Liu Ye (B.1964), Acrylic Painting Image Size: 29 7/8 by 23 3/4 inches (76 by 60.5 cm) All measurements are approximate. Signed (lower left and reverse) Liu Ye (B. 1964) is a contemporary Chinese painter best known for his colorful, stylized images. Inspired by Western abstract artists such as Piet Mondrian and Paul Klee, he often depicts young children standing before paintings and the Dutch cartoon character Miffy. Unlike many of his contemporaries, Liu's work does not focus on the political and economic changes in China, but rather seeks to depict his own playful imaginings and interests. "Seeking beauty is the last chance for human beings," he has explained. "It is like shooting at the goal; it arouses an emotion that is wild with joy." Born in 1964 in Beijing, China, he went on to study in the mural painting department at the Central Academy of Fine Arts, eventually receiving his MFA from the Berlin University of the Arts. Today, Liu's works are in the collections of the Shanghai Art Museum, and the Long Museum in Shanghai. The artist lives and works in Beijing, China. Please read our policy carefully:1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.
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Yayoi Kusama (B.1929), Acrylic Painting Image Size: 45 5/8 by 35 5/8 inches (116 by 90.5 cm) All measurements are approximate. Signed (reverse), with Gallery Label Yayoi Kusama (B. 1929) is a Japanese contemporary artist who works primarily in sculpture and installation, but is also active in painting, performance, video art, fashion, poetry, fiction, and other arts. Her work is based in conceptual art and shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. She has been acknowledged as one of the most important living artists to come out of Japan. Please read our policy carefully:1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.
Nara Yoshitomo (B. 1959), Lithograph Image Size: 19 5/8 by 19 1/4 inches (50 by 49 cm) All measurements are approximate. Signed (lower right) Yoshitomo Nara (born 5 December 1959 in Hirosaki, Aomori Prefecture, Japan) is a Japanese artist. He lives and works in Nasushiobara, Tochigi Prefecture, though his artwork has been exhibited worldwide. Nara has had nearly 40 solo exhibitions since 1984. His art work has been housed at the MoMA and the Museum of Contemporary Art, Los Angeles (LACMA). His most well-known and repeated subject is a young girl with piercing eyes. Please read our policy carefully:1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.
Yue Minjun (B.1962), Lithograph Image Size: 14 7/8 by 11 inches (38 by 28 cm) All measurements are approximate. Signed (lower right), with Certificate Yue Minjun (B. 1962) is a contemporary Chinese artist known for his inventive take on self-portraiture. Grouped into the Cynical Realism movement in China, alongside artists Fang Lijun and Liu Wei, he refutes this labelling of his work. His brightly colored depictions of maniacally laughing figures are influenced both by Pop Art and Surrealism. His works act as a tacit form of social and political critique which deals with both Chinese history and the Western canon of art. "I'm actually trying to make sense of the world," he said of his work. "There's nothing cynical or absurd in what I do." Born in 1962 in Daqing City, China, Minjun studied at Hebei Normal University in the 1980s, training as a painter, sculptor, and printmaker. Bearing witness to the restrictive regime which led to the Tiananmen Square massacre of protestors, he began using his art to understand the societal changes taking place in China over the following decades. In 2008, the artist collaborated with KAWS to produce a number of figurines which blend their two distinctive styles. He currently lives and works in Beijing, China. The artist's works are held in the collections of the Denver Art Museum, the Shenzhen Art Museum, and the San Francisco Museum of Modern Art. Please read our policy carefully:1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.
Gerhard Richter (B.1932), Oil Painting Image Size: 47 1/8 by 39 1/4 inches (120 by 100 cm) All measurements are approximate. Signed (reverse) Gerhard Richter (b. 1932) is a German painter known for his diverse range of styles and techniques, ranging from photorealism to abstract expressionism. He was born in Dresden and studied at the Dresden Academy of Fine Arts before moving to Dusseldorf. Richter's art is characterized by his use of blurred images, muted color palettes, and layering of paint. He has been associated with the Fluxus and Capitalist Realism movements, and his works have been exhibited in galleries and museums around the world, including the Tate Modern in London and the Museum of Modern Art in New York. Richter is considered one of the most important contemporary artists working today. Please read our policy carefully:1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.
§ Alison Johnson (contemporary),'The Point of Heat', oil on canvas, signed lower left, 91 x 91cm, framed, bearing Buckingham Fine Art certificate of authenticity.Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information.
* Cosway (Richard, 1742-1821). Portrait of William Legge, 2nd Earl of Dartmouth (1731-1801), circa 1790-1800, pencil on pale cream paper, with watercolour to the face and left hand, fine brown ink framing line to outer edge, some marks and light toning, small stain to upper left, 258 x 166 mm (10 1/4 x 6 1/2 ins), laid down on modern backing paper, with modern window-mount, along with the original backing card (now separated from the work), bearing a contemporary inscription in brown ink to verso: 'Drawn by Rd. Cosway Esqr. R.A. / Mrs. Legg', a further inscription above erased, backing card 333 x 254 mm (13 1/8 x 10 ins)QTY: (1)NOTE:Provenance: William Drummond (1934-2018), art dealer specialising in British drawings and watercolours, who ran the Covent Garden Gallery in the 1970's-80's.
* Brangwyn (Frank, 1867-1956). Via Dolorosa, 1923, etching with drypoint on cream wove paper, signed in pencil to lower margin, plate size 38 x 35.1 cm (15 x 13 3/4 ins), sheet size 63.7 x 45.6 cm (25 x 18 ins), together with: Tramps Resting, 1923, etching with drypoint on cream wove paper, signed in pencil to lower margin, plate size 30.4 x 37.7 cm (12 x 14 7/8 ins), sheet size 45.5 x 62.7 cm (18 x 24 5/8 ins), plus: Men with Performing Animals, 1911, etching with drypoint on cream wove paper, signed in pencil to lower margin, plate size 27.9 x 36.6 cm (11 x 14 3/8 ins), sheet size 45.6 x 63.5 cm (18 x 25 ins), the etchings contained in (partial) Brangwyn Portfolio, by E.F. D'Alignan & Paul Turpin, 1927, with illustrated title on cover, text by Steinlen in French and English, list of illustrations (of the first part I-L only) in French and English, 12 illustrations only, including the 3 listed etchings, also including one original lithograph: Revolt 1920, the remainder being lithographic reproductions of watercolours, drawings & pastels, many with stencil-added chalk or watercolour, plus: Catalogue of Ninety-Six Etching by Frank Brangwyn, A.R.A., London: The Fine Art Society, January 1912, 12pp., two etching titles added in contemporary ink manuscript to final leaf, lightly foxed, original printed wrappers (toned), slim 8voQTY: (2)NOTE:The three etchings are listed in the Catalogue Raisonne as E938, E937 and E837 respectively (numbers 84, 90 & 77 in the portfolio). The lithograph Revolt is P1328 (portfolio number 46). The other illustrations present are portfolio numbers 26, 28, 34, 41, 51, 61, 65 & 87.
Sam Francis (American, 1923-1994). Pair of color lithographs titled "Paradise of Ash" depicting blocks of color with the artist's signature network of splashes, 1981. The black square is pencil signed along the lower right. The red, yellow, and blue one is pencil numbered 41/43 along the lower left.Sam Francis came to be an artist under unlikely circumstances. After serving the Air Force during World War II, Francis was injured during flight test maneuvers and subsequently hospitalized. It was while he was recovering that he first began to paint. Francis went on to graduate from the University of California, Berkeley in 1950 with a degree in art and began his European travels. His first stop was Paris, where he studied Monet’s “Water Lilies†and developed a relationship with the Matisse family and artists such as Al Held, Joan Mitchell, and Jean-Paul Riopelle. He went on to develop and maintain studios in Bern, Paris, Tokyo, Mexico City, New York and Northern and Southern California.Sam Francis was considered a revolutionary master of color, space, and light. His works call to various art movements - New York Abstract Expressionism, Impressionism, Art Informel, and color field painting. They are characterized by bright, vibrant splashes of color against a luminous white background. Francis took great interest in the creative process, but his understanding of the relationship between color and light set him apart from contemporaries such as Jackson Pollock and solidified him as a key player in contemporary art history.Each, unframed; height: 46 in x width: 32 3/4 in. Framed; 53 in x width: 38 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Rod Massey (American, b. 1949). Oil on panel painting titled "Behind Shilla" depicting two St. Paul homes in a winter landscape, 2005. Possibly depicting the houses on Van Buren Avenue just behind Pho Pasteur on Snelling Avenue in St. Paul. Signed, dated, and titled on a label affixed to the verso. With a label from Groveland Gallery in Minneapolis, Minnesota along the verso.Massey was born in Minneapolis in 1949 and received his BFA at the Minneapolis College of Art and Design. Upon graduation, he continued his education at the Tanglewood/Boston University and the Skowhegan School of Painting and Sculpture. His work features everyday urban scenes and imbues them with a sense of buoyancy. Massey's main interests lie in unpacking the underlying character of daily objects, such as houses, highways, work trucks, fruits, etc. He argues that "While my art is rooted in traditional painting, my intent is to convey a deeper, more personal and contemporary insight into my environment. Distortions of perspective, space, color and light all define the regionalist nature of my personal vision and experience." His work is housed in numerous national collections including, but not limited to, the Minneapolis Institute of Art, 3M Company, General Mills, and Target Corporation.Sight; height: 30 1/2 in x width: 32 in. Framed; height: 32 1/4 in x width: 34 1/4 in.Condition: Overall there are no visible tears, creases or losses. The surface is stable. The colors are bold and bright. There is minute paint losses to the extreme edge of the right lower corner, possibly against the old frame. On the verso there is original paint accretion; please see listing image. There is light wear to the frame. There is a light of white paint accretion to the underside of the frame. There are no visible signs of restoration under UV light.
Rod Massey (American, b. 1949). Oil on panel painting titled "Remote Airport Property" depicting a landscape with an airplane hanger, vehicles, and trees.Massey was born in Minneapolis in 1949 and received his BFA at the Minneapolis College of Art and Design. His work features everyday urban scenes and imbues them with a sense of buoyancy. Massey's main interests lie in unpacking the underlying character of daily objects, such as houses, highways, work trucks, fruits, etc. He argues that "while my art is rooted in traditional painting, my intent is to convey a deeper, more personal and contemporary insight into my environment. Distortions of perspective, space, color and light all define the regionalist nature of my personal vision and experience." His work is housed in numerous national collections including the Minneapolis Institute of Art (MIA) and numerous corporate collections.Sight; height: 40 in x width: 28 in. Framed; height: 42 in x width: 30 1/2 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
French Literature. A large collection of French language literature, including Oeuvres complètes de Mme Cottin, avec une notice sur la vie et sur les ecrits de l'auteur. 5 vols. 1825. (Cottin/Rapilly). French language ed. New edition with engraved frontispieces. Contemporary/near contemporary half leather with marbled paper covered boards and gilt and raised bands to the spine. Generally fine with more wear to vol IV where there are small chips to the spine leather and the gilt decoration is more dulled. Minor rubbing to the corners. Very clean internally. Oeuvres de J.B. Poquelin De Moliere, 8 vols, 1799. (Didot). Fr. lang. ed. Original half leather and paper-covered boards, numbered and with gilt bands to the spines. (Each 9cm x 13cm). Inscription to vol I. Minor rubbing to edges but generally boards and leather v.g. or better. LA PETITE MÉNAGÈRE, ou L'Éducation Maternelle, ornée de vingt-quatre jolies gravures, 1816, 4 vols. (Dufrenoy/La Librairie d'Éducation d'Alexis Eymery Paris) Fr. lang/ ed. Full contemporary leather with gilt borders and decoration and bands to spines. Some rubbing to edges and scuffing to boards but generally vg. Marbled page edges. Minor spotting/toning to the title and early/latter pages; bindings sound although vol 4 has one loose leaf (one of the engraved plates). Otherwise a clean set. 23 vols of leather bound editions from Bibliotheque de la Pleiade/Gallimard, most in slipcases and with plastic & paper sleeves. 20 reprint novels published in the 1950s as Collection Super in cloth and transparent plastic sleeves, many still in their slipcases. Each book has illustrations. A further selection of French literature, history and art history, some in full leather bindingsQTY: (6 shelves)
Art & Architecture. A large collection of art & architecture reference, including Our British Landscape Painters from Samuel Scott to David Cox..., by Scott, 1st edition, Spalding & Scott, circa 1872, 16 steel plate engravings with tissue guards, some light spotting, contemporary gilt decorated green full morocco, some minor rubbing to head & foot, some minor loss to the spine, 8voThe Domestic Architecture of Sir Edwin Lutyens, by Butler, reprint edition, Antique Collectors' Club, 1989, original cloth in dust jacket, tear to the front cover & lightly rubbed to head & foot, 8vo Dictionnaire des Peintres, Sculteurs, Dessinateurs et Graveurs, by Benezit, facsimile edition,Lund, 1966, original cloth, spines lightly faded, 8vo, together with further art, artists & architecture reference, many from the library of art historian Martin Kemp, with his inscriptions to the front endpaper, some exhibtion and sale catalogues, 8voApproximately 150 volumesQTY: (6 shelves)
Mason (William). Arts Advancement or the most Exact, Lineal, Swift, Short, and Easy method of Short-hand-Writing hitherto Extant, is now after a view of all others, and twenty eight years practice) raised to a higher degree of perfection than any as yet published, 3rd edition, corrected and enlarged, [London]: Printed for the Author, 1687, 24 leaves, engraved portrait frontispiece, engraved title within architectural border, engraved text to one side of leaf printed within decorative border, leaf 3 with early ink doodle and leaf 21 with early manuscript, occasional fraying to margins, some light dust-soiling, front free endpaper with early manuscript calculation in brown ink and note 'S. Lowdell from Mrs Phillips', contemporary sheep, joints slightly cracked at head and foot, lightly scuffed, slim 12mo (14.4 x 6.9 cm)QTY: (1)NOTE:ESTC R23530; Wing M942. Wing gives format 16mo.Scarce, only two UK institutional copies found (Edinburgh Central Library and Senate House Library, University of London), and four copies in US institutional libraries found (Henry E. Huntington Library and Art Gallery, New York Public Library, Newberry Library, Yale University and Beinecke Rare Book and Manuscript Library).William Mason (fl. 1672-1709; d. 1719?) issued three influential treatises on shorthand: the present work, first published in 1682, and the more romantically titled "A Pen Pluck'd from an Eagles Wing" (1672) and "La Plume Volante" ("The Flying Pen") of 1707. Developed over half a century, Mason's system used 423 characters, and words were written as they sound, a fact that makes it of interest to modern linguists for the light it can shed on 17th-century English pronunciation. Mason's system was adapted by Thomas Gurney for use as the official shorthand of the criminal courts at the Old Bailey, his influence on stenography stretched into the 19th century. Mason's one-shilling publications both supplemented his income and promoted his services as an instructor of stenography; the title page here advertises lessons available at his "Writing School, the Hand and Pen in Grace-Church Street."
* Bookplates. An album of 170 bookplates collected by Paul Raymond Latcham FSA (1936-2018), approximately two-thirds dating from the 18th century, including William Wilberforce (two varieties), the Huggins and Musgrave bookplates that marked the later ownership of Isaac Newton's library, Patrick Hume Earl of Marchmont 1702, Sir Robert Throckmorton, Thomas Boycott 1761, the Duke of Sussex, Edward Duke of Norfolk, Gravelot & John Pine's library interior for J. Burton DD and its mirror image for Wadham Wyndham, and bibliophile Frances Mary Richardson Currer, Treadway Nash DD, John Wallis, John Towneley, John Peachey, Bryan Faussett; also modern plates for Ernest Ridley Debenham (family of the department store chain), The British Council (by Reynolds Stone), Leeds Art Gallery (by Kenneth Lindley), hinged as multiples on rectos and versos of 20 card leaves with tissue-guards, ex libris bookplate of Paul Latcham with view of his Eardisley house (by Stanley Reece) to front pastedown, contemporary cloth with parchment spine, a little rubbed, 4to (22 x 24 cm)QTY: (1)NOTE:Paul Latcham was a Hereford bookseller, author of Bookplates in the Trophy Style (Bookplate Society, 2006), and editor of The Bookplate Journal.
* Cricket. The Captains of the County Cricket Clubs of England for 1886, designed and printed by Blake & Mackenzie, Fine Art Publishers, Liverpool, 1886, lithograph with contemporary colouring, one small repaired hole in the upper margin, very slight surface abrasion, 540 x 625 mm, mounted, framed and glazedQTY: (1)NOTE:A rare cricket 'souvenir' of English county cricket captains from the late Victorian period.
Philip Alexius de László, PRBA, Hungarian / British 1869-1937- Spanish Dancers; oil on board, signed and dated 'de László / 1927.' (lower left), 91.8 x 67.6 cm. Photo credit: de Laszlo Archive © de Laszlo Foundation. Provenance: The artist's family. Anon. sale, Phillips, London, 12 January 1993, lot 72. with Trinity House Paintings, London, no.1658. Private Collection, UK. Literature: The de László Archive Trust, 'The Catalogue Raisonné of Works by Philip de László (1869-1937) [online]', no.110490. Note: Studio Inventory p.27 (150): 'The Spanish Dancers appeared at the Spanish Club and the Artist invited the Senora to pose for him. She arrived with her partner (her husband) and to avoid any jealousy they were painted as a group. The Senor, however, was annoyed to find himself providing a background for his wife’s figure.' Although primarily celebrated as a society portraitist, executing commissions for high-society and prominent contemporaries, de László could also be inspired by an individual's striking appearance to produce a likeness. He was highly impressed by the picture ‘El Jaleo’ by John Singer Sargent (1856-1925) when he visited Boston in 1908, remarking ‘No contemporary picture has impressed me so profoundly. It displays Sargent’s master of his art and reproduces the very atmosphere of Spain, together with the lovely figure of the passionate and graceful dancer’ [Isabella Stewart Gardner Museum, Boston no. P7s1]. Indeed, he was clearly particularly interested in the subject of Spanish dancers, and frequently chose to depict his sitters in their associated elaborate and distinctive costume. For example, he painted the dancer and actress Tina Meller (née Agustina Marqués López) on multiple occasions wearing Spanish dress, including in his 1929 portrait which sold recently at Christie's, London, 6 December 2021 for £23,750 [de László Archive Trust catalogue no.112242]. Two other portraits of Meller in traditional Spanish dress are listed in the catalogue raisonné, one having been destroyed by fire in 1989, and the other in an unknown location [de László Archive Trust catalogue nos 6317 and 6316]. The present work is further comparable with de László's painting 'Señorita Adrina Otéro, A Spanish Dancer' (19350) [de László Archive Trust catalogue no.6494] who wears a traditional flamenco skirt. The present work is characteristic of de László's mature style, exhibiting his free, masterful, and loose brushwork, which imparts a palpable sense of motion, invigorating the composition and gesturing towards the swirling movement of the dancers in action.
Wilhelm Busch, German 1832-1908- Monkey eating a cherry, seated on a helmet with a metal shield behind; oil on canvas, 61 x 38 cm. Provenance: Private Collection, UK. Note: Busch was a highly versatile artist who also worked as a poet, humorist, and illustrator. He drew on the tropes of folk humour as well as a profound knowledge of German literature and art to satirise contemporary life, any kind of piety, Catholicism, Philistinism, religious morality, bigotry, and moral uplift. The present work is typical of his style, with his swirling brushstrokes evoking the shimmering surfaces of the helmet and shield, amongst which the monkey perches. The subject is highly enigmatic, more so than many of Busch's works, which more typically depict landscapes or figures in an interior, often based on the compositions of earlier Dutch artists such as Adriaen Brouwer (c.1605-1638). This painting is perhaps inviting a more allegorical interpretation, drawing on the traditional understanding of the monkey as a symbol of lust or gluttony, indulging in a juicy red cherry, whilst surrounded by gleaming silver and red drapery.
Yoshitomo Nara (Japanese, b. 1959). Offset lithograph on paper titled "Real One" depicting a young girl with a teddy bear holding a pair of scissors aloft, 2020. With a copyright from Dallas Contemporary along the lower right. Nara's works have often been compared to manga he would have seen growing up as well as the punk rock music of his youth. His works have been housed at the Museum of Modern Art (MoMA) and the Los Angeles County Museum of Art (LACMA).Height: 15 in x width: 17 in.Condition: The item is in excellent condition with no visible tears, creases, or losses. The color is bold and bright. No visible restoration under UV light. Along the verso, there is minute black accretions to the center; however, it does not affect the recto. There is a slight undulation to the sheet from being rolled.
An Art Deco mahogany and inlaid sideboard,designed by J F Johnson, attributed to Heal's, centred with four drawers, flanked with cupboards inlaid with floral panels in harewood and stained sycamore, 183cm wide 54.5cm deep 102cm highSold with a contemporary sales photograph of a similar sideboard, inscribed to the label 'No.863 Dining Room Suite in Rosewood - 6ft Sideboard with beautifully inlaid panels'.Condition ReportRepolished. Inlaid panels good to the doors. Some minor edge knocks. Right side with a small veneer chip and loss.
A mixed collection of 20th Century & Contemporary art, to include: Graham Jones, watering cattle, unsigned, watercolour, 20cm by 28cm, framed & glazed with Royal Academy of Arts label verso; Anonymous, chickens standing on trees or mushrooms, watercolour, 43cm by 35cm, framed & glazed; Nivu Reid, Moving?, signed & dated l.r., 2008, monoprint & sewing on envelope, 29cm by 39cm, framed & glazed; Susan Gibson, Moonlight Over Water, unsigned, weaving, framed & glazed; Ailsa F. W. Beaumont, botanical studies, a pair, signed l.r., pencil, unframed, 37cm by 27.5cm; H. Black, London from Primrose Hill, signed l.r., limited edition numbered 19/95, colour aquatint, 16cm by 43cm, unframed, and ten others of lesser importance, framed & unframed, including etchings & watercolours (17)
° ° IRELAND: Ireland, Samuel- Picturesque Views on the River Thames, from Its Source in Gloucestershire to the Nore; with Observations on the Public Buildings and Other Works of Art in its Vicinity, first edition, 2 vols., 2 additional sepia-tinted aquatint titles, 52 plates, 2 maps, near contemporary brown full calf, gilt ruled, green morocco lettering pieces, London, T. and J. Egerton, 1792, 4to. Sold with William Bernard Cooke’s ‘The Thames; or, Graphic Illustrations of Seats, Villas, Public Buildings, and Picturesque Scenery, on the Banks of that Noble River’, 2 vols., 1811, and Henry Skrine’s ‘A General Account of all the Rivers of Note in Great Britain’, 1801 (5).
ART BOOKS, thirteen titles in hardback and softback format to include four titles on Mondrian, the other titles are Lands & Deeds, La France, Picasso: Sculptor/Painter, Iraq Contemporary Art, Lucian Freud on John Constable, Tom Roberts, Women's Works, The World of Vermeer, Papunya Tula and Singapore Artists Speak 2 (1 box + 4 loose books)
Volumes I and II. The Wellfleet Press, NJ 1987, Compiled by David Zellman. In original sleeves and case.Visually stunning, well-presented, nicely packaged overview of American Painting that can serve as an easy to digest art history, or helpful reference work for art collectors, gallery workers and designers. Of course, contemporary fine art painters will also find much to ponder and be inspired by in these pages. This item has no reserve. Issued: 1987Dimensions: 9"L x 3.75"W x 11.75"HCountry of Origin: USACondition: Age related wear.
Yoshitomo Nara (B.1959), Color Pencil Sketch on Paper Signed (lower right) Dimensions: 17 3/4 x 12 7/8 inches (45.2cm x 33cm) Yoshitomo Nara (b. 1959) is a Japanese artist. He lives and works in Nasushiobara, Tochigi Prefecture, though his artwork has been exhibited worldwide. Nara has had nearly 40 solo exhibitions since 1984. His art work has been housed at the MoMA and the Museum of Contemporary Art, Los Angeles (LACMA). His most well-known and repeated subject is a young girl with piercing eyes. WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE.
Yoshitomo Nara (B.1959), Lithograph Signed (lower right) Dimensions: 11 3/8 x 8 1/4 inches (29cm x 21cm) Yoshitomo Nara (b. 1959) is a Japanese artist. He lives and works in Nasushiobara, Tochigi Prefecture, though his artwork has been exhibited worldwide. Nara has had nearly 40 solo exhibitions since 1984. His art work has been housed at the MoMA and the Museum of Contemporary Art, Los Angeles (LACMA). His most well-known and repeated subject is a young girl with piercing eyes. WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE.
Umfangreiches Graphikkonvolut der Moderne mit 26 Arbeiten verschiedener Künstler, u.a. Andy Warhol und Gerhard Richter26 Arbeiten unterschiedlicher Techniken, darunter: Thomas Huber, Siebdruck, (sign.); 12 x Plakat Tomi Ungerer; Wolfgang Eichler, Fotografie (sign.); Andy Warhol, 4 Offset Plakate: "Frederick the Great", New York und Achenbach Art Edition Düsseldorf 1993 & 3 x "Cars", Edition Galerie Hans Mayer Düsseldorf 1988, einmal Maße: 109 x 140 cm, am unteren Rand etwas bestoßen; Banksy, Offset; Klaus Staeck, Offset Plakat: Gerhard Richter, Offset Plakat; Frank Ermschel, Figuren, Zeichnung, verso Nachlassstempel; 2 x A.R. Penck, Plakat "A. R. Penck Collection Of Contemporary Art", o. Rahmen
Flaschenobjekt Mieke Groot, 1984 Farbloses Glas, in Model geblasen und frei geformt. Mit mehrfarbiger abstrakter Emailmalerei. In Diamantriss signiert: MIEKE GROOT '84 - 21-11-170. H. 40,5 cm Lit.: L'art du verre contemporain, MUDAC, Lausanne 2006, Abb. 359 - D. Klein, Glass - A Contemporary Art, S. 170
WHISTLER, James Abbott McNeill (1834-1903). Eden versus Whistler, Paris, 1899, large 8vo, original boards. FIRST EDITION, ASSOCIATION COPY, with the old armorial bookplate of Anthony Eden. With another book by Whistler, and a related album. (3)WHISTLER, James Abbott McNeill (1834-1903). Eden versus Whistler. The Baronet and the Butterfly. A Valentine with a Verdict. Paris: Louis-Henry May, 1899. Large 8vo (203 x 160mm). Wood-engraved decorations by Whistler. Original mustard-yellow cloth-backed decorated boards gilt, uncut (edges rubbed, corners bumped). Provenance: Anthony Eden, 1st Earl of Avon (old armorial bookplate). FIRST EDITION, ASSOCIATION COPY. In 1892, Sir William Morton Eden, 7th Baronet (1849-1915), commissioned Whistler to paint a portrait of his wife, Lady Eden. This resulted in an extended dispute over the price and a court case which Eden eventually won, although it led to Whistler destroying the painting and publishing the present work in revenge. Anthony Eden was William Eden's third son. With the same author's The Gentle Art of Making Enemies (London, reprinted 1909, original cloth-backed boards gilt), and an album containing contemporary newspaper clippings announcing Sir William Eden's death in 1915, many of which give a full account of the affair with Whistler. (3)
MALLET, Alain Manesson (1630-1706). La Geometrie Pratique, Paris, 1702, 4 volumes, large 8vo, 2 engraved portraits and 493 engraved plates, contemporary calf (rubbed). Provenance: George Kenyon (armorial bookplate). FIRST EDITION. (4)MALLET, Alain Manesson (1630-1706). La Geometrie Pratique, Divisée en Quatre Livres. Paris: "Chez Anisson, Directeur de l' Imprimerie Royale," 1702. 4 volumes, large 8vo (223 x 142mm). Half titles, 2 engraved portraits, 493 engraved plates, tables, headpieces and ornaments (stain to a few plates in vol. II, some other light staining and spotting). Contemporary calf (rubbed and scuffed, joints splitting). Provenance: George Kenyon (armorial bookplate, and old signature ("G. Kenyon, Peel Library") on the front free endpaper of vol. IV). FIRST EDITION. Not in Brunet; Cohen-de Ricci 673; Lewine Bibliography of Eighteenth Century Art and Illustrated Books p.334 (calling, erroneously, for a total of 500 plates): "The work is interesting on account of the 335 views of Paris monuments (long since disappeared), and of historical castles chiefly in the surroundings of Paris, such as Versailles, Saint-Cloud, Fontainebleu, Chantilly, etc." It also includes, at the end of vol. IV, views of Richmond, Greenwich, Windsor and Lambeth Palace. (4)
IRELAND, Samuel (1744-1800). Picturesque Views on the Upper, or Warwickshire, Avon, London, 1795, 4to, 33 plates, attractively bound in contemporary calf, with a presentation note to The Earl of Avon [i.e. Anthony Eden] loosely-inserted. FIRST EDITION.IRELAND, Samuel (1744-1800). Picturesque Views on the Upper, or Warwickshire, Avon, from its Source at Naseby to its Junction with the Severn at Tewkesbury: with Observations on the Public Buildings, and Other Works of Art in its Vicinity. London: R. Faulder and T. Egerton, 1795. 4to (233 x 162mm). Tinted allegorical aquatint frontispiece incorporating a reclining figure of Shakespeare playing a lyre, map showing the course of the Avon [not called for in the list], 31 tinted aquatint and etched plates by Samuel Ireland, illustrations (some very light spotting and staining). FINELY BOUND in contemporary diced calf elaborately decorated in gilt and blind, marbled endpapers, gilt edges (extremities rubbed, some fading to spine and upper section of front cover, inner hinges a little weak). Provenance: "Presented to The Right Honourable The Earl of Avon, K.G., P.C., M.C. [i.e. Anthony Eden] by the Architect on the occasion of the opening of the Royal Spa Centre in the Borough of Royal Leamington Spa on the 15th of June 1972" (autograph note loosely-inserted, but once attached with adhesive tape). FIRST EDITION. Abbey Scenery 427; Brunet II, 688; Prideaux p.271; not in Hardie or Tooley.
SOLVYNS, Frans Balthazar (1760-1824). The Costume of Hindostan, London, 1804, folio, text in English and French, 60 hand-coloured aquatint plates, contemporary red half roan (rubbed). FIRST EUROPEAN EDITION.SOLVYNS, Frans Balthazar (1760-1824). The Costume of Hindostan, elucidated by Sixty Coloured Engravings; with Descriptions in English and French, taken in the Years 1798 and 1799. London: Published by George Orme, 1804. Folio (360 x 255mm). Text in English and French, 60 hand-coloured aquatint plates by Scott or T. Vivares after Solvyns (the preface and first plate heavily spotted, some other lighter spotting and staining but plates generally clean, plates offset onto text). 19th-century half red roan gilt, marbled endpapers (heavily rubbed in patches, some staining, bumped). Provenance: From the Collection of the late Seymour Stein (1942-2023); leaf with [?]stamped coat-of-arms and inscription relating to a Leipzig museum dated 1966 inserted at the front. FIRST EUROPEAN EDITION. "The genesis of the book is a series of Two hundred and Fifty Drawings descriptive of the manners, customs, and dresses of the Hindoos, by B. Solvyns, the originals of which are in the National Art Library. These were published at Calcutta with the above title in 1799, the plates being etched, and coloured by hand, and a separate catalogue being issued with descriptive text. From Solvyns' drawings W. Orme ... made a set of sixty water-colour copies (also in the National Art Library), infinitely better drawn than the originals; and Orme's drawings are the originals of the plates in The Costume of Hindostan, in which Solvyns appears as the artist without any acknowledgement being made of the Calcutta publications. The plates are in stipple, and seem to be all by Scott with the exception of four very poor ones by T. Vivares" (Hardie). Abbey Travel 429; Brunet IV, 305; Colas 2765; Hardie English Coloured Books p.132.
δ Johnson (Arthur, binder).- Omar Khayyám. The Rubáiyát, translated by Edward Fitzgerald, bound in red goatskin inlaid with shapes of purple, beige and black goatskin and single gilt spot, by Arthur Johnson, smaller shape on lower cover, spine titled in gilt, g.e., signed & dated "A.J. 1977" at foot of rear turn-in, preserved in blue cloth drop-back box, small 8vo (c.130 x 80mm.), E.Grant Richards, 1906.⁂ Arthur W. Johnson (1920-2004), bookbinder and renowned teacher of bookbinding, trained at Hornsey College of Art and Camberwell School of Art, and lecturer 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.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Architecture.- Pozzo (Andrea) Perspectivae pictorum atque architectorum... Der Mahler und Baumeister Perspectiv, 2 vol. in 1, first Latin & German edition, parallel text in Latin and German in two columns, 2 engraved frontispieces, 222 engraved plates, of which 1 with small corner defect to margin and a couple with minor marginal tears, book-labels, scattered spotting, soiling, browning and marginal damp-staining throughout, heaviest to initial ff., repairs to hinges, contemporary calf, leather repairs, spine label renewed, folio, Augsburg, J. Wolff, 1706-09⁂ The beautifully illustrated first bilingual Latin-German edition of this famous book by Andrea Pozzo on architecture. Engravings by Johannes Boxbarth and Georg Conrad Bodenehr, with shadows reversed from other editions. Provence: Olga Raggio (1926-2009), art historian and curator with the Metropolitan Museum of Art, New York; gifted to the present owner.
Vergilius Maro (Publius) Opera, collation: *10, a-e8, f-g6, h-r8, s-t6, v4, x10, y-z8, &8, Ɔ8, aa-zz8, aaa-uuu8, xxx6, yyy-zzz8, A-D8, title within woodcut architectural border, a later ink ownership inscription and a few early notes, profuse woodcut illustrations throughout, some with early hand-colouring, early ink notes to margins in various hands, lacking final 5ff. (D4-5, last f.583), title and a few other ff. with edges either laid down to or with paper repairs, 2B5 with tear across text and small hole with loss of letters, peripheral ff. with some soiling or browning, a little minor damp-staining, elsewhere scattered, and a occasional spots, endpapers renewed, contemporary vellum, spine ends bumped with small tear to foot, lower covers corners a little worn, folio (307x211mm.), Venice, Lucantonio Giunta, 1544.⁂ The richly illustrated Giunta editions were Virgil's most popular Italian editions in the first half of the sixteenth century. The over 100 woodcuts were copied from the blocks produced for Johann Gruninger's Strasbourg edition of 1502. Literature: Not in Adams; EDIT 16 CNCE 54877.Provence: Olga Raggio (1926-2009), art historian and curator with the Metropolitan Museum of Art, New York; gifted to the present owner.
Boxing.- Mendoza (Daniel) Memoirs of the Life...and an Account of the Numerous Contests in which he has been engaged, list of subscribers, folding engraved plate trimmed close and with splits at folds, clean tear to first leaf of subscribers, title a little soiled, occasional foxing and a few minor marginal tears, hinges weak, contemporary half calf, rubbed, spine worn and label chipped, 8vo, Printed for D. Mendoza, by G. Hayden, 1816.⁂ Mendoza was the first Jewish bare-knuckle champion who, although of relatively small stature (5' 7" and 160lbs) was in prime physical condition and combined a 'scientific' approach to boxing with very rapid, rather than hard, punching to beat his opponents - a great change from the mauling style used up until his time. He defeated Richard Humphries (depicted in the folding plate) and was considered the best heavyweight in England, defending the title twice before losing to 'Gentleman' Jackson in 1795. He wrote The Art of Boxing, published in 1789, considered the first book to discuss ringcraft.Provenance: Philip S. Henry (bookplate).
A George III silver dessert standPaul Storr, London 1809, rim stamped 'RUNDELL BRIDGE ET RUNDELL AURIFICES REGIS ET PRINCIPIS WALLIAE LONDINI', incuse stamped 355, the swags with addition marks for Richard Sibley, and with lion passant, one with date letter for 1843Circular form, the whole on an incurved triangular base with chamfered corners, to the top a detachable concave circular basket with open basket-weave and a pierced grapevine border, resting within a circular holder featuring an embossed classical frieze, the central supporting column beneath created by three classical maidens, the figures standing outwards and sculptured in the round, their downward stretched arms forming a criss-cross pattern with the thyrsi which are crossed and tied near the top with bows of ribbon, the base centred by a round floral boss, the whole resting on three cast mask feet, each corner featuring an open-mouthed bearded man with ram's horns, all connected by foliage and flower cast swags, atop three ball feet, height total 30cm, diameter basket 26cm, weight 101oz.Footnotes:Stands to elevate foods were particularly popular in the early 19th century. Lavish spending on table silver at the time led to more elaborate layouts for each course, including dessert. Stands were used in the second course to display sweet jellies, and in the dessert course they supported pyramids of fresh and preserved fruit. From about 1810, this design of dessert stand was one of the most popular models sold by the Royal Goldsmiths, 'Rundell, Bridge and Rundell'. It is typically eclectic in style, drawing on classical elements but creating an object that would appeal to early 19th century taste. Sources such as Thomas Hope's 'Household Furniture and Decoration' of 1807 may have provided the inspiration for the basket. However the interpretation for the caryatid figures, ultimately derived from the Erechtheum on the Athenian Acropolis, may owe more to contemporary models in Percier and Fontaine's 'Recueil de Decorations Interieures' of 1801. Two Paul Storr silver-gilt versions of this dessert stand can be seen at The Wellington Museum, at Apsley House in London. They were purchased by the first Duke of Wellington as part of an Ambassadorial service. In addition, a silver version is currently on display at the Victoria and Albert Museum (Silver, Room 67, The Whiteley Galleries) and a silver-gilt version is at the Metropolitan Museum of Art in New York.LiteratureN. M. Penzer, 'Paul Storr - the last of the Goldsmiths', (London: B. T. Batsford Ltd, 1954), p. 144V&A Explore The Collections,'Dessert Stand / Paul Storr', accessed via https://collections.vam.ac.uk/item/O94826/dessert-stand-paul-storr/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
An impressive Victorian silver and parcel-gilt presentation cup and cover Charles Frederick Hancock, London 1872, designed by Raffaele Monti (1818-1881), rim of base incuse stamped HANCOCKS' & CO 39, BRUTON ST LONDON and Я90 Vase form, the removable cover surmounted by the winged figure of Nike, the Greek goddess of Victory, a circlet of laurel leaves in one hand and a long palm frond in the other, two Greco-Etruscan handles to the upper body supported by twin-tailed mermaids, a sculptural medallion to the back and front of the main form, the first featuring Perseus rescuing Andromeda after slaying Medusa, the other depicting the foundation of Athens, with Athena and the olive tree and Neptune thrusting his trident into the ground to create a spring, the whole richly embossed and chased with floral and foliate ornament in both polished and matt silver, all highlighted in parcel-gilt, atop an elaborately knopped spreading circular pedestal base, upon a later wood plinth, with associated twin-handled metal banded fitted case, height excluding wood plinth 86.5cm, weight 236oz. Footnotes: The design and manufacture of grand presentation silver reached the peak of its popularity in the mid-19th century. At the top end of the silver market, sculptural trophies and testimonials dominated this period; trophies awarded for competitive achievements such as horse racing, and testimonials presented to worthy individuals. 'These silver sculptures, bulky, glittering and proud, celebrated the achievements of the Victorian industrialist, soldier and sportsman and demonstrated the virtuoso skills and techniques of the contemporary silversmith' (Patterson, p.59). The subject matter chosen for these pieces was always on an epic scale, often figural compositions featuring dramatic mythological tales or key historical moments. Heroes from history were frequently staged in mounted combat against man or beast, often within a battle scene or historical diorama. Whatever the scene portrayed, each element was meticulously designed and modelled, with every minuscule detail intricately cast and hand-chased for absolute realism. These trophies were a vehicle to not only showcase silver as a national art form, but also to symbolise and represent Britain's place as a trailblazing manufacturing nation in the industrial age – art and industry combined to spectacular effect. The Hancock silver presentation trophy cup and cover on offer is therefore a superb example, as it fulfils all the above criteria. The goldsmith Charles Frederick Hancock (British, 1807-1891), the prestigious manufacturing retail silversmith and jeweller of Bruton Street and Bond Street in London, was known for the 'manufacture of plate and jewellery of a superior class, and is extensively patronised by the nobility and gentry, being noted for the taste and quality of its productions. Artists of celebrity are engaged as modellers of groups and designs for ... presentation pieces, racing prizes, &c. Among the modellers may be noted especially H. H. Armstead R.A.; C. B. Birch A. R. A.; Signor Raffaele Monti; Eugene (Lamy) and Marshall Wood' (Gilda Aurifabrorum, p. 97). Hancock had previously been a partner at Hunt & Roskell, but the partnership had been short-lived and he had left to set up on his own. Such was the quality of his work that on 13th August 1849, only eight months after establishing his own business, he was awarded the Royal Warrant of appointment from Queen Victoria. He was blessed with patronage from gentry, celebrities and the nobility of Europe, topped by being awarded the sole manufacturing rights to the Victoria Cross in 1856. Hancock was particularly well known for specialising in high quality trophy and presentation plate, for which he won numerous medals at the respected International Exhibitions: the Council Medal 1851; Gold Medal d'Honneur Paris 1855; Juries prize medal 1862; gold and silver medals Paris 1867 and Vienna 1872. Collaborating with famous artists and sculptors of the day was an award-winning business strategy and one he successfully employed on this piece, engaging the services of both Raffaele Monti (1818-1871) and Owen Jones (1809-1874). The cup and cover on offer appears to have had various incarnations, being one of Hancock's most popular and impressive presentation pieces. From research, it becomes apparent that this design was commissioned on a number of occasions, but was always subtly altered to an individual's specification - hence no two appear to be the same. The formative design for the current lot appears to originate from the 'Goodwood Races: The Chesterfield Cup' of 1866. The drawing of it in the 'Illustrated London News' (18th August 1866) shows it to be almost identical to this one, differing in a few aspects such as the absent mermaids by the handles, and the plinth (see fig. 1). The accompanying text describes it thus: 'It is a large silver vase manufactured by Messrs. C. F. Hancock, Son, & Co. It is oval shaped, with Greco-Etruscan handles, and surmounted by a winged figure of Victory, holding a palm-leaf in one hand and a laurel crown in the other. On each side is a medallion, one representing Perseus riding on the winged horse Pegasus to liberate the captive Andromeda; the other, Neptune creating the horse by striking the ground with his trident. These medallions and the statuette were designed and modelled by Signor Monti ... The rich ornamentation of the neck, handles and other parts was designed by Mr. Owen Jones.' The following year, what is described as the 'Goodwood Cup, 1866' is illustrated in 'The Art-Journal Catalogue of The Paris Universal Exhibition 1867' page 316, where the cup now 'includes' the mermaids by the handles (fig. 2); it may be that it was felt the aesthetic balance of the piece was improved by the addition. The version on offer here is possibly the one illustrated from that 1867 exhibition and later hallmarked, the only difference being that the original plinth is missing. Hancock's notably received a gold medal for their pieces in the Exhibition that year. Further investigation has also uncovered that a very similar cup and cover was later exhibited in the 1871 London Exhibition (fig. 3). On this example the cover finial is different, and the two main scenes (also by Monti) instead depict the signing of the Magna Carta; a fitting subject, as the cup is described as a testimonial to 'W.H. Smith, M.P. for Westminster' from his constituents. In addition, a further comparable model sold at Sotheby's London as Lot 139, on May 20th, 2020, titled 'The Royal London Yacht Club Jubilee Cup', which was originally awarded in 1887. As specified in 'The Art-Journal Catalogue' earlier cited, the designer and modeller of this lot is Raffaele Monti (1818-1871) a sculptor, author and poet, who was born in Switzerland. He studied under his father, Gaetano Monti (1776–1847) of Ravenna, a pupil of Bertel Thorvaldsen, who worked on Milan Cathedral and on monuments initiated under Napoleon. Monti moved to London in 1846 where he executed a marble sculpture of a Veiled Vestal Virgin for the Duke of Devonshire, which the Duke displayed in his villa west of London, known as Chiswick House. For further information on this lot please visit Bonhams.com
Bryan Ingham (British, 1936-1997)St Ives titled and dated 'St Ives/August 1970' (on backboard)watercolour, gouache and pencil on paper, laid on board37 x 40.5cm (14 9/16 x 15 15/16in).Footnotes:ProvenanceSale; Bonhams, Knightsbridge, 17 January 2012, lot 206With Gray Modern & Contemporary Art, Bath, where acquired by the present owner Private Collection, U.K.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
Antonio Saura - 'Memorias del Subdesarrollo' (Cuban Movie Poster), screenprint, published by ICAIC circa 1968, 70cm x 45cm, together with a contemporary urban art screenprint.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Irene Wood - 'Sea Scorpion', 21st century oil on canvas, signed, titled and dated '08 verso, 35.5cm x 46cm, together with five other contemporary oils of Cornish art interest by different hands, and a gouache.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
λ AUGUSTUS JOHN (BRITISH 1878-1961)THE LITTLE RAILWAY, MARTIGUESOil on canvasSigned (lower left)54 x 73cm (21¼ x 28½ in.)Painted in 1928.Provenance:Arthur Tooth & Sons Ltd., London (stock no. C3526)Adams Gallery, LondonSale, Christie's, London, 8 June 1990, lot 247Sale, Christie's, London, 9 June 2000, lot 90Exhibited:London, Arthur Tooth & Sons Ltd., Augustus John, April-May 1929, no. 7 or 23Possibly, London, Agnew's, Contemporary British Artists, November-December 1930, no. 18London, Royal Academy of Arts, Diploma Gallery, Exhibition of works by Augustus John O.M., R.A., 1954, no. 383 (lent by Adams Gallery) Sheffield, Graves Art Gallery, Augustus John, O.M., R.A., 1956, no. 38 (lent by Cyril Adams)Literature:M. Chamot, D. Farr and M. Butlin, Tate Gallery Catalogues: The Modern British Paintings, Drawings and Sculpture, vol. I, London, 1964, p. 327'Leaving Arles for Marseilles, the railway skirts the northern shores of the Etang de Berre. Looking south from the train I caught a glimpse in the distance of spires and buildings which seemed to belong to a town sitting in the water. With a feeling that I was going to find what I was seeking, an anchorage at last, I returned from Marseilles, and, changing at Pas des Lanciers, took the little railway which leads to Martigues'. Chiaroscuro: Fragments of Autobiography, p.106 The year was 1910. Augustus bought the Villa Ste Anne at Martigues and over the years painted a series of landscape paintings on small wooden panels which are today among his most sought after works. 'The Little Railway' and another smaller version held by Tate Britain, was painted in 1928, the year the family left Martigues.We are grateful to Rebecca John for her kind assistance in cataloguing this lot. Condition Report: Inspection under UV reveals light scattered retouching mostly visible to the sky. In otherwise very good original condition. Condition Report Disclaimer
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