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SAM HAILE [1909-48]. Surreal Figures, 1943. ink on paper. image 37 x 54 cm - unframed. Provenance: The artist; Marianne Haile; private collection, UK. Exhibited: 'Surrealist...Sam Haile', 1967-8, one-man exhibition, Manchester Institute of Contemporary Art. This lot comes with a book on Haile's work by Paul Rice.His work is very rare and he has a cult following now.[condition - some time toning to paper - tear at extreme bottom right edge - remnants of tape on the reverse - a few scattered foxing spots]. Buyers premium 20% + vat payable.

TERRY FROST RA [1903-1992] La Soltera En Misa, 1989 [Kemp 101]. Etching and aquatint with hand colouring in red on Somerset wove paper with full margins, signed and numbered 5/5 in pencil from the untrimmed edition, aside from the trimmed edition of 75, printed by Hugh Stoneman and Alan Cox at the Print Centre 1989, published by Austin Desmond Contemporary Books Ltd, London as part of Eleven Poems by Federico Garcia Lorca. 56.5 x 38.5cm image, 75.5 x 56.5cm sheet [unframed]. Provenance: acquired directly from the publisher. Collection: Tate Gallery; British Museum; Government Art Collection; Fitzwilliam Museum. [Very good condition.] Buyers premium of 20% + VAT is payable on hammer price of all lots in this auction. Artists Resale Rights [ARR] of 4% are payable on the hammer price of all lots selling for the UK £ equivalent of 1000 euros or more. Bidding via The-Saleroom.com incurs a fee of 4.95% + VAT on hammer price. This lot is stored in London and can be collected or shipped from there.

TERRY FROST RA [1903-1992] Arbole, Arbole, 1989 [Kemp 107]. Etching and aquatint on Somerset wove paper with full margins, signed and numbered 3/5 in pencil from the untrimmed edition, aside from the trimmed edition of 75, printed by Hugh Stoneman and Alan Cox at the Print Centre 1989, published by Austin Desmond Contemporary Books Ltd, London as part of Eleven Poems by Federico Garcia Lorca. 56.5 x 38.5cm image, 75.5 x 56.5cm sheet [unframed]. Provenance: acquired directly from the publisher. Collection: Tate Gallery; British Museum; Government Art Collection; Fitzwilliam Museum. [Very good condition.] Buyers premium of 20% + VAT is payable on hammer price of all lots in this auction. Artists Resale Rights [ARR] of 4% are payable on the hammer price of all lots selling for the UK £ equivalent of 1000 euros or more. Bidding via The-Saleroom.com incurs a fee of 4.95% + VAT on hammer price. This lot is stored in London and can be collected or shipped from there.

TERRY FROST RA [1903-1992] Thamar Y Amnon, 1989 [Kemp 105]. Etching and aquatint on Somerset wove paper with full margins, signed and numbered 4/5 in pencil from the untrimmed edition, aside from the trimmed edition of 75, printed by Hugh Stoneman and Alan Cox at the Print Centre 1989, published by Austin Desmond Contemporary Books Ltd, London as part of Eleven Poems by Federico Garcia Lorca. 56.5 x 38.5cm image, 75.5 x 56.5cm sheet [unframed]. Provenance: acquired directly from the publisher. Collection: Tate Gallery; British Museum; Government Art Collection; Fitzwilliam Museum. [Very good condition.] Buyers premium of 20% + VAT is payable on hammer price of all lots in this auction. Artists Resale Rights [ARR] of 4% are payable on the hammer price of all lots selling for the UK £ equivalent of 1000 euros or more. Bidding via The-Saleroom.com incurs a fee of 4.95% + VAT on hammer price. This lot is stored in London and can be collected or shipped from there.

Poole Pottery - A contemporary studio art pottery vase. In the galaxy pattern in a black ground with makers mark to underside. Measures approx. 20cm tall. 

Stuart Fletcher - A pair of contemporary hand made art glass pieces by Stuart Fletcher BA (Hons) 3D Glass Design. To include an open top wide rim flared vase along with a matching colourway and design jug / pitcher with handle. Both being in emerald green and uniquely designed and decorated with gold inclusion / application as well as silver organic piping snaking across the outside in a sinuous manner.  Previously working for Bristol Blue Glass Ltd. these pieces are from Stuart's Topglass studio in Worcestershire and both are signed to the base and come in their original boxes.  The vase measures approximately 15cm tall and 11cm dimeter to the top, and the jug measures approximately 22cm tall.

Anita Harris Pottery - Contemporary studio art pottery - In the form of a pig with floral polychrome design in a red ground. With signature to underside by S Johnson. Measures approx. 19cm x 33cm 

Anita Harris Pottery - Contemporary studio art pottery - 'Bottle Kiln' - In the form of hut / house bottle decanter with brick work polychrome design in a red ground. With signature to underside by S Johnson. Measures approx. 22cm tall. 

Poole Pottery - Two contemporary studio art pottery vases. One in the Matisse pattern and another in the red / blue broad stroke design. Globular form with a flared top. Makers mark to base. Measures approx. 10.5cm tall. 

Alicia Dubnyckyj (British, b.1978) – ‘Chrysler XI, New York’ gloss and varnish on board original skyline Highrise artwork, signed to reverse and dated July 2004. Unframed. Alicia Dubnycki paints contemporary cityscapes, using gloss paint on board to put her works together. Utilising an understanding of architecture and emotion to evoke feelings via abstraction. Provenance, The Art Lounge Birmingham where acquired by owner, including certificate signed and dated 05.09.04. 45.5cm x 61cm.

Alicia Dubnyckyj (British, b.1978) – ‘Manhattan Skyline’ limited edition signed giclee reproduction of Manhattan Skyline. Signed in pen to reverse and numbered 17/50. Alicia Dubnycki paints contemporary cityscapes, using gloss paint on board to put her works together. Utilising an understanding of architecture and emotion to evoke feelings via abstraction. Provenance, The Art Lounge Birmingham where acquired by owner, including certificate signed and dated 10.08.04. 60cm x 90cm.

A contemporary Art Nouveau style lamp and mirror. The lamp modelled as a woman beside a child, with a coloured glass shade, H41.5cm, the gilt framed mirror featuring a woman with a peacock perched on her knee, H53cm

SEVEN BOXES OF BOOKS, containing a large number of miscellaneous titles, subjects include encyclopaedic works, history, geography, atlases, art, antiques, dictionaries and thesaurus, classic and contemporary fiction and compilations, the lot contains a mixture of antiquarian and modern titles (7 boxes)

EIGHT BOXES OF BOOKS, CDs AND LPs approximately 130 book titles in hardback and paperback format includes classic and contemporary fiction, art and antiques, crafts, cookery, religion and medicine, over 200 CDs include classical, pop, jazz, easy listening and music from films and shows (8 boxes)

Sharon Baldry (b.1960, British), contemporary glass art, Two stained glass arrangements, signed to the lower left, displayed in silver tone frames, mounted, and under glass, measuring 21cm x 31cm, & 46cm x 59cm overall

CONTEMPORARY ART DECO DESIGN CARPET, 350cm x 250cm.

CONTEMPORARY ART DECO DESIGN BAMBOO SILK AND WOOL RUG, 224cm x 152cm.

Three taxidermy cases of birds, including a small case with a pair of Grey Legged Partridge; also a case with two guls and another with a Pochard duck and a contemporary art case of leaves (4)

A selection of Contemporary art canvases, painted with clouds and seascapes, various sizes, and a framed embroidery (8)

Original-"Steampunk"-LampeZeitgenössische industrielle Skulptur aus Zifferblättern, Ventilen, Stahlrohren und einer Zeitschaltuhr mit Netzteil von Simmons Bros. N.Y., separate Schalter für jede Glühbirne, Höhe 79 cm, 110 Volt, moderne elektrische Ausstattung, mit Stoff ummantelte Schnur, funktionierend. - Steampunk, aufkeimende Kunstform und ästhetische Schöpfung, verschmilzt antike Maschinen aus ehemaliger industrieller Nutzung, Science-Fiction und moderne Technologie. Inspiriert von den literarischen Werken von H.G. Wells und Jules Verne, außerdem von den unmöglichen Maschinen von William Heath Robinson. Eine Neuerfindung von Objekten aus der Zeit der Moderne in der Art des Viktorianischen Zeitalters. Laut dem Steampunk-Evangelisten Bruce Rosenbaum "ist es alt und neu zugleich, Vergangenheit und Gegenwart. Getriebe, mechanische Geräte, nautische und Dampfkraftelemente und Gußeisen sind durchdrungen von der Technologie des 21. Jahrhunderts". Start Price: EUR 120 Zustand: (2/-)Original "Steampunk" LampContemporary industrial sculpture of dials, valves, steel pipes and a Simmons Bros., N.Y. timer/power supply, with individual switches for the two vintage screw-fit bulbs, ht. 31 in. (79 cm), 110 V, modern electric fittings and cloth-covered cord, working. - Steampunk, burgeoning art form and aesthetic, fuses antique machinery with industrial salvage, science fiction and modern technology. Drawing inspiration from the literary works of H.G. Wells and Jules Verne, the impossible machines of William Heath Robinson and the anarchic humor of Dr. Seuss, "it's a world of 'what if' … that involves reinventing period objects, most notably from the Victorian age". According to Steampunk evangelist Bruce Rosenbaum, "it's old and new at the same time, past and present. Gears, mechanical gadgets, nautical and steam power elements and cast-iron are all imbued with 21st-century technology". Industrial art re-invented. Start Price: EUR 120 Condition: (2/-)

KANGYOKU: A FINE CONTEMPORARY WOOD NETSUKE OF A PUPPYBy Noriyoshi Tachihara (Kangyoku), signed Risshisai Kangyoku 立志斎 寛玉Japan, Tokyo, late 20th centuryA pleasingly tactile and superbly carved wood netsuke depicting a decidedly fat puppy with large floppy ears and chubby paws, its mouth agape revealing sharp teeth, the glaring eyes double inlaid in shell. The surface is beautifully polished and lightly stained, 'clouds' of stippled markings simulate the piebald fur coat of the dog., Good, asymmetrical himotoshi underneath, signed to one hind paw RISSHISAI and to the other KANGYOKU.LENGTH 4.5 cmCondition: Excellent condition.Provenance: Old Swiss private collection. Old label 'R139' pasted underneath.Noriyoshi Tachihara (art name Kangyoku) was born in Tokyo in 1944. He learned carving from his father, Fasukichi Tachihara, who was a member of the school of the famous netsuke-shi Hojitsu. His favored subjects are animals and mythological creatures and he usually carved in mammoth ivory but can also carve various woods very successfully.

LEIGH SLOGGETT: SHARKBy Leigh Sloggett (b.1960), signed LS Biri 美里Australia, 1993Finely carved as a ferocious shark twisted in motion, the mouth opened revealing sharp teeth and tongue, the eyes inlaid in dark horn, the gills neatly incised and the wood superbly polished. Signed underneath with the artist's initials 'LS' and with the artist's art name given to him by Bishu Saito BIRI 美里. The 'natural' cord attachment is formed by the twisting tail underneath.With the original wood box signed by the artist and with the title of the work 'Shark'.LENGTH 5.7 cmCondition: Excellent condition.Leigh Sloggett (b.1960) is an Australian contemporary netsuke carver who combines the traditional and functional attributes of the netsuke with innovative ideas, forms and concepts which come from his personal experiences. Mr. Sloggett studied fine arts, majoring in painting and sculpture. He started carving netsuke in 1992 and studied under Bishu Saito, Yasufusa Saito, Ryoshu Miyazawa, Mitsuyuki Aoki and Goraku Matsuda. His work has been exhibited in museums and galleries around the world, including: the British Museum, Tokyo National Museum, Los Angeles County Museum and can be found in important private collections.

A FINE ANTLER KISERUZUTSU WITH RAIN DRAGON (AMARYU) AND BAKUUnsignedJapan, Tokyo, Asakusa district, second half of the 19th centuryThe muso-zutsu pipecase finely carved in sunken relief (shishiaibori) with a central, openwork lattice above a sinuous rain dragon gripping a flaming tama in its mouth, its furcated tail trailing behind. The cap decorated with a reishi medallion and the cord attachment in the form of a baku, its trunk functioning as the himotoshi.LENGTH 21.2 cmCondition: Good condition with minor wear, minor old fill to the porous area likely inherent to manufacturing, and natural 'flaws' to the material.While this piece is unsigned, it can be attributed to Ozaki Kokusai (1835-1892) or a close follower such as Hakusai or Hakumin (see literature comparisons).Baku are Japanese supernatural beings that are said to devour nightmares. According to legend, they were created by the spare pieces that were left over when the gods finished creating all other animals. They have a long history in Japanese folklore and art but are relatively rare as subjects, especially combined with rain dragons (amaryu).Literature comparison:Compare a related antler kiseruzutsu, carved with a similar dragon in sunken relief, signed Kokusai, illustrated in Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. II, p. 370-371, no. 281. Compare a related antler kiseruzutsu, carved with a closely related baku head cord attachment, signed Kokusai, illustrated in Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. II, p. 374-375, no.283. Compare a related antler musozutsu style kiseruzutsu, carved with a closely related baku head cord attachment, attributed to a contemporary of Kokusai or possibly by the artist himself, illustrated in Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. II, p. 378-379, no.285. Compare a related antler kiseruzutsu, carved in a similar fashion with a sinuous dragon, signed Hakusai, illustrated in Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. II, p. 170-171, no. 439.

GROUP OF ‘COMPANY SCHOOL’ PAPIER MACHÉ FIGURINES OF SERVANTS, TRADES AND CASTES, ALONG WITH A BUFFALO HORN PALANQUIN INDIA, 19TH CENTURY comprising 11 figurines, all standing except for 2, moulded and decorated in polychrome, clothed in cotton, each on a square platform bearing etiquettes inscribed in English with their identifying roles, including ‘Housekeeper’, ‘Waiting Boy’, ‘Malabar Dancing Girl, ‘Dhoby’, ‘Noor Dancing Girl’, ‘Bearer’, ‘Brahamin’, ‘Tailor’, ‘Lapidary’, ‘Maity’, the collection includes a palanquin in the form of a chest on four feet with protruding long carrying poles on either end, a water carrier hanging from one end, the interior decorated in red velvet along with a reclining figurine Dimensions:figures: 21 cm max high; palanquin:  46.5cm long. Provenance:Provenance: By family repute acquired by Edward Green Balfour (1813-1889), surgeon and naturalist in India; thence by descent. Balfour travelled to India in 1834 as an assistant surgeon in the Madras medical service, and ended his career as surgeon-general in the presidency. An acknowledged polymath, he wrote on subjects including Indian languages and literature and forestry in addition to medicine. His most influential work in his own day was his Enyclopaedia of India and Southern Asia, published at Madras in 1857. Today he is also remembered for his pioneering ecological writings, which explored what he believed to be the 'direct relationship between deforestation, climatic change, and environmental degradation' (ODNB). Part of his collection was sold in this saleroom on 21 June 2023, notably lot 75 The Balfour album, Shaykh Muhammad Amir of Karraya or studio (fl. c. 1830-50). Note: Note: These naturalistic figures offer an extraordinary insight into life in India in the 19th Century under the British Raj, before photography was introduced. In the same way Company School paintings reflect contemporary life, so do these figures, which were made as souvenirs for Western patrons as early as the 1820s. They were made at Krishnagar, a village near Calcutta, as well as at Hatwa, Datan (near Saran), Muzaffar-pur, Dacca, Burdwan, and later, Lucknow and Poona. For a village market scene with figures now in the Peabody Museum of Salem, see Stuart Cary Welch, India: Art and Culture 1300-1900, New York 1985, pp. 91-2, fig. 45.

A RARE AND LARGE MING-STYLE BLUE AND WHITE RESERVE-DECORATED 'DRAGON' VASE, MEIPING18th century The vase well-potted with with a tapered body rising to a broad shoulder, finely incised with a sinuous five-clawed dragon in pursuit of a flaming pearl amidst ruyi clouds and above turbulent waves crashing against rocky boulders, all reserved on an vibrant cobalt-blue ground imitating the Ming-style 'heaping and piling' effect, the base unglazed.36.7cm (14 3/8in) high.Footnotes:十八世紀 青花藍地白花海水雲龍紋梅瓶Provenance: a British private collection來源：英國私人收藏Well-potted with a powerful writhing dragon pursuing the flaming pearl above cruciform clouds, the present vase is based on prototypes produced during the 15th century and exemplifies how potters during the 18th century revisited highly-regarded designs to suit contemporary taste. The unusual technique of using raised, slip-decorated designs reserved in white against a dark blue ground, was developed in the Yuan dynasty; see for example a Yuan dynasty cover and an ink palette The excavated porcelain from the official kilns in Jingdezhen of the Yuan and Ming dynasties, Beijing, 1999, pp.70-71.Although no early Ming counterpart of identical design seems to be preserved, a vase with a very similar bold dragon was recovered from the Yongle stratum of the waste heaps of the Ming Imperial kilns, illustrated in Imperial Hongwu and Yongle Porcelain Excavated at Jingdezhen, Taipei, 1996, no.66, fig.3. See also another meiping decorated with an incised white dragon striding above blue waves, Yongle, illustrated in Chinese Porcelain Collections in the Near East: Topkapi and Ardebil, vol.3, Hong Kong, 1981, pl.A65.Compare with a very similar blue and white reserve decorated 'dragon' meiping vase, 18th century, in the Museum of Fine Arts, Boston, (acc.no.07.31). Another similar meiping vase decorated with a dragon above waves and amidst clouds, 18th century, in the Asian Art Museum of San Francisco, published by R.L.d'Argencé, Chinese Ceramics in the Avery Brundage Collection, p.114, no.LIIC, where it is dated Ming dynasty, 16th century but later dated as Yongzheng by He Li, Chinese Ceramics A New Comprehensive Survey, San Francisco, 1996, pp.290-291, no.592; see another similar vase decorated with a dragon above waves, Yongzheng, illustrated in The Complete Collection of Treasures of the Palace Museum. Blue and White Porcelain with Underglaze Red, vol.3, Hong Kong, 2000, pl.76.Compare with two similar blue and white meiping vases, 18th century, which were sold at Christie's New York, 22 March 2018, lot 604, and Christie's Hong Kong, 28 May 2021, lot 2946.For further information on this lot please visit Bonhams.com

A GUANYAO-TYPE CRACKLE-GLAZED MALLET-SHAPED VASE17th/18th centuryHeavily potted, the glaze simulating a Song dynasty prototype, the broad oviform body and cylindrical neck with everted rim all under a widely-crackled glaze of pale caramel-brown tone. 16cm (6 1/4in) high.Footnotes:十七/十八世紀 仿官窯長頸瓶Provenance: Samson Collection (probably Henry C. Samson, d.1914, New York)H.A.E. Jaehne, New York A.J. Mercher (active around 1930s-40s), New YorkHans (1888-1966) and Ludmilla Arnhold (1894-1976), on 7 December 1944來源：Samson舊藏 （或為Henry C Samson，1914年去世，紐約）H.A.E. Jaehne，紐約A.J. Mercher （約活躍於1930-40年代），紐約Hans (1888-1966)和 Ludmilla Arnhold (1894-1976)伉儷獲得於1944年12月7日Song dynasty glazes were greatly admired by the Emperors of the Qing dynasty because of their beauty and understated elegance, and the potters at the Imperial kilns in Jingdezhen sought to reproduce these glazes on contemporary porcelain. The glaze coating the present vase is a reinterpretation of the highly-regarded Guan ware. In addition, the mallet shape is based on Song dynasty prototypes, an example of which is in the collection of the Palace Museum, Taipei, acc.no.K1B017856.Other Song dynasty inspired glazes on mallet-shaped vases were emulated during the eighteenth century. See a Ge-type mallet vase with straight neck, Yongzheng six-character mark and of the period, which was sold at Christie's Hong Kong, 27 November 2013, lot 3201; see also a crackled-glazed mallet vase, Yongzheng, illustrated by B.Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, p.75, no.194.Compare with a related guan-type mallet vase, 18th century, in The Metropolitan Museum of Art, New York, acc.no.1993.386.26. A related guan-type mallet vase, Yongzheng mark and of the period, was sold at Christie's New York, 24 September 2020, lot 855.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 contemporary Art Deco style two tier drinks trolley, with removable glass shelves and chrome frame. 68x74x45cm.

A contemporary Art Deco design lounge chair.

SIBYL COLEFAX & JOHN FOWLER - A contemporary Art Deco design three seater sofa. Overall 188x87x96cm, seat 155x52x70cm. WITH THE OPTION TO PURCHASE THE FOLLOWING LOT.

SIBYL COLEFAX & JOHN FOWLER - A contemporary Art Deco design three seater sofa. Overall 188x87x96cm, seat 155x52x70cm.

CONTEMPORARY SCULPTURE OF THREE BIRDS, ALONG WITH A METAL WALL ART the bird sculpture on ebonised base, the wall art modelled as a flock of birdswall art 106cm wideQty: 2

FASHION BOOKS - VIRGIL ABLOH COMPRISING; Coming of Age (3 out of 400 copies), ESpace Louis Vuitton Beijing, 2019 Louis Vuitton: Virgil Abloh, Assouline, 2022 Something's Off, Taschen, 2020 Virgil Abloh: Figures of Speech 1980-2019, Museum of Contemporary Art Chicago and DelMonico Books (Prestel), 2019 Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

FASHION, ART & ARCHITECTURE BOOKS - LOUIS VUITTON (2/2) COMPRISING: Louis Vuitton: Art, Fashion & Architecture, Rizzoli, 2009, Limited Edition 329/500, with accompanying acrylic box. Espace Culturel Louis Vuitton: Landscapes of Contemporary Creation, Actes Sud, 2011, Limited and Frist Edition R. Padilha & M. Padilha, Louis Vuitton: The Stephen Sprouse Book, Rizzoli, 2009, Louis Vuitton Limited Edition R. Padilha & M. Padilha, The Stephen Sprouse Book, Rizzoli, 2009 S. Pagé & B. Parent, Fondation Louis Vuitton: Keys to a Passion, Hazan, 2015 Louis Vuitton: I Just Arrived in Paris, Photographed by Juergen Teller, Steidl, 2015, look book and large format prints Louis Vuitton: The Flow: Photographed by Juergen Teller, Steidl, 2015 Louis Vuitton: Season Three: Photographed by Juergen Teller, Steidl, 2015 (8) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

YANG, HAEGUE1971 SeoulTitel: Cup Cosies (für Parkett 89). Datierung: 2011. Technik: 100 ineinandergesteckte Plastik-Trinkbecher, umstrickt mit Manschette aus Strickgarn. 70 x Ø 10,5cm. Bezeichnung: Signiert und nummeriert auf beiliegendem Zertifikat. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 1/35. Zustand:Das Multiple befindet sich in sehr gutem Zustand.Jedes Exemplar der Auflage ist ein Unikat. Dem Werk liegt ein Garnknäuel für Ausbesserungen bei.Mit Parkett-Magazin."If the 'aesthetic regime' of art since modernism is distinguished by art's refusal to observe the boundary between it and anything else, here the artwork invokes its primordial role of magical or cult object both as phantasmatic origin and in its role of being a kitsch commodity with no use, the sheer arbitrariness which is the contemporary state of the art object's 'aura.' "Marina Vishmidt, Parkett Nr. 89, 2011.Artikel zu Werk und Künstler aus Parkett Edition Nr. 89. Haegue Yang Korea Konzeptkunst Akustische Kunst Zeitgenössische Kunst Multiples 2010er Farbe Multiple textil MusterErläuterungen zum Katalog

CHAN, PAUL1973 HongkongTitel: The Libertine Reader (für Parkett 88). Datierung: 2011. Technik: Serigrafie auf Buchrücken auf Holzplatte montiert. Maße: 63,5 x 42 x 1,9cm. Bezeichnung: Signiert und nummeriert auf beiliegendem Zertifikat. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 1/35. Zustand:Das Werk befindet sich in einem sehr guten Zustand.Mit beiliegendem Zertifikat. Mit Parkett-Magazin."When the question of art's political potential is raised in contemporary art discourse (and sometimes it seems nothing else is), the main tendency since at least the 1990s has been to question the distinction between its two terms: to 'blur the line between art and life,' as the phrase goes. S political activist and an artist, Paul Chan might be the exemplary figure for the great blur - if he didn't spend all his time resisting it. As he puts it in an interview with George Baker, 'the desire to bridge what we call art and politics is in fact a fear of both.'"Carrie Lambert-Beatty, Parkett Nr. 88, 2011.Artikel zu Werk und Künstler aus Parkett Edition Nr. 88. Paul Chan China Zeitgenössische Kunst Multiples 2010er Schrift Multiple Serigrafie FarbeErläuterungen zum Katalog

BÜTTNER, ANDREA1972 StuttgartTitel: Piano Stool (für Parkett 97). Datierung: 2015. Technik: Farbserigrafie auf leichtem Karton. Darstellungsmaß: 46 x 61cm. Blattmaß: 47,5 x 63cm. Bezeichnung: Signiert und nummeriert. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 2/25. Rahmen: Rahmen. Zustand:Verso montiert. Ansonsten sehr guter Zustand.Mit Parkett-Magazin."Throughout her practice, the artist probes 'tricky' thresholds not often explored in contemporary art - the blurry line between amateur making and fine art production, for instance, or the unexpected relationship between marginal religious experiences and philosophies of modernist contemplation."Julia Bryan-Wilson, Parkett Nr. 97, 2015. Artikel zu Werk und Künstler aus Parkett Edition Nr. 97. Andrea Büttner Deutschland Zeitgenössische Kunst Grafik 2010er Rahmen Möbel Druckgrafik Siebdruck MusikinstrumentErläuterungen zum Katalog

RIST, PIPILOTTI1962 Rheinthal/SchweizTitel: I've Only Got Eyes for You (Pin Down Jump Up Girl) (für Parkett 48). Datierung: 1996. Technik: 3-D Farbfotografie auf Kunststoffplatte mit Saugnapf. Darstellungsmaß: 21 x 28 x 6cm Bezeichnung: Signiert und nummeriert (verso auf Editionsetikett). Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 1/80. Zustand:Minimale Kratzspuren an der Oberfläche. Verso minimale Bereibungen an zwei Ecken. Ansonsten sehr guter Zustand.Das Kunstwerk ist konzipiert, um es an den Bildschirm eines Fernsehers zu befestigen, wenn dieser nicht benutzt wird.Mit Parkett-Magazin."Pipilotti Rist. exploits the general acceptance of the video medium as a kind of substitute for the easel painting - and, above all, its role as a component of spatial installations. The specific appeal of video, as employed by Rist, also incorporates such shadow disciplines as the pop video, the television commercial, and the trailer. Here, Rist's idiom, schooled in Expanded Cinema, receives a highly contemporary infusion of entertainment value. The rheme of art has become her theme; hence the self-dramatization that encompasses not only the means of production but also her existential self-definition as a subject within society, as a woman, and as an artist." Marius Babias, Parkett Nr. 48, 1996.Artikel zu Werk und Künstler aus Parkett Edition Nr. 48. Pipilotti Rist Grafik 1990er Frau Multiple Foto RaumErläuterungen zum Katalog

GROSSE, KATHARINA1961 Freiburg i.Br.Titel: Ohne Titel (Bemalte Parkett-Ausgabe) (für Parkett 100/101). Datierung: 2017. Technik: Mit Sprühfarbe bemalte Parkett-Ausgabe. Maße: 25,5 x 21 x 3cm. Bezeichnung: Signiert, datiert und nummeriert (im Innern). Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 5/25. Zustand:Das Multiple befindet sich in einem sehr guten Zustand.Jedes Exemplar ist ein Unikat.Mit Parkett-Magazin."Today, while many interesting painters are exploring the cusp between abstraction and the image, Katharina Grosse is holding the line for abstraction. But unlike so much contemporary abstraction, hers is untouched by nostalgia for the utopian certainties that motivated the pioneers. Her art looks forward, but unlike that of the great modernists, it doesn't define the end towards which it aims."Barry Schwabsky, Parkett Nr. 100/101, 2017.Artikel zu Werk und Künstler aus Parkett Edition Nr. 100/101. Katharina Grosse Deutschland Abstraktion Zeitgenössische Kunst Multiples 2010er Gegenstände Multiple Sprühfarbe FarbeErläuterungen zum Katalog

James Somerville (Scottish Contemporary b. 1936) East Neuk Pier signed, titled verso, oil on canvas, 48.5cm x 59cm  Originally from Fife, Jimmy went to Edinburgh College of Art, then returned to Fife in 1960 where he became a Principal Teacher of Art in Glenrothes High School. He held various posts on secondment as National Development Officer for Art and Design, was Principal Examiner with the Scottish Examination Board, and was involved in the introduction and implementation of Standard Grade Art & Design in schools. James retired from this work many years ago and began painting and exhibiting on a full-time basis. Slightly abstracted in style, and although always starting from drawings of specific places, they are taken well beyond the picturesque. The finished paintings show a concentration on atmosphere, mood, and response to things seen rather than mere representation of actual places. James Somerville's paintings are held in the collections of: The Scottish Arts Council, Edinburgh Hospitals Collection, Pitlochry Festival (Harry Cruden) Collection, Fife Regional Council, and numerous private collections at home and abroad

▴ A silver honey pot, cover and spoon,by Rod Kelly, London 1984,decorated in low relief with panels of a king and queen, with a sinuous tree and feathers, the cover dated with gilt numbering, '1934-84' and a leaf, with a blue glass liner,15cm high, spoon 14.5cm long, 10.8ozt (3)Only two of these honey pots were made, one for Mr Evan Steadman and another for HRH Princess Anne.Provenance: Mr Evan and Mrs Patricia Steadman - Mr Steadman was the former organiser of The Grosvenor House Antiques Fair.Born in Berkshire in 1956, Rod Kelly is a renowned silversmith known for his exceptional craftsmanship and artistic designs. His unique creations blend traditional silversmithing techniques with contemporary aesthetics, resulting in exquisite pieces that captivate collectors and art enthusiasts worldwide.Kelly's journey as a silversmith began at a young age when he discovered his affinity for metalworking. He honed his skills through formal training and apprenticeships under accomplished artisans, immersing himself in the rich history and techniques of the craft, but over the years, came to develop his own distinctive style.One of the distinguishing aspects of Kelly's work is his ability to infuse emotion and storytelling into each piece, and his creations often tell a narrative or evoke a particular feeling. This artistic approach adds depth and significance to his work, elevating it beyond mere functional objects. He meticulously sources the finest materials, ensuring that each piece is crafted with precision and durability. This commitment to excellence has earned him recognition and accolades, including prestigious awards and invitations to exhibit his work in renowned galleries and museums.Condition ReportWith very minor where to the surface. Some general scratches and marks, but no damage. ARR will apply to this lot.

BLUE NOTE / ARTISTS - LP COLLECTION. A collection of 21 x LPs mostly contemporary pressings. Artists/ Titles include Grant Green - The Latin Bit, Hank Mobley (RE, Blue Note 1568), John Coltrane - Blue Train (Blue Note 1577, coloured vinyl), Donald Byrd - The Cat Walk, Eric Dolphy - Out To Lunch!, Wayne Shorter - The All Seeing Eye, Blue 'N' Groovy - Vol. 2/ Mostly Modal, Jackie McClean - Swing Swang Swingin', The Fabulous Fats Navarro Volume 1, Charles Lloyd Quartet, Horace Silver, Freddie Hubbard, Cliff Jordan, Art Blakey and Max Roach. The condition is generally VGto Ex+.

Contemporary art , original Acrylic painting Sousse Tunisia once a great Phoenician port, commissioned from and painted by the BBC set designer Jeanette Payne in 1974 approximately 127 x 82 cm

Art interest, 1978 print of Tony Grahams Manhattan sky line in contemporary frame , approximately 43 x 53 cm

Art Print, Limited edition signed print of Wolves, 588/600 by A Robinson in contemporary black frame approximately 41 x 72 cm

Property from a Private London CollectionRamkinkar Baij ( Indian 1910-1980), Landscape Series, 1940, watercolour on paper, signed and dated lower right in Bengali (2.12.40), mounted, glazed and framed, painting 18.5 x 27cm.Provenance: Acquired in Kolkata, 1998, auction house unknown, Lot 21; Private Collection, CalcuttaExhibited: "Landscape as Inspiration", Cymroza Gallery. Part of the The Intuitive-logic: A Festival of Indian Contemporary Painting, 1 March - 19 April 1997. Published: N. Tuli, The Flamed-mosaic: Indian Contemporary Painting, HEART in association with Mapin Publishers Pvt. Ltd., Ahmedabad, 1997, p. 101, pl. 40 (full colour illustration).Ramkinker Baij was born in 1910 in Bengal, India and trained at the Kala Bhavan in Santiniketan. Baij was renowned for his tendency towards abstraction at a time when the majority of British-founded art schools espoused academic realism.  The present work on paper depicts an avenue of trees dappled with sunlight. The unusual attribution of sky blue and sunset yellow and amber to the trees, rather than to the sky, gives the impression of a landscape set alight by the glow of dusk. Baij adeptly creates a sense of depth and perspective with washes of darker colors, inviting the viewer to contemplate the last fleeting moments of twilight.Condition Report: Foxing to mount; paper slightly buckled

Abdul Qader Al-Rais (Emirati, b. 1951), Untitled, watercolour on paper, signed in Arabic and dated 2008, stamped with the artist's fingerprint (lower right), glazed and framed, 151 x 101cm. Painted in 2008.Provenance: Private UK Collection; Leila Heller GalleryAbdul Qader Al Rais (b.1951, United Arab Emirates) received a Bachelor of Sharia Law from the United Arab Emirates University in 1982 and is a self-taught artist. He was born twenty years before Dubai (and the United Arab Emirates) was formed and is considered one of the most iconic painters of the country.A founding member of the Emirates Fine Arts Society, Al Rais’ practice was truly self-driven and resourced. He began painting in 1964, at a time of limited cultural infrastructure, where sourcing paint posed difficulties. Being cut off from traditional international art markets and western artistic dialogues, his practice was deeply informed by Gulf traditions; of representations of the divine, culture and community – all grounded in humility. He spent time during his youth in Kuwait in the 60’s and 70’s, while the country experienced an artistic and literary renaissance, where he encountered key figures in the Gulf modern art movement, including Sami Mohammed, and Khalifa and Lidia Qattan. Al Rais’ early works were representational and rooted in realism. He mostly depicted traditional Emirati landscapes and architecture. After a hiatus between 1974 and the 1980s, his work began to take on political themes (particularly responsive to the first Palestinian Intifada, seen as the artist’s second period). In the 90s, Al Rais increasingly turned to abstraction and calligraphy (his third period) recognizing their shared meditative and spiritual qualities.Al Rais has held several solo exhibitions both locally and internationally. Notably, he was featured in the UAE Pavilion at the 56th Venice Biennale, Venice (2015). Al Rais’ work has also been displayed at the European headquarters of the United Nations in Geneva and his public murals can be found in the Dubai Airport and the Dubai Metro. Retrospectives of Rais' extensive artistic career have been held at the Sharjah Art Museum and the Institut du Monde Arabe.Among his numerous awards are the Sheikh Khalifa Prize for Art and Literature, Abu Dhabi (2006); Golden Palm Award, Gulf Cooperation Council Art Exhibition, Doha (1999); first prize at The UAE in the Eyes of Its Artists, Abu Dhabi Cultural Foundation, Abu Dhabi (1999); Sultan Al Owais Award for Scientific Studies and Creativity, Dubai (1992, 1994, 1996) and first prize at the UAE Exhibition in China (1991).Al Rais’ work is held in the collections of the British Museum, London; Louvre, Paris; Northwest Museum of Culture and Arts, Spokane, Washington; Museum of Contemporary Art Shanghai, Shanghai and the Museum of Modern Art, New Delhi.  Al Rais lives and works in Abu Dhabi.

F.N. Souza (Indian 1824-2002), Still Life (skull, cross, oil lamp), 1986, oil on canvas, 120 x 60cm. (47.2in. x 23.6in.)Provenance: The property of Dr. Premlata Goel, widow of the distinguished art critic, K.B. Goel; Gifted by Souza to his close friend, the art critic, K.B. Goel (1930 - 2018).The genre of still life painting provides a glimpse into Souza’s psyche; questions of religion and morality tormented him throughout his life.In this still life by Souza, as in others by him, there is a compositional quality which is his hallmark. The assemblage of objects reveal the precision of his mental processes and remarkable draftsmanship. In the work, on the table religious symbols are interspersed with other objects reflecting Souza’s Catholic upbringing and the influence of the Church on his adolescent mind.“The Roman Catholic Church had a tremendous influence over me, not its dogmas but its grand architecture and the splendour of its services." (Edwin Mullins, Souza, Anthony Blond Ltd. London 1962, p. 42). In another instance, Souza describes dining at a priest’s home in Goa, “Sunday evenings, the vicar invited me to dine with him […] A laundered tablecloth was spread only when he [the Vicar] had guests, a luxury he permitted himself with touching simplicity.” ('Nirvana of a Maggot', F. N. Souza: Words and Lines, Villiers London 1959, pp.17-18).Writing on Souza’s still life compositions, the distinguished critic Geeta Kapur notes that ‘they are mostly ornate vessels and sacred objects. These objects retain their ritual aspect both on account of the visual description and composition... They are moreover, clustered formally as if on the shelf of the sacristy…’. (G. Kapur, Contemporary Indian Artists, Vikas Publishing New Delhi 1978, pp. 29-30)This work is predominantly painted in tones of yellow. The skull makes its presence felt in one corner - a striking reminder of the certainty of death. This symbol dating from antiquity is known as a Memento Mori, Latin for “Remember that you will die”. In the opposite corner, juxtaposed to the skull, is the large vase full of flowers symbolising the blossoming of new life. It occupies much of the space in the foreground with the bright red flowers. The thick wooden cross stands firm next to this vase. The oil lamp beside the skull illumines the entire scene. There is a more restricted yet judicious use of colours for a work of this period. Here, it is a subtle yellow shade that fills the entire background, dominating the painting. This seems to signify the dispelling of darkness and dark thoughts. Souza must have been in a happy state of mind while painting this work.This juxtaposition of ideas, hope and despair, light and dark, life and death is expressed with effortless ease and clarity. Souza signs off the work in his inimitable style; thick black outlines the foreground forms effectively enveloping them. They are remarkable for their energy and geometric visual harmony.(ARR)Condition Report: Held in a wooden frame, minor scuff marks. Slight undulation to the canvas, most noticeably in the top third of the painting and top right corner. Dent to the painted surface top right above yellow flower. Spots of surface residue across bottom third; some some possibly paper residue. vertical scuffs to the painted surface from the left of the flowers to the bottom; does not detract from image. Some pigments fluoresce under UV light, but appears original to the process of making (see video). Staining in two square patches visible to the reverse.   

A Qur’an, Ethiopia, signed Muhammad ibn ‘Umar ibn Hassan, dated 13 Rabi’ I AH 1256 AH / 1840 AD, Arabic manuscript on paper, 219ff., 5fl.,15ll of black harari script per page, vocalised throughout, the opening bifolio with bold circular motifs paired with chequerboard patterns extending to the margins, verse markers and sura headings in red, numerous marginal notes, bound in slightly later goatskin, contemporary, with numerous repairs, text block slightly trimmed, 33 x 24cm.Footnotes: Provenance : United Kingdom art market

Contemporary clear Art Glass fruit bowl

Ana Maria Pacheco (b. 1943) screenprint- Goat from a Modern Bestiary, signed and numbered 24/25, 24cm x 19cm, in glazed frame. Provenance: Pratt Contemporary Art, Kent

Maggi Hambling CBE (b.1945)Wave VI (Black and White)Signed (to margin lower right)Etching and aquatint29 x 53.8cm (sheet) Horatio's garden will receive 100% of the hammer price on this lot. Born in Sudbury, Suffolk in 1945, British painter and sculptor Maggi Hambling CBE first studied locally at Cedric Morris’ and Lett Haines’ East Anglian School of Painting and Drawing, before going to the Ipswich (1962-64), Camberwell (1964-67) and Slade (1967-69) Schools of Art. In 1980 she was appointed as the first contemporary artist in residence at the National Gallery and in 1995 awarded (jointly with Patrick Caulfield) the Jerwood Prize for Painting. Hambling has had numerous solo museum exhibitions since 1980, and besides those at the National Gallery (1981 & 2014) and the National Portrait Gallery (1983 & 2009), others have included, Serpentine Gallery (1987), Yale Center for British Art, New Haven, USA (1991), Yorkshire Sculpture Park (1997), The Lowry, Salford (2009), Walker Art Gallery, Liverpool (2009), Fitzwilliam Museum, Cambridge (2010), The Hermitage, St. Petersburg, Russia (2013), Somerset House (2015), The British Museum, London (2016) and recently, two important retrospectives at both CAFA Art Museum, Beijing and Guangdong Museum of Art, Guangzhou, China (2019). Public sculpture includes A conversation with Oscar Wilde, in Adelaide Street, London, (1998), Scallop, a sculpture to celebrate the composer Benjamin Britten, in Aldeburgh Beach, Suffolk (2003) and, most recently, A Sculpture for Mary Wollstonecraft, unveiled Newington Green, London (2020).

Paul Chisholm (b.1983) MonaSigned (to reverse)Oil and acrylic on board41 x 31cm Horatio's garden will receive 100% of the hammer price on this lot. Paul Chisholm (b.1983) is a contemporary British artist who explores identity, gender and politics in painting, photography, installation and objects. Born in Canterbury, he studied at Nottingham Trent University before completing an MA in Fine Art at Chelsea College of Art. Chisholm has been featured widely in the press, coming to notoriety in 2017 when he sold a sculpture dubbed ‘the world’s most painful dildo’ at Christies, London in aid of the Terrence Higgins Trust. His recent solo exhibitions have taken place at University of Creative Arts, Folkestone, Turf Project Space, Croydon and Bletchingley Castle, Surrey. Future exhibitions including The Lightbox, Woking and The Phoenix Arts Space, Brighton. He lives between Bletchingley and Amsterdam.

Leo Crane (b.1977)Kam's BackSigned and dated (lower right)Oil on canvasboard30 x 24cm Horatio's garden will receive 100% of the hammer price on this lot. Leo Crane is a painter and animator investigating self-expression through gesture and movement. His award-winning work has been exhibited in galleries, festivals, books and billboards across the world. In 2020, he was commissioned with Roy Joseph Butler to explore the painter-model relationship in the book Contemporary Figures in Watercolour (Batsford Books). A portrait artist, Leo is featured in the book Portraits for NHS Heroes (Bloomsbury) and has appeared on national TV in Brazil and in the UK’s Sky Portrait Artist of the Year. Leo runs the London-based studio Figuration and teaches at Sotheby's Institute of Art, V&A Academy, British Library and the Heatherley School of Art.

Clare Arbuthnott RSW (Scottish b.1974)Tulips on Blue StripeSigned with initials CA (lower right) Oil on canvas50 x 50cm Clare Arbuthnott RSW, a contemporary artist based in Edinburgh, focuses on her native landscape and also creates colourful floral works. Clare was bought up in rural North East Scotland and later studied at the Leith School of Art and in Cumbria. She is an elected member of The Royal Scottish Society of Painters in Watercolour and won the Scottish Arts Club Award for her work in 2017. Her landscape paintings try to capture something of the changeable nature of the Scottish climate with lively brushstrokes and rich colour. Likewise, her floral still lifes are approached with a similar vigour and enthusiasm.

Rory Carnegie (b.1962)Saligo 999Signed (to margin lower right)Photographic print40 x 60cm (image) Rory Carnegie is an Artist Photographer, whose main body of works has given a voice to those that might be denied that voice. He has taught young asylum seekers, collaborated on long term projects with those that have experienced homelessness and created the National Crime Agency’s campaign on Modern Slavery. His work has been exhibited in museums and galleries both in the UK and abroad (John Martin Gallery, London, National Portrait Gallery, The Lowry, Modern Art Oxford, Rencontres d’Arles, Leiden Museum, Institute of Contemporary Culture). His work has been published widely in books and newspapers/magazines. The Saligo Series, from which this image is part of, was shortlisted for the Royal Photographic Society’s International Photographic Exhibition 95.

Sarah Armstrong-Jones (Lady Sarah Chatto), abstract landscape, oil on board, mounted to backboard within frame, verso inscribed "Sarah A.J", with Cadogan Contemporary label, image 30.5cm x 30.5cm.   Provenance: Cadogan Contemporary Gallery, London, Exhibition of the Works of Sarah Armstrong-Jones, 1990. NOTE: Sarah Armstrong-Jones, b.1964, was educated at Camberwell School of Art, and at the Royal Academy Schools. She won the Windsor & Newton Prize in 1988, and the Creswick Landscape Prize in 1990, the year of this painting. Lady Sarah is the only daughter of Princess Margaret and Antony Armstrong-Jones and, at birth was seventh in line to the British throne.

§ Roy De Maistre C.B.E. (Australian / British 1894-1968) Two Figures oil on board Dimensions:41cm x 33cm (16 1/8in x 13in) Provenance:ProvenanceCelia Broadbent (neé Keogh) and by direct descent to the present owner.LiteratureJohnson, Heather, Roy De Maistre: The English Years 1930-1968, Sydney: Craftsman House, 1995, p.27, plate 7, illustrated. Note: Celia Broadbent was de Maistre’s cousin once removed, and his executor and friend; her older sister, Camilla Margery Keogh, was the subject of ‘La Folie', considered one of de Maistre’s major works Roy de Maistre: ‘Fellas doing things to Fellas’Described as ‘the man who taught Francis Bacon to paint’ (Ronald Alley interviewed by Heather Johnson 1988), Roy de Maistre moved from his native Australia to London in 1930, where he lived for the rest of his life. He had trained at Sydney Art School and the Royal Art Society, had spent two years travelling in Europe between 1923 and 1925 and had had two solo exhibitions, at the Macquarie Galleries in Sydney in 1926 and 1928. Despite this successful start to his career, de Maistre looked to London for a more progressive art world into which he was immediately admitted. In his first year in the English capital, de Maistre had a solo show at the Beaux Arts Gallery and a joint exhibition of paintings and furniture with Francis Bacon, held in the latter’s studio at 7 Queensberry Mews.De Maistre’s friendship with Bacon was closest in the early 1930s, though they remained in contact until the former’s death in 1968. There is some debate as to whether they had studios in the same buildings but on different floors, but what is certain is de Maistre’s fascination with Bacon’s working spaces, which he painted on several occasions. As de Maistre’s biographer, Heather Johnson, has declared ‘the main importance of the association between de Maistre and Bacon is the influence on their respective work…in the early 1930s de Maistre had just as great or greater influence on Bacon.’ (Heather Johnson, Roy de Maistre: The English Years 1930-1968, Craftsman House, Roseville East, 1995, p.22).The 1930s were a particularly fertile period in de Maistre’s career; his work featured in cutting-edge publications, such as Herbert Read’s 1933 Art Now and in group exhibitions including at the Zwemmer Gallery and Leicester Galleries. He had solo exhibitions at the avant-garde Mayor Gallery in 1934 and at the Calmann Gallery four years later. In 1934 he established the School of Contemporary Painting and Drawing with Martin Bloch, with its stated aim acting as a manifesto for his own work, namely ‘to help the pupils to give expression to their enjoyment of the beauty and significance of things seen and experienced; to understand and appreciate the materials they use and to recognise the logic of the laws of colour and composition’ (see Johnson, op.cit., p.82).Two Figures dates from this important period. Johnson explained that in this painting, compared with other contemporary works, ‘de Maistre has…concentrated on a sensitive and intellectual rapport between the figures rather than a purely sexual one, the blending of the figures and their closeness is much more successful’ (Johnson, ibid., p.28). Two Figures is all the more significant given de Maistre’s instructions to his Executors that, following his death, ‘a large body of work, described as ‘fellas doing things to fellas’ be destroyed (see Johnson, ibid., p. 28). The two men are seen unclothed, caught in a moment of intimate relaxation – both have their eyes closed and are viewed in profile. Bold black outlining provides the structure of a pictorial design based on shallow depth, whilst a harmonious palette, direct technique and frank appreciation of the male form create an image which is at once sensual and bold.In contrast, Crucifixion of 1945, whilst based on earlier notes and studies, was painted in response to the dropping of the first atomic bomb, on Hiroshima on 6 August of that year. By this point in his career, de Maistre was becoming known as a modernist religious painter, not least with the acquisition in 1944 of a work of the same Biblical scene to Iona Abbey. De Maistre formally converted to the Roman Catholic faith in 1951. The 1940s saw him receive solo exhibitions in Leeds and Birmingham and culminated in one at Adams Gallery, London in 1950.The influence of Bacon’s working methods can arguably be detected in Man and Tree of 1959. Johnson posits that Bacon’s use of Portrait of Innocent X by Diego Velázquez in a series of works started in 1951, may have encouraged de Maistre to look to past masters for inspiration. Indeed, she established that Man and Tree is based on a work by Henri Matisse, reproduced in an article about Fauvism in the December 1934 issue of the D’Aci I D’Alla magazine, of which de Maistre owned a copy. (M. A. Cassanyes, ‘Fauvisme’, D’Aci D’Alla, no.179, vol. XXII, December 1934 see Johnson, ibid., pp.163 and 165). This work dates from the period during which de Maistre was preparing his retrospective exhibition at the Whitechapel Gallery, London, which opened in May 1960.All three of the works by de Maistre presented here formerly belonged to Celia Broadbent (née Keogh). She was a daughter of the artist’s cousin, Camilla Keogh (1866-1948) who was one of his most significant patrons and muses. Celia went on to support de Maistre herself, not least in asking him to design tapestry versions of some of his paintings, which she then stitched (see Johnson, ibid., p. 112).As de Maistre’s patron, Rab Butler, proclaimed: ‘His most impressive quality as an artist was his absolute integrity. He went through long periods of difficulty in earning his living from painting because he refused to conform to any standards other than those which he had rigorously laid down for himself.’ (quoted in Johnson, ibid. p.55)

§ Geoffrey Clarke R.A. (British 1924-2014) Column, 1993 (LeGrove S692) stamped artist's mark, aluminium Dimensions:26cm high (10 1/8in high) Provenance:ProvenancePrivate Collection, UK. ExhibitedChappel Galleries, Chappel, Geoffrey Clarke RA - Latest Work: Sculpture, Paintings & Drawings, 29 October - 26 November 1994. LiteratureLeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.209, S692, illustrated. Note: Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.

§ Geoffrey Clarke R.A. (British 1924-2014) Maquette for Sainsbury Sculpture Competition (Climber), 1965 (LeGrove S260a) stamped artist's mark, aluminium Dimensions:26.6cm high (10 1/2in high) Provenance:ProvenancePrivate Collection, UK.LiteratureLeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.100, S260a, illustrated. Note: This is one of a series of maquettes for a sculpture submitted for a competition for a site between the King's Road, Chelsea and a new branch of Sainsbury's. This example was later titled Climber. Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.

§ Peter Randall-Page R.A. (British 1954-) Memory of Water, 2006 with facsimile copy of the signature and date (on label to reverse of backboard), burnt sienna on handmade paper Dimensions:69cm x 102.5cm (27 1/4in x 40 3/8in) Provenance:ProvenanceAcquired from the Artist by the current owner in 2006.ExhibitedBrigstock, Fermynwoods Contemporary Art, New Works on Paper, 2006.