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The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Four crater bowls Stoneware Underside impressed 'DB' seal Two approx 14cm diameter, 7.5-8.5cm high, two approx 23cm diameter, 6-7cm high. Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: Two smaller bowls, and beige interior - no faults found.  Bowl with white interior has small (approx 4mm) imperfection below the rim which was presumably created in the making (see image).

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Six double rimmed bowls; four brown and two pale with mottled green grey Porcelain Underside impressed 'DB' seal 14-18cm diameter, 2.5cm-5cm high. Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: Brown dishes would benefit from a clean, no other issues found.

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Six double rimmed bowls; three in white with blue rim, one white and two pale with green Porcelain Underside impressed 'DB' seal 14-17cm diameter, 2.5cm-4.5cm high. Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No issues found

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Five beige and brown cratered vessels with partly covered top Porcelain Underside impressed 'DB' seal Each approx 9cm diameter, approx 8.5cm high. Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: Three vessels no issues found.  One has 7mm chip to rim, one linear imperfection to the enclosed upper.

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Four ruffle vases of tapered form; the tallest with lobes mottled in blue on white with dark edging, one in blue with spade-form lobes, one in white with manganese drip edging to lobes, and one in mottled blue on white Porcelain Underside impressed 'DB' seal tp all except mottled blue and white (where mark has rubbed) Tallest 17.5cm, shortest 12cm high. (4) Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. 

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Large double rimmed crater bowl, and a lava glaze vase with blue interior Stoneware Underside impressed 'DB' seal Bowl: 30cm diameter, 8.5cm high, vase: 15.5cm high. Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. 

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Two white volcanic glaze bowls and one white tapering volcanic glaze vase Stoneware Underside impressed 'DB' seal Open bowl 22.5cm diameter, closed bowl 17cm diameter, vase 19.5cm high. Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No issues found.

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Group of fourteen bowls with cut-out rim Porcelain Underside impressed 'DB' seal Maximum height 8.5cm, smallest diameter 8.5cm. Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. 

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics White volcanic glaze bowl with two vases Stoneware Underside impressed 'DB' seal Bowl 16cm diameter, 9.5cm high, Vases 14.5cm and 10.5cm high. (3) Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No issues found.

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Three tapering volcanic glaze vases; one in white on brown stoneware ground, one blue and white, one mottled brown Stoneware Underside impressed 'DB' seal 14cm, 15cm, and 21.5cm high.  (3) Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No issues found.

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Tall hand built 'Maiden' form vase with crater glaze Stoneware Unmarked 38cm high, 26cm diameter. Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No issues found.

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Three double rimmed bowls with manganese rims Porcelain Underside impressed 'DB' seal 15.5cm-17.5cm diameter, 4cm-5cm high. Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No issues found.  One feels rough to touch around the edges but probably in the design.

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Six small bowls of organic form with narrow stem foot, five in brown glaze and one in blue, along with four fine rimmed organic form bowls and one with double ruffle Porcelain Underside impressed 'DB' seal Each approx 9cm diameter, approx 9cm long. (11) Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. 

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Two volcanic glaze bowls and one volcanic glaze vase with clear glazed rim Stoneware Underside impressed 'DB' seal Open bowl 20cm diameter, closed bowl 19.5cm diameter, vase 20.5cm high. Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No issues found.

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Large open bowl in blue-green over brown, and a deep crater bowl Stoneware Underside impressed 'DB' seal Open bowl 29.5cm diameter, deep crater bowl 21cm diameter, 11.5cm high. Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. 

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Four vessels with ruffled lobes Porcelain Underside impressed 'DB' seal Largest approx 16cm diameter, 11.5cm high, Brown approx 13cm diameter, 9cm high, white approx 9.5cm diameter, 8.5cm high, blue approx 13cm diameter, 9cm high. (4) Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: Largest has hairlines cracks and repair apparent under UV to one of the lobes, surface dirt.  Blue vessel has restoration to the largest lobe.  No other issues found.

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Two white volcanic glaze bowls Stoneware Underside impressed 'DB' seal 21cm diameter, 12cm high, and 24cm diameter, 8.5cm high. (2) Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: The wider bowl has patches of grey rather than white glaze which are presumed imperfections in the making of the piece.  No other issues found.

The Studio Works of Deirdre Burnett (1939-2022) and other artists Studio Pottery and Contemporary Ceramics Hand built vessel of organic form with frilled top in white with dark edging, and a small brown bowl with olive brown central band and rim, as well as a buff coloured vase by unknown artist with oxide to edge of the flaring rim and speckles to the body Stoneware Bowl impressed 'DB', plant vessel unmarked, vase impressed 'LP' Plant form vessel approx 21cm high, bowl 5cm high, vase 18cm high. (3) Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. 

The Studio Works of Deirdre Burnett (1939-2022)Studio Pottery and Contemporary CeramicsFour lava glaze vases in mottled shades of brown and greenStonewareUnderside impressed 'DB' sealTallest 18.5cm high, smallest 9.5cm high.Provenance/FootnoteEstate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts.Condition Report: One with yellow sticker residue to underside.  No other issues found.

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Four small footed vessels with partly covered top, and a double rimmed crater bowl in brown exterior and blue interior Porcelain footed vessels, stoneware bowl Underside impressed 'DB' seal Footed vessels approx 10cm diameter, 6.5cm-8cm high, bowl: 16cm diameter, 4.5cm high. (5) Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: Two pots have some chips to the rim, another has a firing crack to the inner rim, the brown vessel and bowl no issues found.

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Three vessels with partly covered top; two brown seed-form, one white with manganese drip rim; and two flower form bowls with narrow stem foot and fine undulating rim, in yellow glaze, one with brown speckles to interior Porcelain Underside impressed 'DB' seal Vessels 10.5cm and 9cm diameter, 8.5cm and 7.5cm high, flower forms approx 9cm diameter, 12cm long, and approx 10cm diameter, 9cm long.  (5) Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: No issues found

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics Group of seven small rounded vessels with small opening and pierced and impressed decoration Porcelain Underside impressed 'DB' seal Largest 10cm diameter, 6.5cm high, Smallest 5cm diameter, 3cm high. Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: Largest has surface marks and imperfections in the making including a dent 1cm and a 2cm arc shaped fold.  No other issues found.

The Studio Works of Deirdre Burnett (1939-2022) Studio Pottery and Contemporary Ceramics A miniature inverted baluster vase in buff with blue band to rim, and a bowl in black and teal applied in spirals, with impressed circles and small cut-out to rim Stoneware Bowl impressed 'DB', vase unmarked Bowl 11.5cm diameter, vase 13cm high. (2) Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. 

The Studio Works of Deirdre Burnett (1939-2022) Byron Temple (1933-2002) Studio Pottery and Contemporary Ceramics Burnett brown glazed teapot, sugar, and 2 jugs (unmarked) made for a London restaurant, and a white teapot, along with a teapot with cane handle by Byron Temple, and another teapot with cane handle attributed to Byron Temple Stoneware Unmarked except one teapot stamped for Byron Temple Brown teapot 15cm high, cane handled teapots 21cm high.  (7) Provenance/Footnote Estate of the artist.  Deirdre graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Deirdre's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. 

Malcolm Appleby and Jane Short 'Storm', Edinburgh, 2015 Sterling silver and enamel A spiral engraved silver dish enamelled in shades of blue and overlaid with gold leaf Of oval form with shaped spiral sides Signed and dated to the underside: Malcolm Appleby, Jane Short, 1-12-15, KW  Approx. 11.0 x 14.5 x 4.2cm. Approx. weight 9.9oz (ARR) Provenance The Hamme Collection FootnoteIn 'Storm', Malcolm Appleby and Jane Short worked in collaboration to create a one-off piece showcasing their exceptional silversmithing, engraving and enamelling skills. Malcolm Appleby has dedicated his artistic practice to 'pushing the boundaries of metalwork' and this piece is a case in point. In 'Storm' the silver has been pushed to its very limits and the stress is visible to the underside of the piece.Malcolm Appleby has provided a description of the creative process behind this dish: "At some point I had rubber moods made of a sheet of my hammer and chisel engraving in silver not really knowing what I would do with it. I found that molten wax flowed around the engraving to make very different forms. Some of the results created a totally different aesthetic to the normal approach to silversmithing; the metal sometimes beginning to disintegrate with the stress of making. I related the results to adverse weather conditions we are experiencing due to global warming. These storm bowls would also be the ultimate challenge for Jane Short to successfully enamel, the earthquake cracks on the reverse side being a phenomenon close to destruction. Short rose to the challenge and has created with her exceptional colour palette some of her finest abstract enamels. I gave her a completely free hand within the bounds of the title Storm. The initial KW relates to Karen Wallace, my workshop assistant at the time." Awarded an MBE in 2016 for her services to the craft of enamelling, Jane Short is a highly accomplished enameller and a leader in her complex and highly technical field. She uses traditional techniques of champlevé and basse-taille to create work described as, 'a rich and evocative exploration of colour and imagery'. Jane trained in jewellery design in the 1970s at the Central School of Art and Design, and later studied  silversmithing at the Royal College of Art. Her work is displayed in several major collections including the V&A, the Fitzwilliam and Ashmolean Museums, the Queens Collection, and the Goldsmiths’ Collection. The British enameller, Jessica Turrell describes Jane as: 'pre-eminent in her field, creating exquisitely executed pieces that exploit her profound knowledge and understanding of materials and techniques.' Jane has provided the following comment regarding her work with Malcolm Appleby: "Working with Malcolm is fascinating, as it gives me a canvas to work on that evokes a different (and sometimes challenging) response to my own enamel work and prompts me to explore the qualities and colours of enamel that I love in a different way."Footnotes: Jessica Turrell (Surface and substance: A call for the fusion of skill and ideas in contemporary enamel jewellery, Jessica Turrell, Craft Research Volume 1, University of West England, 2010, pg. 88)

A contemporary piece of art. Featuring a collage of leaves, 72.5cm x 96cm, framed and glazed

Two boxes containing contemporary ornaments, circular mirrors, wicker hand basket an Art Nouveau battery operated clock.

A crate containing contemporary framed and unframed mirrors, a mosaic topped occasional table and two Art Deco style lights.

BANKSY (B. 1974)Congestion Charge 2004 tagged; signed and dated Dec 2004 on the overlap oil on canvas, in the artist's frame 68.5 by 78.7 cm. 26 15/16 by 31 in.Footnotes:This work is accompanied by a certificate of authenticity issued by Pest Control Office and will be issued with an updated certificate to the buyer. ProvenanceLondon, Santa's GhettoAcquired directly from the above by the present owner in 2004ExhibitedLondon, Santa's Ghetto, 2004 Tokyo, Warehouse TERRADA, WHO IS BANKSY?, 2021Congestion Charge from 2004 is a unique and rare example of Banksy's Vandalized Oil series also referred to as Crude Oils. Bought from Santa's Ghetto by Sir Paul Smith in 2004, the work has remained in the British fashion icon's distinguished private collection ever since and comes to auction for the very first time. Made famous through a now iconic show in 2005 with the same title, the Crude Oils consist of reimagined old master paintings such as such as Show Me The Monet and Sunflowers From Petrol Station alongside modified traditional oils on canvas like the present work. Bought at flea markets around London, Banksy would add his own subversive touches to classical canvas paintings, a congestion charge sign in an otherwise idyllic traditional landscape, injecting new paradoxical meaning into the outdated artwork. This act of subversion serves as a commentary on the commercialisation of art and the collective memory of historical and present events. Banksy's modifications challenge the original context and narrative of the paintings, highlighting the power of art to disrupt and provoke critical thought about societal issues and the role of art in shaping collective consciousness. As one of the most acclaimed and sensationalist contemporary artists in the world, Banksy's career has garnered a following unlike any other. Firmly written into the art history books, alongside the likes of Jean-Michel Basquiat, Keith Haring and Richard Hambleton, Banksy belongs to a rarified group of artist-outcasts whose inimitable styles took seed in their early years as rogue street artists; styles and stories that were hotly embraced by their local contemporary art scene. His political statements and subversive mise-en-scène have adorned cities across the globe at vital junctures in recent history, provoking alternative perspectives and fomenting spectacle and theatre in the art world. With his distinct, cool, disarming wit and charm, Banksy's anti-establishment panache earned him a cult following and unparalleled acclaim. His iconic and universally recognisable works are fiercely sought after by collectors globally.From his emergent years, Banksy associated with the graffiti subcultures that were abundant across European towns and cities in the 1990s, turning to freehand graffiti as a teenager having been inspired by the thriving graffiti community of his hometown. Turning his hand to stencilling after a close encounter with the police, the new technique enabled him to work quickly and avoid apprehension by the authorities. Unlike many of his graffiti counterparts, whose exaggerated script and cartoon characters had become practically conventional in the modern city, Banksy's bold and iconic stencils combined an astute sense of current affairs, transcendent ideas and a stylised technique that has captured audiences and launched him from outsider street artist to one of the most important political and cultural voices of the twenty-first century.First introduced in 2003, the year before the present work was executed, congestion charge is a fee imposed on vehicles entering certain areas of London during peak hours to reduce traffic and promote public transportation. Banksy's artwork ridicules the policy, suggesting an absurd placement of the charge sign in a remote farm path that is unusable due to flooding. As with many of Banksy's works, Congestion Charge has a playful and thought-provoking nature. It captures attention and prompts viewers to question the effectiveness and consequences of urban policies. Around the same time, Banksy famously placed some of his Vandalized Oils in prominent galleries, where they would hang unnoticed amongst the institutions permanent collection, at times for days. At the British Museum for example, he secretly placed a modified version of a prehistoric cave painting, adding a figure pushing a shopping cart and a barcode. The act drew attention to the commercialisation of art and the consumer-driven society we live in with the modified artwork remaining on display for several days before being discovered and removed by museum officials. The act allowed Banksy to circumvent the traditional art world and its gatekeepers, making a direct impact on the public sphere and challenging the notions of ownership, authenticity, and the commercialization of art. His disruptive tactics challenged viewers to re-evaluate their perceptions of art and the institutions that house it.As Banksy's profile and collectability has developed, unique works of exceptional history and quality become still more prized. Presented here for sale is such a painting that demonstrates the British artist's indisputable and enduring currency as social commentator and contemporary artist that has remained in the highly distinguished art collection of Sir Paul Smith for nearly two decades. In common with many of Banksy's most successful works, Congestion Charge intends to amuse the viewer, yet it also aims to engender thought provoking discourse within a broader socio-political context. Graffiti Art has long been the leading means of expression for the visual counterculture. The irrepressible spontaneity of protest art and then early street art was mirrored in the music of Hip-Hop and dynamism of breakdance. These three pillars dominated much of urban culture in America from the 1970s and had a keen influence on Banksy as it came to impact corresponding areas in Britain in the 1980s. Today Banksy has solidified his position as one of the most well recognised and sought after street artists of the century having completely transformed graffiti culture. His identity, even after more than twenty years, still remains delightedly anonymous and the present auction represents an opportunity to acquire one of the finest examples from the Crude Oils of Banksy's career to date.This lot is subject to the following lot symbols: AR ○AR Goods subject to Artists Resale Right Additional Premium.○ The 'Seller' has been guaranteed a minimum price for the 'Lot', either by 'Bonhams' or a third party. This may take the form of an irrevocable bid by a third party, who may make a financial gain on a successful 'Sale' or a financial loss if unsuccessful.For further information on this lot please visit Bonhams.com

OSCAR MURILLO (B. 1986)Untitled (Fried Chick) 2012 oil, oil stick, spray paint and dirt on canvas 248 by 181 cm.97 5/8 by 71 1/4 in.This work was executed in 2012.Footnotes:ProvenancePrivate Collection, LAPrivate Collection, UK (acquired directly from the above in 2013) Sale: Bonhams, London, Modern & Contemporary Art, 27 June 2019, Lot 33Acquired directly from the above by the present ownerCompelling, spirited and grand in scale, Untitled (Fried Chick) (2012) is foundational work by the Colombian-born, Turner Prize nominated artist Oscar Murillo; exhibiting all the hallmarks of his energetic and spontaneous style that combines raw panels of canvas, flashes of text and colour with aggregated dirt and impressions from the studio floor. Rising to artistic maturity and institutional acclaim in monumental fashion, his inclusion in such major exhibitions as The Forever Now: Contemporary Painting in an Atemporal World at the Museum of Modern Art, New York, in 2014, in addition to solo exhibitions at the Centro Cultural Daoíz y Velarde, Madrid and the Institute of Contemporary Arts, London, has cemented Murillo's international standing as one of the foremost contemporary painters currently working; culminating in his nomination for the Turner Prize in 2019 for his exhibition Violent Amnesia at Kettle's Yard, Cambridge. Untitled (Fried Chick) is an elegant example of Murillo's collaging of surfaces and techniques that flaunts the dirt from the artist's studio floor, bringing the painting to life through its closeness to the 'authentic' detritus and rubble of Murillo's workspace. In the present work, the raw support of the canvas plays host to an almost performative mark-making, suffused with a palpable energy that channels the automatic motions of Jackson Pollock, complemented by a revisionist ideology that Murillo credits to the Neo-concretism of Lygia Clark, Lygia Pape and Hélio Oiticica. The present work comes to market following Murillo's nomination for the Turner Prize in 2019 – a significant recognition of the artist's distinguished practice and place amongst his contemporaries. An exemplary early work by Murillo, Untitled (Fried Chick) is an immense painting of masterful austerity, eliciting all of the methods and conceptual hooks that has made Murillo such an internationally lauded artist.Activating the more static, Modernist modes of abstract painting through installations, social gatherings and interactive artworks, Murillo's multifaceted practice has continued to express the artist's experiences of displacement and multiculturalism, demonstrated in the present work with a bravura charm and dynamic materiality. For Murillo, the process of painting provides a method of accumulation; composing his works through a build-up of material, of folds, marks and daubs of paint that illustrate the artist's own relationship to his itinerant lifestyle and 'layering' of identity. Born in La Paila in South East Colombia, Murillo remains deeply influenced by his roots and his arrival in London as an immigrant at the age of ten. The present work represents a superbly nuanced evocation of these themes, employing single words or phrases that encourage a reading of Murillo's paintings through the lens of cultural critique. Where words such as 'pollo,' 'yoga,' 'milk' and 'mango' appear across Murillo's oeuvre, they become aesthetic devices in tandem with their implicit meaning – impactful hand-sketched lines of text that divide the canvas in a similar vein to the paintings of Jean-Michel Basquiat. Murillo interprets his own unique style thusly: 'the words are very displaced. Like cultural displacement with performance, in painting it's material displacement, object displacement [...] I also like to think that these paintings also imply a displacement of time. They're like rugs. An unstretched painting is a kind of abstract thing, one that suggests that it perhaps has been found or comes from some other space or time. But while it has this aura of being a historical thing when placed out of context, it just comes from the studio' (the artist in conversation with Legacy Russell, 'Bomb Magazine', www.bombmagazine.org, 1 Jan 2013).This lot is subject to the following lot symbols: AR TP ▲AR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.▲ 'Bonhams' owns the 'Lot' either wholly or partially or may otherwise have an economic interest.For further information on this lot please visit Bonhams.com

RICHARD PETTIBONE (B. 1938)Roy Lichtenstein, 'The Artist's Studio: The Dance' 1974 1975 acrylic and silkscreen ink on canvas, in the artist's framesigned, titled, dated 1975 and numbered OR#362-D on the stretcher 14.5 by 19.3 cm. 5 11/16 by 7 5/8 in. This work is unnumbered from an edition of approximately 20. Footnotes:ProvenanceCollection of the artist, USOK Harris, New York Private Collection, New York Hollis Taggart, New York Burkhard Eikelmann Galerie, Dusseldorf Acquired directly from the above by the present ownerExhibitedPhiladelphia, Institute of Contemporary Art; Saratoga Springs, The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College; Laguna Beach, Laguna Art Museum, Richard Pettibone: A Retrospective, 2005-2006, p. 78, no. 85, another example exhibitedThis 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

MARKUS LÜPERTZ (B. 1941)Pierrot lunaire 1984 incised with the artist's initials and GMW, stamped with the foundry mark SCHMÄKE DÜSSELDORF and numbered 2/6painted bronze150 by 72 by 60 cm.59 1/16 by 28 3/8 by 23 5/8 in.This work was executed in 1984 and is number 2 from an edition of 6. Footnotes:ProvenanceGalerie Thomas, MunichAcquired directly from the above by the present owner in 2000LiteraturePrestel Lexicon, Kunst und Künstler im 20. Jahrhundert, Munich, London and New York 1999, p. 20, another example illustrated in colourSiegfried Gohr, Markus Lüpertz, Barcelona 2001, p. 152, no. 128, illustrated in colourMarkus Lüpertz is one of Germany's best known contemporary artists; his expressive work is imbued with mythology, historical references, classical and biblical themes and has been exhibited and collected widely around the globe. The Pierrot Lunaire sits down, instead of lively jumping as one might expect; despite all the compactness of the material he seems fragile, almost delicate. With his hands crossed on his lap, he conveys a moment of calmness, thought and melancholy. The painting of the bronze emphasizes the vitality of the theatrical figure, the colourfulness of his costume and especially the mask-like appearance of the painted face. The Pierrot Lunaire is a figure from the Italian 'Commedia dell'arte', which has become a classic motif in the history of art since Antoine Watteau's famous Gilles, to which artists from all periods have paid homage. Since the 19th century he is seen as a model of melancholy and the artistic mask. Lüpertz has dealt with this theme in detail in a cycle of paintings from 1984 alongside the present sculpture and here, he beautifully illustrates the ambivalence of the figure between lightness of being and introversion. The figure of the moon loving Pierrot thus describes the boundary between the face we put on during the day and the dark side hidden within us that surfaces mostly at night. Lüpertz also cites Pierrot as a metaphor for the artist, who is all too often assigned the role of the clown by society. When working in sculpture, the artist does not build his figures from plaster, he cuts them out of solid wooden blocks with a hatchet, leaving clear traces of the working process in the bronze cast. The raw surface is thus shaped by facets of offset cuts, indentations and lines that beautifully link the sheer process of creation and the work's materiality to the final viewing experience. Reminiscent of cubism, the syntax of planes related to each other loosens the volumes around a compact core and gives the shapes energetic impulses that are heightened by painting the work.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

ANTONIO SAURA (1930-1998)Don 2 1989 signedoil on canvas130 by 96.9 cm.51 3/16 by 38 1/8 in.This work was executed in 1989.Footnotes:This work is registered in the Archives Antonio Saura Foundation, Geneva, under no. RIMT@1989@DON.2.This work will be included in the forthcoming Catalogue Raisonné being prepared by the Archives Antonio Saura Foundation, Geneva.ProvenanceGalerie Pierre Huber, GenevaGaleria Sarda, BarcelonaAcquired directly from the above by the present owner in 1990ExhibitedZaragoza, Palacio de Sástago, Saura Decenario; 1980-1990, 1991, p. 12, no. 28, illustrated in colourA beautiful and striking work that was conceived in a key phase of Antonio Saura's career, Don 2 from 1989 contains a sublime confidence in gestural technique. An intense presence emerges from the vivid brushstrokes, heightened by an intentionally flat background that allows the energies, associations, and characteristics of the artist's superbly represented figure to come alive on the picture plane. Don 2 is a supreme example of Saura's iconic abstracted biomorphic forms. The distorted portrait is imbued with the artist's personal style that developed independent from the artistic trends of his peers, granting him recognition as one of the most important avant-garde painters of his time. Inspired by Diego Velazquez and Francisco de Goya, Saura was self-taught, yet it is the striking fusion of these influences and context of his time that have shaped his unique style.Throughout Saura's oeuvre there is a highly visceral quality which pervades the composition of his portraits. The art historian Siegfried Gohr writes, 'Saura's portraits are dissolved into wild shapes and violently convulsive movements. It is as though the inner life of the facial traits had been brought to melting point by some volcanic force. Saura concentrates the destructive energies by leaving the background of the picture flat and untouched...Light and dark patches collide with each other seem to discharge their contradictory energy in an explosion.' (Siegfried Gohr in: Antonio Saura, Lugano, Museo d'Arte Moderna, 1994, pp. 56-58). Don 2 distils the quintessential elements of Antonio Saura's career as one of the most celebrated Spanish artists of the 20th century into one work. Saura's subject matters were often sourced from portraits of famous European aristocrats such as the Infanta Margarita or King Philippe II of Spain. The present work portrays an esteemed gentleman; his expressive visage executed in a palette reminiscent of Francisco Goya's Black Paintings is framed by the distorted white ruffles of his collar and the stark, ink-like background. Much like his inspirators, Saura's astute ability to imbue his canvases with a dramatic and cerebral ambience using his technical mastery of painting cements him within the canon of Spanish art.Antonio Saura is internationally recognised as one of the most influential Spanish painters of the post-war period and his works reside in the prestigious permanent collections of museums around the globe, such as the National Gallery in London, the Solomon R. Guggenheim Museum in New York and Fundació Joan Miró in Barcelona. Over the decades of his career, Saura had major retrospective exhibitions at the Stedelijk Van Abbemuseum, Eindhoven, Netherlands in 1963, the Institute of contemporary Arts, London in 1966 and the Museo de arte contemporáneo, Madrid in 1982 and by the time the present work was executed, he was a confident master of his craft.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

FRANZ ACKERMANN (B. 1963)Epicenter x 2001 signed and dated '01 on the reverse oil on canvas160 by 130.2 cm.63 by 51 1/4 in. Footnotes:ProvenanceGalleria Gió Marconi, MilanSale: Phillips de Pury & Company, New York, Contemporary Art Part II, 16 November 2007, Lot 264Acquired directly from the above by the present ownerExhibitedMilan, Galleria Gió Marconi, Mercato 1-Mercato 2: Franz Ackermann, 2001This 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

DAMIEN HIRST (B. 1965)Beautiful Big Whopper Hooters Bang Bang Whoop Whoop Lights on Green Go Go Go Ye Ha Ye Ha Gift Painting 2010 signed on the reverseacrylic on paperDiameter: 51.5 cm.20 1/4 in.This work was executed in 2010.Footnotes:ProvenancePrivate Collection, Europe Sale: Sotheby's, London, Contemporary Art Online, 12 April 2019, Lot 29Acquired directly from the above by the present ownerThis lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Property of a ladyAndy Warhol (1928 - 1987)Campbell's Soup Can on a Shopping Bag (1966)Screenprint in colors, on a paper bag, 1966From the edition of unknown sizePublished for the exhibition at the Institute of Contemporary Art, BostonDimensions:19.25 in. (H) x 17 in. (W)

LUCIO FONTANA (1899-1968) Concetto spaziale 1951 signed and dated 51 on the lower right watercolour on paper 50 by 70 cm. 19 11/16 by 27 9/16 in. Footnotes: Provenance Galleria Visualità, Milan (310/1) Studio Bellini, Milan Acquired from the above by the previous owner Gift from the above to the present owner Literature Luca Massimo Barbero, Lucio Fontana, Catalogo ragionato delle opere su carta, vol. II, Milan 2013, p. 569, no. 51 DSP 36, illustrated in black and white The present collection of six inimitable masterworks beautifully demonstrates the artistic genius of Lucio Fontana and his unchallenged position as one of the most influential creative minds of the 20th century. Amongst the most important single owner collections of works by the artist to be offered at auction in decades, the present works have not been seen by the public in half a century. Unifying all six works are properties of the Spazialismo movement, pioneered by Fontana in 1947, where he searched to create a new dimension by representing an astrophysical void. The vicennial long range included in this collection - spanning works from as early as 1951 to 1968 - demonstrates a clear continuous process of his technique and increasing interest in the conceptual logic behind his practices. In his seminal 1946 Manifiesto blanco, Fontana wrote 'the discovery of new physical forces and the control of matter and space will gradually impose new conditions that have not been previously known to man in the entirety of the course of history. The application of these discoveries to all the modalities of life will produce a modification in the nature of man. Man will take on a new psychic structure' (the artist in: Guido Ballo, L. Fontana: Idea per un ritratto, New York 1971, p. 186). His writings are inextricably linked to the works seen in the present collection, aiming to create new contemporary art which remained in touch with the astrophysical scientific developments of the time. Fontana's gestural slashes on the flat picture plane revolutionised the distinction between destruction and creation, giving the 'spectator an impression of spatial calm, of cosmic rigor, of serenity in infinity' (the artist in: Enrico Crispolti, Lucio Fontana, Catalogo Ragionato di Sculture, Dipinti, Ambientazioni, Vol. I, Milan 2006, p. 105). The seemingly random and spontaneous, but actually highly precise cuts on the canvas portray the cosmos of an unknown dimension, setting his creations free from the universally accepted limitations of the flat surface. Concetto Spaziale, Attese from 1960, the striking red canvas in the present collection, is amongst the most recognisable and sought after works by Lucio Fontana, due to the rich, striking red hue, which augments the darkness coming through two perfectly balanced slashes. Works of the same seductive, bold monochrome red hue are amongst the most iconic by the artist and continue to achieve record prices at auction. Born in Argentina in 1899, then moving to Italy in 1905, Fontana lived through some of the most unstable years of the 20th century. That, alongside his initial training as a sculptor is clearly recognised in works from the Tagli series as he rejected the confinement of physical materials and the physical space of a canvas. The artist's clever balance of impulse and manipulation, seen through his vertical slashes, gives the viewer a sense of a dramatic, yet confident search for a self-created dimension, intended to be found within the canvas itself. The artist's Tagli series, superbly represented in this collection, is considered by many as his most diverse and gripping group of works. The intricate compositions and layers of symbolism found in these pieces are a true testament to the depth and sophistication with which the artist approaches the concept. Concetto spaziale, Attese from 1959 is one of the earliest works in the collection and an extremely rare example due to the unusually shaped canvas and high number of unmistakably elegant slashes – fourteen of them – incised in three separate layers. Implicitly associated with Fontana's theories on the form of the universe and purposely unsettling, the shaped canvas opens our eyes to the freedoms of abstraction and is independent to traditional associations of painting. Similarly, with an unusual feature, equally rare to the market, Concetto spaziale, Attese from 1960, the soft pink canvas, carries a rare feature, the artist's fingerprint, on the bottom righthand side. With three similarly sized incisions, this work opens an abstract dimension found within the canvas, whilst carrying a touch – literally – of reality. The beautiful pink sanguine hue radiates elegance and serenity. Clear influences of Europe in the aftermath of two devastating world wars, alongside the Space Race of the 1950s and 1960s can be seen in Fontana's ideology which has a firm focus on space and abstract dimensions. Fontana's Concetto spaziale from 1951, the only work on paper in the collection, wonderfully demonstrates the initial findings of the artist's Spazialismo ideology as he establishes the idea of depth simply with colour rather than by physically breaking through the surface. Similarly, the diagonal 'slashes' of colour attest a strong relationship to works of the Tagli series, underscored by the colours used. The void is cleverly represented through the dark spots on the paper, allowing the viewer to feel true, remarkable depth. The work gains its strikingness not only by being the only polychromatic work in the collection, but through its clear inspiration by Fontana's buchi series – the radical penetration of the canvas, which he began just two years prior to the execution of the present work. Ugo Mulas, Italian photographer and friend of Fontana recalls the artist's explanation of his process: 'sometimes I leave the canvas hinging there for weeks before being sure what I'm going to do with it and only when I feel sure, do I start' (Ugo Mulas in Germano Celant, Lucio Fontana, Ambienti Spaziali: Architecture Art Environments, Milan 2012, p. 318). Concetto Spaziale, Attese, clearly demonstrate the artist's curated thought process behind his compositions, giving us a possible insight to the title 'Attese', meaning 'the wait'. The grey Concetto Spaziale, Attese from 1966 manages to evoke the same intensity through the minimalist feel of the cool tone alongside five slashes on the canvas. The outer, almost vertical slashes create a sense of unity to the three diagonal central ones, demonstrating Fontana's undeniable skill and the artist's increased control in this later work of the series. Cratere from 1968 employs an entirely different artistic approach, to Fontana's ground-breaking conceptual idea of the modernist period. For further information on this lot please visit Bonhams.com

GEORG BASELITZ (B. 1938)Magentaaufgang 2005 signed, titled and dated 17.V.05 on the reverseoil on canvas250 by 200 cm.98 7/16 by 78 3/4 in.Footnotes:ProvenanceGalerie Thaddaeus Ropac, Salzburg/Paris (GB 2083) Vonderbank Art Galleries, BerlinPrivate Collection, EuropeSale: Sotheby's, London, Contemporary Art Day Auction, 15 October 2007, Lot 314Private Collection, Europe Acquired directly from the above by the present ownerExhibited Paris/Salzburg, Galerie Thaddaeus Ropac, Georg Baselitz - Spaziergang ohne Stock, 2005, p. 25, illustrated in colour Berlin, Vonderbank Art Galleries, Georg Baselitz, 2006, p. 27, illustrated in colourMonumental in scale and breath-taking in its visual effect, Magentaaufgang from 2005 is an outstanding work by the celebrated contemporary German artist Georg Baselitz. Suspended upside down, a dense forest of majestic trees extends dramatically from the top of the canvas in the artist's instantly recognisable and expressive style. The towering trees stretch down the surface, creating a profound movement of verticality whilst a spark of bright magenta illuminates the ghostly white tree trunks against a stark black background. This assertive focus of pure colour immediately draws the viewer's gaze upwards to what would ordinarily be the sky, thus giving the name to the composition as auf gang possibly referring to a rising sun. From 1969 Baselitz explored a revolutionary technique of painting the subject matter upside down, thereby literally turning the viewer's comprehension of the subject on its head in a ground-breaking and unconventional way of seeing. Pushing the boundaries not only for the viewer but also for himself in terms of construction, the first work that Baselitz painted upside down was fittingly of a woodland landscape titled The Wood on Its Head from 1969 and is poetically revisited here in the present work. By inverting figures and landscapes, Baselitz is able to achieve a form of radical and innovative abstraction whilst oscillating the line of figuration in his own distinctive and lyrical language. Magentaaufgang was first exhibited at Baselitz's solo show Georg Baselitz Spaziergang Ohne Stock in 2005 at Thaddaeus Ropac. A central theme of this exhibition was the analysis and study of Edvard Munch (1863 – 1944) and his artistic methods. Renowned for his expressive compositions that discussed human angst, psychological disturbance and atmospheric landscapes, the famed Norwegian artist had a great influence on German expressionism, resonating strongly with artists such as Ludwig Kirchner and Karl Schmidt-Rottluff in the late 19th and early 20th Centuries. After years of travelling abroad, Munch purchased an estate in Ekely near Oslo where he would spend most of his time from 1916 until his death in 1944. This period was incredibly productive but also rather revolutionary for Munch as it was here that he was inspired by the changing seasons of his garden and the imposing trees in the adjacent woods. This exposure to nature resulted in monumental pieces as he was able to explore larger formats due to open air studios unencumbered by the restrictions of a small studio, and an experimentation with a brighter colour palette that would saturate his compositions. The trees in Magentaaufgang and other works in this highly regarded series are inspired by Munch's time at Ekely. Yet it is not only the subject of nature that stirred Baselitz creatively; there is also an expression of freedom that he emulates from Munch's later liberal style and the air of haunting nostalgia that permeates Munch's body of work. When standing in front of this large canvas, one can imagine being engulfed by the trees in a moving sensory and atmospheric experience. Steeped in memory and rich with nostalgia, the present painting, like all of Baselitz's work, is a biographical vision and a personal memoir. As a young man, Baselitz applied to forestry school and this fascination and passion bleeds through the surface and calls to mind sentimental depictions of an enchanted forest, such as the German fairy tale of Hansel and Gretel. One of the most influential artists of our time, Georg Baselitz was a leading figure in shaping a new identity for art in Germany after the Second World War, as a response to the trauma and loss from the first half of the 20th Century. Drawing upon art history and his own extensive oeuvre Baselitz rejected abstraction in favour of more recognisable subject matter, embracing the European arm of Neo-Expressionism. With works residing in museums internationally, including Fondation Beyeler, Basel; Kunsthalle Hamburg, Hamburg; The Metropolitan Museum of Art, New York; The Museum of Modern Art, New York; and the Tate Gallery, London to mention only a few, this represents an opportunity to acquire a work of exceptional quality by one of the most prominent and celebrated European artists of the modern era.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

LUCIO FONTANA (1899-1968) Concetto spaziale, Attese 1960 signed, partially titled and inscribed 1+1-3A3A on the reverse waterpaint on canvas 91.2 by 64.5 cm. 35 7/8 by 25 3/8 in. This work was executed in 1960. Footnotes: Provenance Camuffo Collection, Venice Blondel Collection, Milan Orsatti and Antonini Collection, Verona Galleria d'Arte Sianesi, Milan Acquired from the above by the previous owner Gift from the above to the present owner Literature Enrico Crispolti,  Lucio Fontana, Catalogue raisonné des peintures, sculptures et environnements spatiaux, vol. II, Brussels 1974, p. 95, no. 60 T 44, illustrated in black and white Enrico Crispolti, Fontana. Catalogo Generale, vol. I, Milan 1986, p. 320,  no. 60 T 44, illustrated in black and white Enrico Crispolti, Lucio Fontana, Catalogo ragionato di sculture, dipinti, ambientazioni,  Tomo I, Milan 2006, p. 490, no. 60 T 44, illustrated in black and white The present collection of six inimitable masterworks beautifully demonstrates the artistic genius of Lucio Fontana and his unchallenged position as one of the most influential creative minds of the 20th century. Amongst the most important single owner collections of works by the artist to be offered at auction in decades, the present works have not been seen by the public in half a century. Unifying all six works are properties of the Spazialismo movement, pioneered by Fontana in 1947, where he searched to create a new dimension by representing an astrophysical void. The vicennial long range included in this collection - spanning works from as early as 1951 to 1968 - demonstrates a clear continuous process of his technique and increasing interest in the conceptual logic behind his practices. In his seminal 1946 Manifiesto blanco, Fontana wrote 'the discovery of new physical forces and the control of matter and space will gradually impose new conditions that have not been previously known to man in the entirety of the course of history. The application of these discoveries to all the modalities of life will produce a modification in the nature of man. Man will take on a new psychic structure' (the artist in: Guido Ballo, L. Fontana: Idea per un ritratto, New York 1971, p. 186). His writings are inextricably linked to the works seen in the present collection, aiming to create new contemporary art which remained in touch with the astrophysical scientific developments of the time. Fontana's gestural slashes on the flat picture plane revolutionised the distinction between destruction and creation, giving the 'spectator an impression of spatial calm, of cosmic rigor, of serenity in infinity' (the artist in: Enrico Crispolti, Lucio Fontana, Catalogo Ragionato di Sculture, Dipinti, Ambientazioni, Vol. I, Milan 2006, p. 105). The seemingly random and spontaneous, but actually highly precise cuts on the canvas portray the cosmos of an unknown dimension, setting his creations free from the universally accepted limitations of the flat surface. Concetto Spaziale, Attese from 1960, the striking red canvas in the present collection, is amongst the most recognisable and sought after works by Lucio Fontana, due to the rich, striking red hue, which augments the darkness coming through two perfectly balanced slashes. Works of the same seductive, bold monochrome red hue are amongst the most iconic by the artist and continue to achieve record prices at auction. Born in Argentina in 1899, then moving to Italy in 1905, Fontana lived through some of the most unstable years of the 20th century. That, alongside his initial training as a sculptor is clearly recognised in works from the Tagli series as he rejected the confinement of physical materials and the physical space of a canvas. The artist's clever balance of impulse and manipulation, seen through his vertical slashes, gives the viewer a sense of a dramatic, yet confident search for a self-created dimension, intended to be found within the canvas itself. The artist's Tagli series, superbly represented in this collection, is considered by many as his most diverse and gripping group of works. The intricate compositions and layers of symbolism found in these pieces are a true testament to the depth and sophistication with which the artist approaches the concept. Concetto spaziale, Attese from 1959 is one of the earliest works in the collection and an extremely rare example due to the unusually shaped canvas and high number of unmistakably elegant slashes – fourteen of them – incised in three separate layers. Implicitly associated with Fontana's theories on the form of the universe and purposely unsettling, the shaped canvas opens our eyes to the freedoms of abstraction and is independent to traditional associations of painting. Similarly, with an unusual feature, equally rare to the market, Concetto spaziale, Attese from 1960, the soft pink canvas, carries a rare feature, the artist's fingerprint, on the bottom righthand side. With three similarly sized incisions, this work opens an abstract dimension found within the canvas, whilst carrying a touch – literally – of reality. The beautiful pink sanguine hue radiates elegance and serenity. Clear influences of Europe in the aftermath of two devastating world wars, alongside the Space Race of the 1950s and 1960s can be seen in Fontana's ideology which has a firm focus on space and abstract dimensions. Fontana's Concetto spaziale from 1951, the only work on paper in the collection, wonderfully demonstrates the initial findings of the artist's Spazialismo ideology as he establishes the idea of depth simply with colour rather than by physically breaking through the surface. Similarly, the diagonal 'slashes' of colour attest a strong relationship to works of the Tagli series, underscored by the colours used. The void is cleverly represented through the dark spots on the paper, allowing the viewer to feel true, remarkable depth. The work gains its strikingness not only by being the only polychromatic work in the collection, but through its clear inspiration by Fontana's buchi series – the radical penetration of the canvas, which he began just two years prior to the execution of the present work. Ugo Mulas, Italian photographer and friend of Fontana recalls the artist's explanation of his process: 'sometimes I leave the canvas hinging there for weeks before being sure what I'm going to do with it and only when I feel sure, do I start' (Ugo Mulas in Germano Celant, Lucio Fontana, Ambienti Spaziali: Architecture Art Environments, Milan 2012, p. 318). Concetto Spaziale, Attese, clearly demonstrate the artist's curated thought process behind his compositions, giving us a possible insight to the title 'Attese', meaning 'the wait'. The grey Concetto Spaziale, Attese from 1966 manages to evoke the same intensity through the minimalist feel of the cool tone alongside five slashes on the canvas.  For further information on this lot please visit Bonhams.com

LUCIO FONTANA (1899-1968) Concetto spaziale, Attese 1966 signed, titled and inscribed che profumo di primavera!! on the reverse waterpaint on canvas 53.8 by 65 cm. 21 3/16 by 25 9/16 in. This work was executed in 1966. Footnotes: Provenance Madeleine Everaert Collection, Brussels Galleria d'Arte Sianesi, Milan Acquired from the above by the previous owner  Gift from the above to the present owner Literature Enrico Crispolti, Lucio Fontana Catalogue raisonné des peintures, sculptures et environnements spatiaux, vol. II, Brussels 1974, p. 184, no. 66 T 64, illustrated in black and white Enrico Crispolti, Lucio Fontana Catalogo Generale, vol. I, Milan 1986, p. 641, no. 66 T 64, illustrated in black and white Enrico Crispolti, Lucio Fontana, Catalogo ragionato di sculture, dipinti, ambientazioni, Tomo II, Milan 2006, p. 837, no. 66 T 64, illustrated in black and white The present collection of six inimitable masterworks beautifully demonstrates the artistic genius of Lucio Fontana and his unchallenged position as one of the most influential creative minds of the 20th century. Amongst the most important single owner collections of works by the artist to be offered at auction in decades, the present works have not been seen by the public in half a century. Unifying all six works are properties of the Spazialismo movement, pioneered by Fontana in 1947, where he searched to create a new dimension by representing an astrophysical void. The vicennial long range included in this collection - spanning works from as early as 1951 to 1968 - demonstrates a clear continuous process of his technique and increasing interest in the conceptual logic behind his practices. In his seminal 1946 Manifiesto blanco, Fontana wrote 'the discovery of new physical forces and the control of matter and space will gradually impose new conditions that have not been previously known to man in the entirety of the course of history. The application of these discoveries to all the modalities of life will produce a modification in the nature of man. Man will take on a new psychic structure' (the artist in: Guido Ballo, L. Fontana: Idea per un ritratto, New York 1971, p. 186). His writings are inextricably linked to the works seen in the present collection, aiming to create new contemporary art which remained in touch with the astrophysical scientific developments of the time. Fontana's gestural slashes on the flat picture plane revolutionised the distinction between destruction and creation, giving the 'spectator an impression of spatial calm, of cosmic rigor, of serenity in infinity' (the artist in: Enrico Crispolti, Lucio Fontana, Catalogo Ragionato di Sculture, Dipinti, Ambientazioni, Vol. I, Milan 2006, p. 105). The seemingly random and spontaneous, but actually highly precise cuts on the canvas portray the cosmos of an unknown dimension, setting his creations free from the universally accepted limitations of the flat surface. Concetto Spaziale, Attese from 1960, the striking red canvas in the present collection, is amongst the most recognisable and sought after works by Lucio Fontana, due to the rich, striking red hue, which augments the darkness coming through two perfectly balanced slashes. Works of the same seductive, bold monochrome red hue are amongst the most iconic by the artist and continue to achieve record prices at auction. Born in Argentina in 1899, then moving to Italy in 1905, Fontana lived through some of the most unstable years of the 20th century. That, alongside his initial training as a sculptor is clearly recognised in works from the Tagli series as he rejected the confinement of physical materials and the physical space of a canvas. The artist's clever balance of impulse and manipulation, seen through his vertical slashes, gives the viewer a sense of a dramatic, yet confident search for a self-created dimension, intended to be found within the canvas itself. The artist's Tagli series, superbly represented in this collection, is considered by many as his most diverse and gripping group of works. The intricate compositions and layers of symbolism found in these pieces are a true testament to the depth and sophistication with which the artist approaches the concept. Concetto spaziale, Attese from 1959 is one of the earliest works in the collection and an extremely rare example due to the unusually shaped canvas and high number of unmistakably elegant slashes – fourteen of them – incised in three separate layers. Implicitly associated with Fontana's theories on the form of the universe and purposely unsettling, the shaped canvas opens our eyes to the freedoms of abstraction and is independent to traditional associations of painting. Similarly, with an unusual feature, equally rare to the market, Concetto spaziale, Attese from 1960, the soft pink canvas, carries a rare feature, the artist's fingerprint, on the bottom righthand side. With three similarly sized incisions, this work opens an abstract dimension found within the canvas, whilst carrying a touch – literally – of reality. The beautiful pink sanguine hue radiates elegance and serenity. Clear influences of Europe in the aftermath of two devastating world wars, alongside the Space Race of the 1950s and 1960s can be seen in Fontana's ideology which has a firm focus on space and abstract dimensions. Fontana's Concetto spaziale from 1951, the only work on paper in the collection, wonderfully demonstrates the initial findings of the artist's Spazialismo ideology as he establishes the idea of depth simply with colour rather than by physically breaking through the surface. Similarly, the diagonal 'slashes' of colour attest a strong relationship to works of the Tagli series, underscored by the colours used. The void is cleverly represented through the dark spots on the paper, allowing the viewer to feel true, remarkable depth. The work gains its strikingness not only by being the only polychromatic work in the collection, but through its clear inspiration by Fontana's buchi series – the radical penetration of the canvas, which he began just two years prior to the execution of the present work. Ugo Mulas, Italian photographer and friend of Fontana recalls the artist's explanation of his process: 'sometimes I leave the canvas hinging there for weeks before being sure what I'm going to do with it and only when I feel sure, do I start' (Ugo Mulas in Germano Celant, Lucio Fontana, Ambienti Spaziali: Architecture Art Environments, Milan 2012, p. 318). Concetto Spaziale, Attese, clearly demonstrate the artist's curated thought process behind his compositions, giving us a possible insight to the title 'Attese', meaning 'the wait'. The grey Concetto Spaziale, Attese from 1966 manages to evoke the same intensity through the minimalist feel of the cool tone alongside five slashes on the canvas.For further information on this lot please visit Bonhams.com

LUCIO FONTANA (1899-1968) Concetto spaziale, Cratere 1968 signed and numbered 13/75 on the ars porcellana rosenthal relief reihe label and with the Marlborough label affixed to the reverse painted porcelain 38 by 28 by 5 cm. 14 15/16 by 11 by 1 15/16 in. This work was executed in 1968. Footnotes: Provenance Galleria d'Arte Marlborough, Rome Acquired from the above by the previous owner Gift from the above to the present owner Literature Harry Ruhé, Camillo Rigo (Eds.), Lucio Fontana graphics, multiples and more..., Amsterdam 2006, p. 144, no. C-2, another example illustrated in colour The present collection of six inimitable masterworks beautifully demonstrates the artistic genius of Lucio Fontana and his unchallenged position as one of the most influential creative minds of the 20th century. Amongst the most important single owner collections of works by the artist to be offered at auction in decades, the present works have not been seen by the public in half a century. Unifying all six works are properties of the Spazialismo movement, pioneered by Fontana in 1947, where he searched to create a new dimension by representing an astrophysical void. The vicennial long range included in this collection - spanning works from as early as 1951 to 1968 - demonstrates a clear continuous process of his technique and increasing interest in the conceptual logic behind his practices. In his seminal 1946 Manifiesto blanco, Fontana wrote 'the discovery of new physical forces and the control of matter and space will gradually impose new conditions that have not been previously known to man in the entirety of the course of history. The application of these discoveries to all the modalities of life will produce a modification in the nature of man. Man will take on a new psychic structure' (the artist in: Guido Ballo, L. Fontana: Idea per un ritratto, New York 1971, p. 186). His writings are inextricably linked to the works seen in the present collection, aiming to create new contemporary art which remained in touch with the astrophysical scientific developments of the time. Fontana's gestural slashes on the flat picture plane revolutionised the distinction between destruction and creation, giving the 'spectator an impression of spatial calm, of cosmic rigor, of serenity in infinity' (the artist in: Enrico Crispolti, Lucio Fontana, Catalogo Ragionato di Sculture, Dipinti, Ambientazioni, Vol. I, Milan 2006, p. 105). The seemingly random and spontaneous, but actually highly precise cuts on the canvas portray the cosmos of an unknown dimension, setting his creations free from the universally accepted limitations of the flat surface. Concetto Spaziale, Attese from 1960, the striking red canvas in the present collection, is amongst the most recognisable and sought after works by Lucio Fontana, due to the rich, striking red hue, which augments the darkness coming through two perfectly balanced slashes. Works of the same seductive, bold monochrome red hue are amongst the most iconic by the artist and continue to achieve record prices at auction. Born in Argentina in 1899, then moving to Italy in 1905, Fontana lived through some of the most unstable years of the 20th century. That, alongside his initial training as a sculptor is clearly recognised in works from the Tagli series as he rejected the confinement of physical materials and the physical space of a canvas. The artist's clever balance of impulse and manipulation, seen through his vertical slashes, gives the viewer a sense of a dramatic, yet confident search for a self-created dimension, intended to be found within the canvas itself. The artist's Tagli series, superbly represented in this collection, is considered by many as his most diverse and gripping group of works. The intricate compositions and layers of symbolism found in these pieces are a true testament to the depth and sophistication with which the artist approaches the concept. Concetto spaziale, Attese from 1959 is one of the earliest works in the collection and an extremely rare example due to the unusually shaped canvas and high number of unmistakably elegant slashes – fourteen of them – incised in three separate layers. Implicitly associated with Fontana's theories on the form of the universe and purposely unsettling, the shaped canvas opens our eyes to the freedoms of abstraction and is independent to traditional associations of painting. Similarly, with an unusual feature, equally rare to the market, Concetto spaziale, Attese from 1960, the soft pink canvas, carries a rare feature, the artist's fingerprint, on the bottom righthand side. With three similarly sized incisions, this work opens an abstract dimension found within the canvas, whilst carrying a touch – literally – of reality. The beautiful pink sanguine hue radiates elegance and serenity. Clear influences of Europe in the aftermath of two devastating world wars, alongside the Space Race of the 1950s and 1960s can be seen in Fontana's ideology which has a firm focus on space and abstract dimensions. Fontana's Concetto spaziale from 1951, the only work on paper in the collection, wonderfully demonstrates the initial findings of the artist's Spazialismo ideology as he establishes the idea of depth simply with colour rather than by physically breaking through the surface. Similarly, the diagonal 'slashes' of colour attest a strong relationship to works of the Tagli series, underscored by the colours used. The void is cleverly represented through the dark spots on the paper, allowing the viewer to feel true, remarkable depth. The work gains its strikingness not only by being the only polychromatic work in the collection, but through its clear inspiration by Fontana's buchi series – the radical penetration of the canvas, which he began just two years prior to the execution of the present work. Ugo Mulas, Italian photographer and friend of Fontana recalls the artist's explanation of his process: 'sometimes I leave the canvas hinging there for weeks before being sure what I'm going to do with it and only when I feel sure, do I start' (Ugo Mulas in Germano Celant, Lucio Fontana, Ambienti Spaziali: Architecture Art Environments, Milan 2012, p. 318). Concetto Spaziale, Attese, clearly demonstrate the artist's curated thought process behind his compositions, giving us a possible insight to the title 'Attese', meaning 'the wait'. The grey Concetto Spaziale, Attese from 1966 manages to evoke the same intensity through the minimalist feel of the cool tone alongside five slashes on the canvas. The outer, almost vertical slashes create a sense of unity to the three diagonal central ones, demonstrating Fontana's undeniable skill and the artist's increased control in this later work of the series. Cratere from 1968 employs an entirely different artistic approach, to Fontana's ground-breaking conceptual idea of the modernist period.For further information on this lot please visit Bonhams.com

LUCIO FONTANA (1899-1968) Concetto spaziale, Attese 1960 stamped with the artist's thumbprint on the lower right waterpaint on canvas 100 by 80 cm. 39 3/8 by 31 1/2 in. This work was executed in 1960. Footnotes: Provenance Marlborough Galleria d'Arte, Rome (R.1735) Maglietta Collection, Rome Galleria d'Arte Sianesi, Milan (280/4; 7795) Acquired directly from the above by the previous owner Thence by descent to the present owner Literature Mario Fin, 'Lucio Fontana, un santo che dà rasoiate nelle tele' in Via!, p. 7, no. 8, a. XIV, 1960, illustrated Enrico Crispolti, Lucio Fontana Catalogue raisonné des peintures, sculptures et environnements spatiaux, vol. II, Brussels 1974, p. 95, no. 60 T 53, illustrated in black and white Enrico Crispolti, Lucio Fontana Catalogo Generale, vol. I, Milan 1986, p. 322, no. 60 T 53, illustrated in black and white Enrico Crispolti, Lucio Fontana, Catalogo ragionato di sculture, dipinti, ambientazioni, Tomo I, Milan 2006, p. 492, no. 60 T 53, illustrated in black and white The present collection of six inimitable masterworks beautifully demonstrates the artistic genius of Lucio Fontana and his unchallenged position as one of the most influential creative minds of the 20th century. Amongst the most important single owner collections of works by the artist to be offered at auction in decades, the present works have not been seen by the public in half a century. Unifying all six works are properties of the Spazialismo movement, pioneered by Fontana in 1947, where he searched to create a new dimension by representing an astrophysical void. The vicennial long range included in this collection - spanning works from as early as 1951 to 1968 - demonstrates a clear continuous process of his technique and increasing interest in the conceptual logic behind his practices. In his seminal 1946 Manifiesto blanco, Fontana wrote 'the discovery of new physical forces and the control of matter and space will gradually impose new conditions that have not been previously known to man in the entirety of the course of history. The application of these discoveries to all the modalities of life will produce a modification in the nature of man. Man will take on a new psychic structure' (the artist in: Guido Ballo, L. Fontana: Idea per un ritratto, New York 1971, p. 186). His writings are inextricably linked to the works seen in the present collection, aiming to create new contemporary art which remained in touch with the astrophysical scientific developments of the time. Fontana's gestural slashes on the flat picture plane revolutionised the distinction between destruction and creation, giving the 'spectator an impression of spatial calm, of cosmic rigor, of serenity in infinity' (the artist in: Enrico Crispolti, Lucio Fontana, Catalogo Ragionato di Sculture, Dipinti, Ambientazioni, Vol. I, Milan 2006, p. 105). The seemingly random and spontaneous, but actually highly precise cuts on the canvas portray the cosmos of an unknown dimension, setting his creations free from the universally accepted limitations of the flat surface. Concetto Spaziale, Attese from 1960, the striking red canvas in the present collection, is amongst the most recognisable and sought after works by Lucio Fontana, due to the rich, striking red hue, which augments the darkness coming through two perfectly balanced slashes. Works of the same seductive, bold monochrome red hue are amongst the most iconic by the artist and continue to achieve record prices at auction. Born in Argentina in 1899, then moving to Italy in 1905, Fontana lived through some of the most unstable years of the 20th century. That, alongside his initial training as a sculptor is clearly recognised in works from the Tagli series as he rejected the confinement of physical materials and the physical space of a canvas. The artist's clever balance of impulse and manipulation, seen through his vertical slashes, gives the viewer a sense of a dramatic, yet confident search for a self-created dimension, intended to be found within the canvas itself. The artist's Tagli series, superbly represented in this collection, is considered by many as his most diverse and gripping group of works. The intricate compositions and layers of symbolism found in these pieces are a true testament to the depth and sophistication with which the artist approaches the concept. Concetto spaziale, Attese from 1959 is one of the earliest works in the collection and an extremely rare example due to the unusually shaped canvas and high number of unmistakably elegant slashes – fourteen of them – incised in three separate layers. Implicitly associated with Fontana's theories on the form of the universe and purposely unsettling, the shaped canvas opens our eyes to the freedoms of abstraction and is independent to traditional associations of painting. Similarly, with an unusual feature, equally rare to the market, Concetto spaziale, Attese from 1960, the soft pink canvas, carries a rare feature, the artist's fingerprint, on the bottom righthand side. With three similarly sized incisions, this work opens an abstract dimension found within the canvas, whilst carrying a touch – literally – of reality. The beautiful pink sanguine hue radiates elegance and serenity. Clear influences of Europe in the aftermath of two devastating world wars, alongside the Space Race of the 1950s and 1960s can be seen in Fontana's ideology which has a firm focus on space and abstract dimensions. Fontana's Concetto spaziale from 1951, the only work on paper in the collection, wonderfully demonstrates the initial findings of the artist's Spazialismo ideology as he establishes the idea of depth simply with colour rather than by physically breaking through the surface. Similarly, the diagonal 'slashes' of colour attest a strong relationship to works of the Tagli series, underscored by the colours used. The void is cleverly represented through the dark spots on the paper, allowing the viewer to feel true, remarkable depth. The work gains its strikingness not only by being the only polychromatic work in the collection, but through its clear inspiration by Fontana's buchi series – the radical penetration of the canvas, which he began just two years prior to the execution of the present work. Ugo Mulas, Italian photographer and friend of Fontana recalls the artist's explanation of his process: 'sometimes I leave the canvas hinging there for weeks before being sure what I'm going to do with it and only when I feel sure, do I start' (Ugo Mulas in Germano Celant, Lucio Fontana, Ambienti Spaziali: Architecture Art Environments, Milan 2012, p. 318). Concetto Spaziale, Attese, clearly demonstrate the artist's curated thought process behind his compositions, giving us a possible insight to the title 'Attese', meaning 'the wait'. For further information on this lot please visit Bonhams.com

NO RESERVE Johnson (Samuel) The Works, 8 vol., contemporary ink signature to head of titles, very occasional light foxing, handsome contemporary diced calf, gilt, spines gilt with black roan labels (one or two slightly chipped), a little rubbed and marked, gouge to lower cover of vol.6, Dublin, J.Christie, 1816 § Churchill (Charles) Poems, 2 vol., first collected edition, half-titles, vol.2 with signature "J. Churchill" at end of 'The Journey', a few stains, B.W.Robinson's copy with his signed note of acquisition and bookplate to front endpapers, contemporary calf, rubbed, joints split, spine ends worn, [Rothschild 621], 1763-1765 § Life and Memoirs (The) of Mr.Ephraim Tristram Bates, commonly called Corporal Bates, a broken-hearted Soldier, first edition, advertisement leaf at end, woodcut ornaments, title browned, small stain to margin of G1, contemporary sheep, worn, spine defective at ends, upper cover detached, by Malachi ⁂*, for Edith Bates, 1756; and c.20 others, miscellaneous, v.s. (c.30)⁂ The third item is a scarce libertine novel and a model for Sterne's The Life and Opinions of Tristram Shandy, Gentleman of 1759.Basil William (B.W.) Robinson (1912-2005), art historian and expert on Islamic and Asian art, and Metalwork, Keeper for many years at the Victoria & Albert Museum.

[Evans (Marian)], "George Eliot". Silas Marner: The Weaver of Raveloe, first edition, lacking half-title, advertisements and publisher's catalogue, some light foxing, upper hinge cracked but holding, contemporary green half morocco, rubbed, upper joint starting, William Blackwood and Sons, 1861 § [Glasse (Hannah)] The Art of Cookery, Made Plain and Easy, sixth edition, title with a few small chips to head and repaired to verso, foxing and some light soiling, rear free endpaper repaired, modern calf-backed boards, spine gilt, for the Author, 1758 § Major (Thomas) Les Ruines de Paestum, facsimile reprint, engraved plates, the odd spot, original cloth, some light soiling, a few nicks and scratches to lower cover, 1969; and others, various subjects, v.s. (lge qty in 12 boxes)

Sale Catalogues.- Catalogue of the De Vere, Disney, Mildmay, Hacker and Fynes Papers ... by Messrs. Puttick & Simpson, interleaved with blanks, one or two neat marginal notes, ex-library with usual labels and ink-stamps, original wrappers bound-in, near contemporary half-morocco, paper labels to upper cover, a little rubbed, slight bumping to corners and extremities, 1873 § The Bowes Museum, Liverpool. Catalogue of the Magnificent and Unique Collection of Japanese Art Objects ... which will be sold by auction, by Messrs. Branch and Leete, cracked hinge, scattered faint spotting, original cloth-backed printed paper wrappers, a little rubbed, slight bumping to corners and extremities, Liverpool, 1901 § Illustrated Catalogue of China, Porcelain, and all Classes of Pottery, Century Pottery Co., Burselm, illustrations, marginal water-staining, one or two faint spots, original paper wrappers, detached, short tear with tape repair to upper cover, rubbed and worn, n.d.; and another, similar, 8vo & folio (4)

Shakespeare (William) The Complete Works, "Avon edition", one of 500 copies, frontispiece and plates, contemporary calf, upper cover tooled in gilt, rectangular floral border surrounding a central circle stamped in blue gilt, with matching blue floral corner-pieces, small Art Nouveau designs connecting inner circular boarder to outer rectangle, lower cover tooled in blind, spine lightly faded, lower cover lightly scuffed, otherwise excellent, 8vo, 1930.⁂ Binding information sheet reads "This volume has been specially prepared and bound for Charles Heber Beverley Bullock from his Mother and Father..., Christmas 1930", bound after half-title.

Gruner (Louis) Specimens of Ornamental Art, plate vol. only (of 2, lacking text vol.), 80 lithographed plates, some tinted, c.44 chromolithographed, some heightened with gold, title trimmed with a few repaired tears to edges, affecting imprint but without loss, a few other short marginal tears, damp-staining, sometimes marginal but affecting many plates, scattered foxing, hinges cracked but holding, contemporary half morocco, rebacked in later calf, rubbed with wear to extremities, 1850 § Tyndale (Walter) An Artist in Italy, one of 250 copies signed by the artist, 26 tipped-in colour plates by Tyndale, captioned tissue-guards, a few lightly creased, some scattered spotting, endpapers browned, original pictorial vellum, gilt, rubbed and soiled, lacking ties, t.e.g., others uncut, [1913] § Constructions Modernes & Economiques, 4 vol., half-titles, colour plates, foxing to peripheral ff., vol. 2 with a few plates loose, original half cloth over printed boards, rubbed and soiled, spine ends frayed, [c.1880]; and others, art and architecture, v.s. (c.59)

Nottingham.- Hutchinson (Lucy) Memoirs of the Life of Colonel Hutchinson, Governor of Nottingham Castle and Town, second edition, engraved frontispiece, 2 plates, 1 facsimile, 1 engraved plan, 1 folding genealogical table, scattered spotting, occasional water-staining, ex-library with usual labels and ink-stamps, twentieth-century cloth, library label to upper cover and spine foot, a little rubbed, bumping to corners and extremities, 1808 § Mellors (Robert) Letters from the United States to the Nottingham Pleasant Sunday Afternoon Class, one or two spots, ex-library with usual ink-stamps, modern cloth, Nottingham, 1890 § Wallis (G. H.) City of Nottingham Art Museum, Nottingham Castle. Illustrated Catalogue ... of the Permanent Collection, plates, chipping and browning to first and last few ff., tissue-repairs to edges, original printed wrappers bound-in, tears and loss to edges, tissue-repairs, ex-library with usual labels and stamps, twentieth-century cloth, Nottingham, 1913 § Marshall (George W.) The Register of Perlethorpe in the County of Nottingham, bookplate, original vellum-backed boards, rubbed, bumping to corners and extremities, Worksop, 1887 § Stapleton (Alfred) The Churches and Monasteries of Old and New Nottingham, frontispiece, plates, illustrations, scattered faint spotting, ex-library with remnants of labels, ink-stamps, contemporary cloth-backed boards, a little rubbed, Nottingham, 1903; and others on Nottingham, v.s. (c.75)

India.- Freire de Andrade (Jacinto) Vida de Dom Ioão de Castro, Quarto Viso-Rey da India, *4 licence f., 1 full-page woodcut illustration, woodcut head- and tail-pieces and decorative initials, final f. blank, a few ff. with an area of marginal loss, occasionally repaired (see in particular 2G6), some water-staining, spotting or foxing, browned, contemporary mottled calf, gilt spine in compartments and with burgundy leather label, some worming to spine ends, corners little worn, rubbed, [Innocêncio III, 239; Pinto de Mattos 23; Scholberg DC 15; Welsh 4787], small folio, Lisbon, Heirs of Miguel Delandes, 1703.⁂ Rare edition in commerce of this life of one of the most celebrated Viceroys of Portuguese India. He took a great interest in Indian culture and religion, and collaborated on a book on Indian art with the humanist André de Resende.

Japanning.- Stooter (João) Arte de brilhantes vernizes, & das tinturas, first edition, title with woodcut floral ornament, woodcut decorative initials and tail-pieces, occasional contemporary ink marginalia, lacking initial f. containing a sonnet in praise of the author (supplied in facsimile), water-stained, occasional spotting, lightly browned, later binding using old vellum over boards, stained, [Innocêncio IV, 45 & 437 & X, 363], 8vo, Antwerp, Widow of Henrik Verdussen, 1729.⁂ Rare work on lacquerwork or japanning. We can trace no copy at auction. The author states that he is a native of Antwerp and expert diamond cutter, who wants to improve the standard of cabinet-making in Portugal. The work includes making varnishes, the art of varnishing and gilding furniture and sculptures, and the preparation of gilt inks for manuscripts.

A GROUP OF THREE ARCHAISTIC CONG-FORM BEADSChina, 20th century. All of square section, carved as miniature congs, each register is finely incised with characters. The opaque stones of a celadon tone with paint application to mimic surface alteration.Condition: Very good condition with minor wear and minuscule nibbling here and there. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Weight: 35.3 g Dimensions: c. 2.6 cm each

A RARE TANG DYNASTY BRONZE MIRROR WITH WOLFESChina, presumably Tang Dynasty (618-907). Of circular form, the central knob surrounded by three canine creatures chasing each other, all within an outer border of joined arcs. Condition: Fine condition, commensurate with age, presenting well. With wear, a crack to one arc, minor nicks, and tiny losses. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Weight: 315 g Dimensions: Diameter 13 cm

A GROUP OF NINE TIBETAN AGATE DZI AND BUDDHA EYE BEADSTibet, 19th century or earlier. Comprising six cylindrical Dzi beads of different sizes, with two, three and nine eyes, the opaque agate stones of red and brown colors. Together with three Buddha eye beads of domed circular form, the stones with brown, white, and gray stripes. Dzi beads are considered to provide positive spiritual benefit. They are mostly worn as protective amulets, sometimes ground into a powder to be used in traditional Tibetan medicine. Artisans who made the dzi embellished the beads lines and shapes using ancient methods such as darkening with plant sugars and heat, bleaching and white line etching with natron and protecting certain areas with grease, clay, wax, or a similar substance. Condition: Good condition with traces of wear and natural imperfections. One Dzi bead with cracks and some losses. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Weight: 111.7 g Dimensions: Length 1.4 cm - 5.1 cm

A PAINTED POTTERY ROULEAU VASE, HAN DYNASTYChina, Han dynasty (206 BC-220 AD). Of rare cylindrical shape with short neck, the vessel made of terracotta with original painting in black, blue, and iron red, painted with floral decoration and geometric borders.Provenance: Galerie Zacke, Vienna, 5 November 1997. Dr. Mons Fischer, acquired from the above, sold at ATS 5,445 (approx. EUR 800 after inflation). Being a seasoned private collector of modern and contemporary art, Dr. Mons Fischer has acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria.Condition: Overall good condition, and commensurate with age as expected from Han dynasty excavations. Wear to the pigments, encrustations, flaking, repairs, and chips.Weight: 910 gDimensions: Height 18 cm, diameter 11 cm

AN INSCRIBED SHANG DYNASTY 'ORACLE BONE' TURTLE PLASTRON, JIAGUWENChina, Shang Dynasty (1600 BC - 1046 BC). The lower shell of a tortoise showing engraved inscriptions arranged in orderly rows. The characters belong to the earliest systematic Chinese written language (pictograph script) that still survives. These characters were created over three thousand years ago!Condition: Good age-related condition with expected wear and weathering. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Weight: 382 g Dimensions: Length 30 cm

A FINE LOT WITH SEVEN LOPBURI AGATE BEADSThailand, Lopburi period, c, 13th century. Comprising five tubular beads of different lengths, the half-translucent stones of dark-chocolate hues with milky-white inclusions, the larger fully translucent and of an interesting color palette of gray tones. Together with two wing or comb shaped semitranslucent pectorals, the stones are brilliantly polished and show attractive variegated tones of dark-chocolate and caramel with milky white and gray inclusions, drilling through the sides.Condition: Good condition with some notches and minor weathering commensurate with age. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Weight: 120 g Dimensions: Length 3.6 cm - 8.1 cm

A LOT WITH TWO AGATE ´ANIMALS´ TALISMANSBurma / Myanmar, Pyu city states (200-1000 CE). The larger depicting a tiger with the back arched and the front paws extended forward as it is preparing to pounce its prey, the smaller carved as a humped bull with long horns standing foursquare. Both carved from semitranslucent agate of reddish-orange colors with gray bands and few amber hued inclusions, bearing a central drilling showing ancient toolmarks and allowing for suspension as a pendant.Condition: The smaller in good condition with some wear, the larger with a reattached breakage to the front paws. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Weight: 22.6 g Dimensions: Length 2 cm - 5.8 cm

TWO SMALL PYU 'ELEPHANT' TALISMANSBurma / Myanmar, Pyu city states (200-1000 CE). The larger carved from rock crystal, the translucent stone of good clarity with some natural inclusions, the smaller carved from an opaque grayish stone. Both depicting an elephant with a short and lowered trunk and pierced through the mouth and tail allowing for suspension as a pendant. The holes show ancient toolmarks and are handmade and irregular.Condition: Good condition with minor traces of age and wear, the stone with natural flaws. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Weight: 78.1 g (total) Dimensions: Length 3 cm - 4.8 cm

16 DECORATED PYU AGATE BEADSBurma / Myanmar region, Pyu city states, c. 7th - 9th century. Comprising 13 translucent tubular and barrel shaped beads carved from agate and decorated in white slip with parallel lines, the stones of red and orange hues, as well as three beads of different shapes carved from dark agate and decorated in white slip with geometric designs. Condition: Good condition commensurate with age. Natural imperfections to the stone. Few beads with small chips. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Weight: 71.7 g (total) Dimensions: Length 1 cm - 5.2 cm

A LARGE LINGBI SCHOLAR'S ROCK, GONGSHI, QING DYNASTY OR EARLIER 清代或更早大型靈璧供石China, 1644-1912 or earlier. The organic form well-balanced, with furrows and hollows as well as two large central perforations. The stone of a deep gray color overall and with distinct calcified veining.Provenance: From the collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Overall good condition. The stone with minor dents, losses and cracks, as well as natural fissures and inclusions. Extensive wear, naturally grown patina overall. The wood base with expected minor age cracks, small chips, and light surface scratches.Dimensions: Height circa 75 cm (excl. stand), circa 84 cm (incl. stand)With an old fitted wood stand supported on four short feet and carved with a naturalistic surface on top imitating rockwork. (2) Auction result comparison:Type: RelatedAuction: Christie's New York, 15 September 2011, lot 1301Price: USD 35,000 or approx. EUR 44,500 converted and adjusted for inflation at the time of writingDescription: An unusual large black lingbi rock in the form of a standing phoenixExpert remark: Compare the related form and color of the stone. Note the size (97 cm).清代或更早大型靈璧供石中國，1644-1912年或更早。供石美感平衡，有溝槽和凹陷以及兩個大的穿孔。整體呈深灰色，具有明顯的鈣化脈絡。 來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：總體狀況良好，有輕微凹陷、缺損和裂紋，以及天然裂隙，大面積磨損，整體自然包漿。木質底座有輕微老化裂縫、小缺損和輕微的表面劃痕。 尺寸：高約75 厘米 (不含底座)，約 84 厘米 (含底座) 一個木底座，四短足，並模仿岩石的頂部，表面雕刻自然。(2) 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2011年9月15日，lot 1301 價格：USD 35,000（相當於今日EUR 44,500） 描述：靈碧石 專家評論：比較相近的外形和石色。請注意尺寸 (97 厘米)。