutankhamun, it is the first realistic portrait in western art and it of a black woman. I just gave her a modern haircut. Please google my name or check me out on Wikipedia.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.