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Piero Dorazio (1927 Rom - Perugia 2005) Ohne Titel. 1976.Farblithografie auf BFK Rives Velin.Unterhalb der Darstellung mit Bleistift signiert, datiert und nummeriert: Piero Dorazio, 1976, 38/90.Blattmaß: 64,5 x 84 cm.Herausgeber: Erker Presse St. Gallen, mit Trockenstempel.Provenienz:Privatsammlung, Nordrhein-Westfalen.Angaben zum Künstler:1945 Architektur-Studium in RomEin einjähriger Aufenthalt in den USA ermöglicht ihm die Bekanntschaft mit den führenden Persönlichkeiten des Abstrakten Expressionismus, wie Marc Rothko, Robert Motherwell und Barnett Newman1959 nimmt Piero Dorazio an der Documenta II in Kassel teilAnschließend erhält er einen Lehrauftrag an der University of Pennsylvania, wo er 1963 das Institute of Contemporary Art gründet und 1968 zum Professor ernannt wirdIn den 1960er Jahren entstehen in seinem New Yorker Atelier die ersten, aus Farbbändern aufgebauten Kompositionen, die sein Werk fortan prägenPiero Dorazio gilt als einer der führenden italienischen Künstler der konkreten Farbmalerei

Jef Verheyen (1932 Provinz Antwerpen - Apt 1984)* Sixth series - Itegem (Mappenwerk). 1972.Fünf Farbserigraphien auf silbernem Papier.Am unteren Blattrand jeweils mit Bleistift signiert und nummeriert: Jeff Verheyen, 63/125.Blattmaß: 54 x 76 cm.Im originalen Umschlag aus Karton, dort typographisch bezeichnet.Herausgeber: Society for the Museum of contemporary Art, Gent.Druckerei: Beka-screen Ekeren, Belgien. * Regelbesteuerung: Aufgeld 25% auf den Zuschlagspreis zzgl. 19% MwSt. auf Zuschlagspreis + Aufgeld.

An Adonai Yanai Circle of Energy screen print 79/100 - frame size 57cm x 77cm - from Christies Contemporary Art

An Adonai Yanai Circle of Energy screen print 79/100 - frame size 57cm x 77cm - from Christies Contemporary Art

ISSAN: A WOOD NETSUKE OF TWO TOADS ON A WALNUTBy Ryusansai Issan, signed Issan 一山 with a kakihanJapan, Iwashiro Province, c. 1840, Edo period (1615-1868)Exquisitely carved as two toads clambering over each other atop a half-walnut shell, their bodies well detailed and eyes inlaid with dark horn, although the lower toad has one eye closed as his companion has one front leg placed over it. The rough texture of the walnut shell and smoothly polished skin of the toads creates a fine contrast which is further enhanced by the dark stain to the low points. One of the upper toad's hind legs forms a possible 'natural' cord attachment. The underside of the walnut shell with a central, horizontally pierced himotoshi and the signature ISSAN with a kakihan. LENGTH 3.8 cmCondition: Very good condition, attractively worn, few tiny nicks. Provenance: A noted private collection, USA.Ryusansai Issan was a contemporary of Hidari Issan and always worked in wood. Here, however, the similarities between the two end. Ruysansai made naturalistic animals in a life-like style, not always compact but certainly always functional. The features of his creatures are carefully detailed and the eyes are inlaid. See Davey, Neil K. (1974) Netsuke: A comprehensive study based on the M.T. Hindson Collection, p. 260.Literature comparison: Compare a related wood netsuke of a toad on a sandal by Ryusansai Issan, illustrated in Davey, Neil K. (1974) Netsuke: A comprehensive study based on the M.T. Hindson Collection, p. 261, no. 806. Compare a related wood netsuke of a mole cricket on a walnut by Ryusansai Issan, illustrated in Galerie Zacke (1984) Netsuke und Inro, no. 6.Museum comparison: Compare a related wood netsuke of a frog on a straw hat by Issan, in the Metropolitan Museum of Art, accession number 91.1.1000.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

NICK LAMB: A WOOD NETSUKE OF TWO PUPPIES AT PLAYBy Nick Lamb (b. 1948), signed with the artist's markUnited Kingdom, c. 1990Published: Michael Spindel Ltd. (1992) Contemporary Netsuke, p. 33. Finely carved as two playful puppies engaged in a lively scuffle, the animals well detailed with long tails and floppy ears, their eyes inlaid with translucent and dark horn, their fur coats neatly incised, the back of one puppy with two asymmetrical himotoshi, its haunch signed with the artist's mark on a gold lozenge-shaped reserve.LENGTH 5.2 cmCondition: Excellent condition with minor wear. Provenance: Michael Spindel Ltd., New York, 1992. A noted private collection, USA, acquired from the above. Nick Lamb (b. 1948) is one of only a few non-Japanese netsuke carvers. Over the past three decades, he has built a reputation as being among the finest living practitioners of the art form and is known for his meticulous, graceful carvings, typically of animals. His work was exhibited in several museums, such as the British Museum, and became part of many important private and public collections, including that of the Imperial Family of Japan, the Robin Lehman Collection, the Robert O. Kinsey Collection, and the Tokyo National Museum.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

ADAM BLAND: THE YEAR OF THE TIGERBy Adam Bland, signed with the artist's initialsUnited Kingdom, 2023Beautifully carved as a ferociously crouching tiger, the wood finely stained and the fur coat achieved with alternating incised and polished areas. The thick tail curls up over the animal's bulky body and the large chubby paws are inlaid with stag antler claws. Signed underneath the right hind paw with the artist's initials. Natural himotoshi.LENGTH 3.7 cmCondition: Excellent condition.Notes on the present piece by Adam Bland:“As a netsuke artist there is a temptation to sculpt a new zodiac animal to celebrate the start of each new year. Not only is this good for social media but there is also less stress in deciding your subject matter. Being as busy and poorly organised as I am, I managed to sculpt a tiger at the end of 2022, completing it as the year of the rabbit dawned. This retrospective approach to the tiger means the challenges of the year cannot help but influence the finished piece. My tiger takes up a defensive stance, crouched, bearing its fangs and claws, ready to fight the challenges which confront it. Carved from boxwood all the way from Japan, stained using walnut husks collected from my local village green in northern England and inlaid with antler and amber from the Ukraine.”The carving certainly draws inspiration from tiger netsuke by the Masanao family of Yamada (Masanao would be proud), though the expression is much more menacing, as the tiger looks back at the past year.Adam Bland is a contemporary netsuke artist from the north of England who has studied the craft of netsuke for several years. He has a qualifications in Fine Art and Design and first discovered netsuke accidentally following a career in architectural model making. He was drawn to the art of netsuke as they combine elements of design with fine art to create small, intricate sculptures rich with narrative and meaning. Adam Bland has recently exhibited at the International Netsuke Society Convention in Amsterdam in 2022 and his craft is constantly improving, making him one of the most exciting contemporary carvers to emerge in these past years.

A large collection of modern contemporary art works on canvas.

§ Mary Farmer (British 1940-2021) Float 1, 1982/3 signed (to label), tapestry wool / worsted weft on cotton warpDimensions:82cm high x 83cm wide (32 1/4in high x 32 1/2in wide)Provenance:ProvenancePurchased by Ann Sutton O.B.E. from Woven Colours Exhibition at Southampton City Art Gallery, 1983.Note: This lot is sold together with a postcard from Mary Farmer to Ann Sutton featuring the current work from the Southampton exhibition in 1983. Mary Farmer studied Fine Art at Beckenham School of Art (1958-1961) followed by a prestigious Digswell Arts Fellowship (1964). This was the visionary arts residency programme established by Henry Morris in 1957 and whose other early residents or ‘fellows’ included Michael Andrews, Peter Collingwood and Hans Coper. Mary established her first studio in Guildford developing her ideas in both gouache and tapestry with the latter attracting early interest. The V & A Museum’s Circulation Department made an important acquisition of a monochrome rug and works were included in the significant US touring show of British design organised with the Smithsonian (1969-1971). Mary began teaching at Farnham Art School and further major awards from South East Arts (1979) and the Crafts Council (1980) cemented her position as a leading figure in innovative contemporary tapestry. In 1981 she and her husband, potter Terry Moores, acquired a wonderful early nineteenth century wharf side building in Boston, Lincolnshire, which they converted into studios and living accommodation, and which remained her creative base throughout her life. In 1983 she joined the Textile Department at the Royal College of Art, London as a tapestry tutor going on to establish and develop a newly independent Tapestry Course within the Fine Art Painting School until its closure in 1997. Her mastery of colour and inventive use of the language of abstraction in weave led to a growing number of invitations to exhibit both nationally and internationally with works acquired by the Government Art Collection; Sainsbury Centre; Crafts Council and HRH The Duke of Edinburgh. Important public commissions and acquisitions included British Oxygen Company; Channel 4 Television and Lambeth Palace. Her active career came to an end in the late 1990s following injury and illness which made it impossible for her to work. A modest memorial exhibition of extant material from her archive and studio is being organised in collaboration with her family this autumn in London. Details of dates and venue to be confirmed. Please email Philip Smith to be sent details, philip.smith@lyonandturnbull.com. Ann Sutton’s acquisition of ‘Float One’ in 1983 coincided with another show organised by Ann herself for the John Hansard Gallery also in Southampton entitled ‘Attitudes to Tapestry’. Ann says about this work from her collection: ‘I knew Mary and was deeply interested in her work before I went to her exhibition Woven Colours at Southampton City Art Gallery in 1983, where I fell in love with, and purchased, her red/blue masterpiece ‘Float 1’. The thrusting red form angling into the blue ground beneath is breath-taking in its power and simplicity. The colour-depth of dyed wool, as opposed to paint, intensifies the image. Mary Farmer was a master of imagery and her chosen technique, tapestry weaving. The apparent simplicity of her images was probably responsible for her re-think of the traditional technique. She chose to weave on a traditional shaft loom, used usually for weaving cloth. This way she was able to insert different colours, linking them in the traditional tapestry way but ensuring perfect surfaces and clean juxtapositions.’ Mary went to considerable lengths to source fine wool (often from Sweden) and would dye wool herself if she could not find the exact tone or colour she needed for the work. She commented in interview: ‘Colour is to me the single most powerful and emotive visual sensation. I use wool for its incomparable intensity and saturation of colour; tapestry for its richness and for the personal control possible over its construction and substance.’ Her work is included in several significant catalogues and publications including: The Maker’s Eye (Crafts Council, 1981)Mary Farmer was one of 14 leading designers invited by the then (highly influential) Head of Exhibitions at the Crafts Council, Ralph Turner, to select objects that defined their personal experience and interests at the time. It proved a significant show which helped launch many careers and consolidate others.British Craft Textiles (Collins, 1985) organised and edited by Ann Sutton.This is a very comprehensive review of textiles in UK in the period. Tapestry by Barty Phillips (Phaidon, 1994) We would like to thank Amanda Game for her assistance in cataloguing the current work.

§ Breon O'Casey (British 1928-2011) Boat, 1999 signed and dated in pencil in margin (lower right), numbered 11/15 (lower left), linocut on paperDimensions:45cm x 44cm (17 3/4in x 17 3/8in)Provenance:ProvenancePrivate Collection, Scotland.Note: ‘Breon O’Casey is a man for all seasons. He thinks and feels with his hands and moves with apparent ease from two-dimensional to three-dimensional activities, from one medium to another, without losing the artistic integrity of his intent. Breon O’Casey’s sensitive observations of life, art and nature inform his rich personal, visual language and beautifully balanced prose. His respect for his immediate environment and for tradition have enabled him to move forward with a confident, quiet ease, creating a refreshingly honest approach to art. He is an artist who is prepared to wait for the right shape, for the right brushstroke or the perfectly chosen word to express his meaning’. (Peter Murray (1)) Breon O’Casey was a true polymath and was possibly unique in the combination of skills he possessed over so many mediums in a single career. He was a painter, printmaker, weaver, sculptor and jewellery maker and it is hard to think of any other contemporary artist and maker who was so broadly talented. Son of the playwright Sean O’Casey (1880-1964), Breon spent most of his career in Cornwall, where he was closely associated with many of the painters, potters and sculptors of the St Ives movement. He arrived in the coastal town in the 1959 and served artistic apprenticeships under sculptors Barbara Hepworth and Denis Mitchell, and was friends with leading artists such as Peter Lanyon, John Wells and Tony O’Malley. In 1999 O’Casey recalled: ‘One day, watching television, some time in the late fifties, I saw a film about Alfred Wallis…the film incidentally showed St Ives and the studios of the artists living there. I realised it was the place for me. I owned a small orange Ford van. I packed the van and went. St Ives! In those days it was still a working fishing port, with tourism and artists tolerated, but kindly tolerated. Coming from Torquay, where I had felt like a rhinoceros walking along the streets, the relief of mingling with other crazy artists was enormous…I felt secure and there was a sort of electricity in the air.’ (2) O’Casey’s abstract style was poetic and focussed on discovering the simplicity of objects and forms. For him there was ‘nothing new under the sun, but an infinity of arrangements’ and when asked about objects that captivated him it was ‘not the wood, not the tree, but the leaf; not the distant view, but the hedge; not the mountain, but the stone’. He would return to geometric motifs and natural forms again and again throughout his career and considered himself a ‘traditional innovator’, fascinated by ancient, primitive and non-western art, but imbuing it with his own poetic sensibilities and discoveries through all the creative channels he explored. Although often overshadowed by his St Ives contemporaries, O’Casey’s legacy, talents and unique skills are now being reassessed, and greater importance given to his accomplishments beyond narrow and interlocked art circles. We are delighted to bring this collection of his work together to showcase many of the aspects of O’Casey’s prodigious artistic output, and to celebrate his significance as a true renaissance figure of British 20th-century art and craft. 1 / Peter Murray quoted in Sarah Coulson and Sophie Bowness, Breon O’Casey: An Anthology of his Writings, Yorkshire Sculpture Park, Wakefield, 2005, p.32 / Breon O’Casey quoted in Brian Fallon and Breon O’Casey, Breon O’Casey¸ Scolar Press, Aldershot, 1999, p.48.

§ Breon O'Casey (British 1928-2011) Necklace unmarked, white metalDimensions:Length: 59cm (23 1/4in)Provenance:ProvenancePrivate Collection, Scotland.Note: ‘Breon O’Casey is a man for all seasons. He thinks and feels with his hands and moves with apparent ease from two-dimensional to three-dimensional activities, from one medium to another, without losing the artistic integrity of his intent. Breon O’Casey’s sensitive observations of life, art and nature inform his rich personal, visual language and beautifully balanced prose. His respect for his immediate environment and for tradition have enabled him to move forward with a confident, quiet ease, creating a refreshingly honest approach to art. He is an artist who is prepared to wait for the right shape, for the right brushstroke or the perfectly chosen word to express his meaning’. (Peter Murray (1)) Breon O’Casey was a true polymath and was possibly unique in the combination of skills he possessed over so many mediums in a single career. He was a painter, printmaker, weaver, sculptor and jewellery maker and it is hard to think of any other contemporary artist and maker who was so broadly talented. Son of the playwright Sean O’Casey (1880-1964), Breon spent most of his career in Cornwall, where he was closely associated with many of the painters, potters and sculptors of the St Ives movement. He arrived in the coastal town in the 1959 and served artistic apprenticeships under sculptors Barbara Hepworth and Denis Mitchell, and was friends with leading artists such as Peter Lanyon, John Wells and Tony O’Malley. In 1999 O’Casey recalled: ‘One day, watching television, some time in the late fifties, I saw a film about Alfred Wallis…the film incidentally showed St Ives and the studios of the artists living there. I realised it was the place for me. I owned a small orange Ford van. I packed the van and went. St Ives! In those days it was still a working fishing port, with tourism and artists tolerated, but kindly tolerated. Coming from Torquay, where I had felt like a rhinoceros walking along the streets, the relief of mingling with other crazy artists was enormous…I felt secure and there was a sort of electricity in the air.’ (2) O’Casey’s abstract style was poetic and focussed on discovering the simplicity of objects and forms. For him there was ‘nothing new under the sun, but an infinity of arrangements’ and when asked about objects that captivated him it was ‘not the wood, not the tree, but the leaf; not the distant view, but the hedge; not the mountain, but the stone’. He would return to geometric motifs and natural forms again and again throughout his career and considered himself a ‘traditional innovator’, fascinated by ancient, primitive and non-western art, but imbuing it with his own poetic sensibilities and discoveries through all the creative channels he explored. Although often overshadowed by his St Ives contemporaries, O’Casey’s legacy, talents and unique skills are now being reassessed, and greater importance given to his accomplishments beyond narrow and interlocked art circles. We are delighted to bring this collection of his work together to showcase many of the aspects of O’Casey’s prodigious artistic output, and to celebrate his significance as a true renaissance figure of British 20th-century art and craft. 1 / Peter Murray quoted in Sarah Coulson and Sophie Bowness, Breon O’Casey: An Anthology of his Writings, Yorkshire Sculpture Park, Wakefield, 2005, p.32 / Breon O’Casey quoted in Brian Fallon and Breon O’Casey, Breon O’Casey¸ Scolar Press, Aldershot, 1999, p.48.

§ Breon O'Casey (British 1928-2011) Two Pairs of Earrings the first modelled in silver of cirular lattice design, hallmarked for Birmingham 1981, makers mark; the second of circular outline with beaded detail, makers mark only, white metalDimensions:lattice 3.5cm diameter (1 3/8in diameter); beaded 3cm diameter (1 1/8in diameter) approximatelyProvenance:ProvenancePrivate Collection, Scotland.Note: ‘Breon O’Casey is a man for all seasons. He thinks and feels with his hands and moves with apparent ease from two-dimensional to three-dimensional activities, from one medium to another, without losing the artistic integrity of his intent. Breon O’Casey’s sensitive observations of life, art and nature inform his rich personal, visual language and beautifully balanced prose. His respect for his immediate environment and for tradition have enabled him to move forward with a confident, quiet ease, creating a refreshingly honest approach to art. He is an artist who is prepared to wait for the right shape, for the right brushstroke or the perfectly chosen word to express his meaning’. (Peter Murray (1)) Breon O’Casey was a true polymath and was possibly unique in the combination of skills he possessed over so many mediums in a single career. He was a painter, printmaker, weaver, sculptor and jewellery maker and it is hard to think of any other contemporary artist and maker who was so broadly talented. Son of the playwright Sean O’Casey (1880-1964), Breon spent most of his career in Cornwall, where he was closely associated with many of the painters, potters and sculptors of the St Ives movement. He arrived in the coastal town in the 1959 and served artistic apprenticeships under sculptors Barbara Hepworth and Denis Mitchell, and was friends with leading artists such as Peter Lanyon, John Wells and Tony O’Malley. In 1999 O’Casey recalled: ‘One day, watching television, some time in the late fifties, I saw a film about Alfred Wallis…the film incidentally showed St Ives and the studios of the artists living there. I realised it was the place for me. I owned a small orange Ford van. I packed the van and went. St Ives! In those days it was still a working fishing port, with tourism and artists tolerated, but kindly tolerated. Coming from Torquay, where I had felt like a rhinoceros walking along the streets, the relief of mingling with other crazy artists was enormous…I felt secure and there was a sort of electricity in the air.’ (2) O’Casey’s abstract style was poetic and focussed on discovering the simplicity of objects and forms. For him there was ‘nothing new under the sun, but an infinity of arrangements’ and when asked about objects that captivated him it was ‘not the wood, not the tree, but the leaf; not the distant view, but the hedge; not the mountain, but the stone’. He would return to geometric motifs and natural forms again and again throughout his career and considered himself a ‘traditional innovator’, fascinated by ancient, primitive and non-western art, but imbuing it with his own poetic sensibilities and discoveries through all the creative channels he explored. Although often overshadowed by his St Ives contemporaries, O’Casey’s legacy, talents and unique skills are now being reassessed, and greater importance given to his accomplishments beyond narrow and interlocked art circles. We are delighted to bring this collection of his work together to showcase many of the aspects of O’Casey’s prodigious artistic output, and to celebrate his significance as a true renaissance figure of British 20th-century art and craft. 1 / Peter Murray quoted in Sarah Coulson and Sophie Bowness, Breon O’Casey: An Anthology of his Writings, Yorkshire Sculpture Park, Wakefield, 2005, p.32 / Breon O’Casey quoted in Brian Fallon and Breon O’Casey, Breon O’Casey¸ Scolar Press, Aldershot, 1999, p.48.

Y § Breon O'Casey (British 1928-2011) Two Pairs of Earrings the first of pendent design with a coral bead, unmarked, yellow metal; the second of triangular outline, set with a green hardstone, unmarked, white metalDimensions:Lengths: 4cm and 0.9cm (1 1/2in and 2/5in)Provenance:ProvenancePrivate Collection, Scotland.Note: ‘Breon O’Casey is a man for all seasons. He thinks and feels with his hands and moves with apparent ease from two-dimensional to three-dimensional activities, from one medium to another, without losing the artistic integrity of his intent. Breon O’Casey’s sensitive observations of life, art and nature inform his rich personal, visual language and beautifully balanced prose. His respect for his immediate environment and for tradition have enabled him to move forward with a confident, quiet ease, creating a refreshingly honest approach to art. He is an artist who is prepared to wait for the right shape, for the right brushstroke or the perfectly chosen word to express his meaning’. (Peter Murray (1)) Breon O’Casey was a true polymath and was possibly unique in the combination of skills he possessed over so many mediums in a single career. He was a painter, printmaker, weaver, sculptor and jewellery maker and it is hard to think of any other contemporary artist and maker who was so broadly talented. Son of the playwright Sean O’Casey (1880-1964), Breon spent most of his career in Cornwall, where he was closely associated with many of the painters, potters and sculptors of the St Ives movement. He arrived in the coastal town in the 1959 and served artistic apprenticeships under sculptors Barbara Hepworth and Denis Mitchell, and was friends with leading artists such as Peter Lanyon, John Wells and Tony O’Malley. In 1999 O’Casey recalled: ‘One day, watching television, some time in the late fifties, I saw a film about Alfred Wallis…the film incidentally showed St Ives and the studios of the artists living there. I realised it was the place for me. I owned a small orange Ford van. I packed the van and went. St Ives! In those days it was still a working fishing port, with tourism and artists tolerated, but kindly tolerated. Coming from Torquay, where I had felt like a rhinoceros walking along the streets, the relief of mingling with other crazy artists was enormous…I felt secure and there was a sort of electricity in the air.’ (2) O’Casey’s abstract style was poetic and focussed on discovering the simplicity of objects and forms. For him there was ‘nothing new under the sun, but an infinity of arrangements’ and when asked about objects that captivated him it was ‘not the wood, not the tree, but the leaf; not the distant view, but the hedge; not the mountain, but the stone’. He would return to geometric motifs and natural forms again and again throughout his career and considered himself a ‘traditional innovator’, fascinated by ancient, primitive and non-western art, but imbuing it with his own poetic sensibilities and discoveries through all the creative channels he explored. Although often overshadowed by his St Ives contemporaries, O’Casey’s legacy, talents and unique skills are now being reassessed, and greater importance given to his accomplishments beyond narrow and interlocked art circles. We are delighted to bring this collection of his work together to showcase many of the aspects of O’Casey’s prodigious artistic output, and to celebrate his significance as a true renaissance figure of British 20th-century art and craft. 1 / Peter Murray quoted in Sarah Coulson and Sophie Bowness, Breon O’Casey: An Anthology of his Writings, Yorkshire Sculpture Park, Wakefield, 2005, p.32 / Breon O’Casey quoted in Brian Fallon and Breon O’Casey, Breon O’Casey¸ Scolar Press, Aldershot, 1999, p.48. Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside Great Britain. These regulations may be found at https://www.defra.gov.uk/ahvla-en/imports-exports/citesWe accept no liability for any Lots which may be subject to CITES but have not be identified as such.

§ Breon O'Casey (British 1928-2011) Brooch scratch initials BOC, white metal, square outline with triangular motifsDimensions:3.8cm wide (1 1/2in wide)Provenance:Provenance Scottish Gallery, Edinburgh, 1998.Note: ‘Breon O’Casey is a man for all seasons. He thinks and feels with his hands and moves with apparent ease from two-dimensional to three-dimensional activities, from one medium to another, without losing the artistic integrity of his intent. Breon O’Casey’s sensitive observations of life, art and nature inform his rich personal, visual language and beautifully balanced prose. His respect for his immediate environment and for tradition have enabled him to move forward with a confident, quiet ease, creating a refreshingly honest approach to art. He is an artist who is prepared to wait for the right shape, for the right brushstroke or the perfectly chosen word to express his meaning’. (Peter Murray (1)) Breon O’Casey was a true polymath and was possibly unique in the combination of skills he possessed over so many mediums in a single career. He was a painter, printmaker, weaver, sculptor and jewellery maker and it is hard to think of any other contemporary artist and maker who was so broadly talented. Son of the playwright Sean O’Casey (1880-1964), Breon spent most of his career in Cornwall, where he was closely associated with many of the painters, potters and sculptors of the St Ives movement. He arrived in the coastal town in the 1959 and served artistic apprenticeships under sculptors Barbara Hepworth and Denis Mitchell, and was friends with leading artists such as Peter Lanyon, John Wells and Tony O’Malley. In 1999 O’Casey recalled: ‘One day, watching television, some time in the late fifties, I saw a film about Alfred Wallis…the film incidentally showed St Ives and the studios of the artists living there. I realised it was the place for me. I owned a small orange Ford van. I packed the van and went. St Ives! In those days it was still a working fishing port, with tourism and artists tolerated, but kindly tolerated. Coming from Torquay, where I had felt like a rhinoceros walking along the streets, the relief of mingling with other crazy artists was enormous…I felt secure and there was a sort of electricity in the air.’ (2) O’Casey’s abstract style was poetic and focussed on discovering the simplicity of objects and forms. For him there was ‘nothing new under the sun, but an infinity of arrangements’ and when asked about objects that captivated him it was ‘not the wood, not the tree, but the leaf; not the distant view, but the hedge; not the mountain, but the stone’. He would return to geometric motifs and natural forms again and again throughout his career and considered himself a ‘traditional innovator’, fascinated by ancient, primitive and non-western art, but imbuing it with his own poetic sensibilities and discoveries through all the creative channels he explored. Although often overshadowed by his St Ives contemporaries, O’Casey’s legacy, talents and unique skills are now being reassessed, and greater importance given to his accomplishments beyond narrow and interlocked art circles. We are delighted to bring this collection of his work together to showcase many of the aspects of O’Casey’s prodigious artistic output, and to celebrate his significance as a true renaissance figure of British 20th-century art and craft. 1 / Peter Murray quoted in Sarah Coulson and Sophie Bowness, Breon O’Casey: An Anthology of his Writings, Yorkshire Sculpture Park, Wakefield, 2005, p.32 / Breon O’Casey quoted in Brian Fallon and Breon O’Casey, Breon O’Casey¸ Scolar Press, Aldershot, 1999, p.48.

§ Breon O'Casey (British 1928-2011) Bather signed BOC and numbered I/V (to marble base), bronzeDimensions:26.5cm high (10 1/2in high) excluding baseProvenance:ProvenancePrivate Collection, London.Note: ‘Breon O’Casey is a man for all seasons. He thinks and feels with his hands and moves with apparent ease from two-dimensional to three-dimensional activities, from one medium to another, without losing the artistic integrity of his intent. Breon O’Casey’s sensitive observations of life, art and nature inform his rich personal, visual language and beautifully balanced prose. His respect for his immediate environment and for tradition have enabled him to move forward with a confident, quiet ease, creating a refreshingly honest approach to art. He is an artist who is prepared to wait for the right shape, for the right brushstroke or the perfectly chosen word to express his meaning’. (Peter Murray (1)) Breon O’Casey was a true polymath and was possibly unique in the combination of skills he possessed over so many mediums in a single career. He was a painter, printmaker, weaver, sculptor and jewellery maker and it is hard to think of any other contemporary artist and maker who was so broadly talented. Son of the playwright Sean O’Casey (1880-1964), Breon spent most of his career in Cornwall, where he was closely associated with many of the painters, potters and sculptors of the St Ives movement. He arrived in the coastal town in the 1959 and served artistic apprenticeships under sculptors Barbara Hepworth and Denis Mitchell, and was friends with leading artists such as Peter Lanyon, John Wells and Tony O’Malley. In 1999 O’Casey recalled: ‘One day, watching television, some time in the late fifties, I saw a film about Alfred Wallis…the film incidentally showed St Ives and the studios of the artists living there. I realised it was the place for me. I owned a small orange Ford van. I packed the van and went. St Ives! In those days it was still a working fishing port, with tourism and artists tolerated, but kindly tolerated. Coming from Torquay, where I had felt like a rhinoceros walking along the streets, the relief of mingling with other crazy artists was enormous…I felt secure and there was a sort of electricity in the air.’ (2) O’Casey’s abstract style was poetic and focussed on discovering the simplicity of objects and forms. For him there was ‘nothing new under the sun, but an infinity of arrangements’ and when asked about objects that captivated him it was ‘not the wood, not the tree, but the leaf; not the distant view, but the hedge; not the mountain, but the stone’. He would return to geometric motifs and natural forms again and again throughout his career and considered himself a ‘traditional innovator’, fascinated by ancient, primitive and non-western art, but imbuing it with his own poetic sensibilities and discoveries through all the creative channels he explored. Although often overshadowed by his St Ives contemporaries, O’Casey’s legacy, talents and unique skills are now being reassessed, and greater importance given to his accomplishments beyond narrow and interlocked art circles. We are delighted to bring this collection of his work together to showcase many of the aspects of O’Casey’s prodigious artistic output, and to celebrate his significance as a true renaissance figure of British 20th-century art and craft. 1 / Peter Murray quoted in Sarah Coulson and Sophie Bowness, Breon O’Casey: An Anthology of his Writings, Yorkshire Sculpture Park, Wakefield, 2005, p.32 / Breon O’Casey quoted in Brian Fallon and Breon O’Casey, Breon O’Casey¸ Scolar Press, Aldershot, 1999, p.48.

§ Breon O'Casey (British 1928-2011) Cockerel stamped BOC (to base), bronzeDimensions:9.3cm high, 7in wide (3 5/8in high, 2 3/4in wide)Provenance:ProvenancePrivate Collection, London.Note: ‘Breon O’Casey is a man for all seasons. He thinks and feels with his hands and moves with apparent ease from two-dimensional to three-dimensional activities, from one medium to another, without losing the artistic integrity of his intent. Breon O’Casey’s sensitive observations of life, art and nature inform his rich personal, visual language and beautifully balanced prose. His respect for his immediate environment and for tradition have enabled him to move forward with a confident, quiet ease, creating a refreshingly honest approach to art. He is an artist who is prepared to wait for the right shape, for the right brushstroke or the perfectly chosen word to express his meaning’. (Peter Murray (1)) Breon O’Casey was a true polymath and was possibly unique in the combination of skills he possessed over so many mediums in a single career. He was a painter, printmaker, weaver, sculptor and jewellery maker and it is hard to think of any other contemporary artist and maker who was so broadly talented. Son of the playwright Sean O’Casey (1880-1964), Breon spent most of his career in Cornwall, where he was closely associated with many of the painters, potters and sculptors of the St Ives movement. He arrived in the coastal town in the 1959 and served artistic apprenticeships under sculptors Barbara Hepworth and Denis Mitchell, and was friends with leading artists such as Peter Lanyon, John Wells and Tony O’Malley. In 1999 O’Casey recalled: ‘One day, watching television, some time in the late fifties, I saw a film about Alfred Wallis…the film incidentally showed St Ives and the studios of the artists living there. I realised it was the place for me. I owned a small orange Ford van. I packed the van and went. St Ives! In those days it was still a working fishing port, with tourism and artists tolerated, but kindly tolerated. Coming from Torquay, where I had felt like a rhinoceros walking along the streets, the relief of mingling with other crazy artists was enormous…I felt secure and there was a sort of electricity in the air.’ (2) O’Casey’s abstract style was poetic and focussed on discovering the simplicity of objects and forms. For him there was ‘nothing new under the sun, but an infinity of arrangements’ and when asked about objects that captivated him it was ‘not the wood, not the tree, but the leaf; not the distant view, but the hedge; not the mountain, but the stone’. He would return to geometric motifs and natural forms again and again throughout his career and considered himself a ‘traditional innovator’, fascinated by ancient, primitive and non-western art, but imbuing it with his own poetic sensibilities and discoveries through all the creative channels he explored. Although often overshadowed by his St Ives contemporaries, O’Casey’s legacy, talents and unique skills are now being reassessed, and greater importance given to his accomplishments beyond narrow and interlocked art circles. We are delighted to bring this collection of his work together to showcase many of the aspects of O’Casey’s prodigious artistic output, and to celebrate his significance as a true renaissance figure of British 20th-century art and craft. 1 / Peter Murray quoted in Sarah Coulson and Sophie Bowness, Breon O’Casey: An Anthology of his Writings, Yorkshire Sculpture Park, Wakefield, 2005, p.32 / Breon O’Casey quoted in Brian Fallon and Breon O’Casey, Breon O’Casey¸ Scolar Press, Aldershot, 1999, p.48.

§ Breon O'Casey (British 1928-2011) Bird in the Wood, 2008 signed, titled and dated (to reverse), acrylic on canvasDimensions:91cm x 121cm (35 3/4in x 47 5/8in)Provenance:ProvenanceClark Art Ltd, Hale;Private Collection, UK.Note: LiteratureFallon, Brian, Breon O'Casey: A Decade, Aldershot: Scolar Press, 1999, p. 63, illustrated. ‘Breon O’Casey is a man for all seasons. He thinks and feels with his hands and moves with apparent ease from two-dimensional to three-dimensional activities, from one medium to another, without losing the artistic integrity of his intent. Breon O’Casey’s sensitive observations of life, art and nature inform his rich personal, visual language and beautifully balanced prose. His respect for his immediate environment and for tradition have enabled him to move forward with a confident, quiet ease, creating a refreshingly honest approach to art. He is an artist who is prepared to wait for the right shape, for the right brushstroke or the perfectly chosen word to express his meaning’. (Peter Murray (1)) Breon O’Casey was a true polymath and was possibly unique in the combination of skills he possessed over so many mediums in a single career. He was a painter, printmaker, weaver, sculptor and jewellery maker and it is hard to think of any other contemporary artist and maker who was so broadly talented. Son of the playwright Sean O’Casey (1880-1964), Breon spent most of his career in Cornwall, where he was closely associated with many of the painters, potters and sculptors of the St Ives movement. He arrived in the coastal town in the 1959 and served artistic apprenticeships under sculptors Barbara Hepworth and Denis Mitchell, and was friends with leading artists such as Peter Lanyon, John Wells and Tony O’Malley. In 1999 O’Casey recalled: ‘One day, watching television, some time in the late fifties, I saw a film about Alfred Wallis…the film incidentally showed St Ives and the studios of the artists living there. I realised it was the place for me. I owned a small orange Ford van. I packed the van and went. St Ives! In those days it was still a working fishing port, with tourism and artists tolerated, but kindly tolerated. Coming from Torquay, where I had felt like a rhinoceros walking along the streets, the relief of mingling with other crazy artists was enormous…I felt secure and there was a sort of electricity in the air.’ (2) O’Casey’s abstract style was poetic and focussed on discovering the simplicity of objects and forms. For him there was ‘nothing new under the sun, but an infinity of arrangements’ and when asked about objects that captivated him it was ‘not the wood, not the tree, but the leaf; not the distant view, but the hedge; not the mountain, but the stone’. He would return to geometric motifs and natural forms again and again throughout his career and considered himself a ‘traditional innovator’, fascinated by ancient, primitive and non-western art, but imbuing it with his own poetic sensibilities and discoveries through all the creative channels he explored. Although often overshadowed by his St Ives contemporaries, O’Casey’s legacy, talents and unique skills are now being reassessed, and greater importance given to his accomplishments beyond narrow and interlocked art circles. We are delighted to bring this collection of his work together to showcase many of the aspects of O’Casey’s prodigious artistic output, and to celebrate his significance as a true renaissance figure of British 20th-century art and craft. 1 / Peter Murray quoted in Sarah Coulson and Sophie Bowness, Breon O’Casey: An Anthology of his Writings, Yorkshire Sculpture Park, Wakefield, 2005, p.32 / Breon O’Casey quoted in Brian Fallon and Breon O’Casey, Breon O’Casey¸ Scolar Press, Aldershot, 1999, p.48.

§ Breon O'Casey (British 1928-2011) Two Tie Designs Mixed media and collageDimensions:28.5cm x 19cm (11 1/4in x 7 1/2in)Provenance:ProvenanceThe Estate of an important St. Ives artist.Note: ‘Breon O’Casey is a man for all seasons. He thinks and feels with his hands and moves with apparent ease from two-dimensional to three-dimensional activities, from one medium to another, without losing the artistic integrity of his intent. Breon O’Casey’s sensitive observations of life, art and nature inform his rich personal, visual language and beautifully balanced prose. His respect for his immediate environment and for tradition have enabled him to move forward with a confident, quiet ease, creating a refreshingly honest approach to art. He is an artist who is prepared to wait for the right shape, for the right brushstroke or the perfectly chosen word to express his meaning’. (Peter Murray (1)) Breon O’Casey was a true polymath and was possibly unique in the combination of skills he possessed over so many mediums in a single career. He was a painter, printmaker, weaver, sculptor and jewellery maker and it is hard to think of any other contemporary artist and maker who was so broadly talented. Son of the playwright Sean O’Casey (1880-1964), Breon spent most of his career in Cornwall, where he was closely associated with many of the painters, potters and sculptors of the St Ives movement. He arrived in the coastal town in the 1959 and served artistic apprenticeships under sculptors Barbara Hepworth and Denis Mitchell, and was friends with leading artists such as Peter Lanyon, John Wells and Tony O’Malley. In 1999 O’Casey recalled: ‘One day, watching television, some time in the late fifties, I saw a film about Alfred Wallis…the film incidentally showed St Ives and the studios of the artists living there. I realised it was the place for me. I owned a small orange Ford van. I packed the van and went. St Ives! In those days it was still a working fishing port, with tourism and artists tolerated, but kindly tolerated. Coming from Torquay, where I had felt like a rhinoceros walking along the streets, the relief of mingling with other crazy artists was enormous…I felt secure and there was a sort of electricity in the air.’ (2) O’Casey’s abstract style was poetic and focussed on discovering the simplicity of objects and forms. For him there was ‘nothing new under the sun, but an infinity of arrangements’ and when asked about objects that captivated him it was ‘not the wood, not the tree, but the leaf; not the distant view, but the hedge; not the mountain, but the stone’. He would return to geometric motifs and natural forms again and again throughout his career and considered himself a ‘traditional innovator’, fascinated by ancient, primitive and non-western art, but imbuing it with his own poetic sensibilities and discoveries through all the creative channels he explored. Although often overshadowed by his St Ives contemporaries, O’Casey’s legacy, talents and unique skills are now being reassessed, and greater importance given to his accomplishments beyond narrow and interlocked art circles. We are delighted to bring this collection of his work together to showcase many of the aspects of O’Casey’s prodigious artistic output, and to celebrate his significance as a true renaissance figure of British 20th-century art and craft. 1 / Peter Murray quoted in Sarah Coulson and Sophie Bowness, Breon O’Casey: An Anthology of his Writings, Yorkshire Sculpture Park, Wakefield, 2005, p.32 / Breon O’Casey quoted in Brian Fallon and Breon O’Casey, Breon O’Casey¸ Scolar Press, Aldershot, 1999, p.48.

§ Breon O'Casey (British 1928-2011) Christmas Card (Bird Design) Inscribed (inside card), linocutDimensions:23cm x 15.5cm (9in x 6in)Provenance:ProvenanceThe Estate of an important St. Ives artist.Note: ‘Breon O’Casey is a man for all seasons. He thinks and feels with his hands and moves with apparent ease from two-dimensional to three-dimensional activities, from one medium to another, without losing the artistic integrity of his intent. Breon O’Casey’s sensitive observations of life, art and nature inform his rich personal, visual language and beautifully balanced prose. His respect for his immediate environment and for tradition have enabled him to move forward with a confident, quiet ease, creating a refreshingly honest approach to art. He is an artist who is prepared to wait for the right shape, for the right brushstroke or the perfectly chosen word to express his meaning’. (Peter Murray (1)) Breon O’Casey was a true polymath and was possibly unique in the combination of skills he possessed over so many mediums in a single career. He was a painter, printmaker, weaver, sculptor and jewellery maker and it is hard to think of any other contemporary artist and maker who was so broadly talented. Son of the playwright Sean O’Casey (1880-1964), Breon spent most of his career in Cornwall, where he was closely associated with many of the painters, potters and sculptors of the St Ives movement. He arrived in the coastal town in the 1959 and served artistic apprenticeships under sculptors Barbara Hepworth and Denis Mitchell, and was friends with leading artists such as Peter Lanyon, John Wells and Tony O’Malley. In 1999 O’Casey recalled: ‘One day, watching television, some time in the late fifties, I saw a film about Alfred Wallis…the film incidentally showed St Ives and the studios of the artists living there. I realised it was the place for me. I owned a small orange Ford van. I packed the van and went. St Ives! In those days it was still a working fishing port, with tourism and artists tolerated, but kindly tolerated. Coming from Torquay, where I had felt like a rhinoceros walking along the streets, the relief of mingling with other crazy artists was enormous…I felt secure and there was a sort of electricity in the air.’ (2) O’Casey’s abstract style was poetic and focussed on discovering the simplicity of objects and forms. For him there was ‘nothing new under the sun, but an infinity of arrangements’ and when asked about objects that captivated him it was ‘not the wood, not the tree, but the leaf; not the distant view, but the hedge; not the mountain, but the stone’. He would return to geometric motifs and natural forms again and again throughout his career and considered himself a ‘traditional innovator’, fascinated by ancient, primitive and non-western art, but imbuing it with his own poetic sensibilities and discoveries through all the creative channels he explored. Although often overshadowed by his St Ives contemporaries, O’Casey’s legacy, talents and unique skills are now being reassessed, and greater importance given to his accomplishments beyond narrow and interlocked art circles. We are delighted to bring this collection of his work together to showcase many of the aspects of O’Casey’s prodigious artistic output, and to celebrate his significance as a true renaissance figure of British 20th-century art and craft. 1 / Peter Murray quoted in Sarah Coulson and Sophie Bowness, Breon O’Casey: An Anthology of his Writings, Yorkshire Sculpture Park, Wakefield, 2005, p.32 / Breon O’Casey quoted in Brian Fallon and Breon O’Casey, Breon O’Casey¸ Scolar Press, Aldershot, 1999, p.48.

§ Breon O'Casey (British 1928-2011) Three Christmas Cards each inscribed from the artist (inside the card), mixed media, mixed media with collage and linocutDimensions:11.5cm x 17.5cm (4 1/2in x 7in); 10cm x 17cm (4in x 6 3/4in); 19.5cm x 20cm (7 3/4in x 8in);Provenance:ProvenanceThe Estate of an important St. Ives artist.Note: ‘Breon O’Casey is a man for all seasons. He thinks and feels with his hands and moves with apparent ease from two-dimensional to three-dimensional activities, from one medium to another, without losing the artistic integrity of his intent. Breon O’Casey’s sensitive observations of life, art and nature inform his rich personal, visual language and beautifully balanced prose. His respect for his immediate environment and for tradition have enabled him to move forward with a confident, quiet ease, creating a refreshingly honest approach to art. He is an artist who is prepared to wait for the right shape, for the right brushstroke or the perfectly chosen word to express his meaning’. (Peter Murray (1)) Breon O’Casey was a true polymath and was possibly unique in the combination of skills he possessed over so many mediums in a single career. He was a painter, printmaker, weaver, sculptor and jewellery maker and it is hard to think of any other contemporary artist and maker who was so broadly talented. Son of the playwright Sean O’Casey (1880-1964), Breon spent most of his career in Cornwall, where he was closely associated with many of the painters, potters and sculptors of the St Ives movement. He arrived in the coastal town in the 1959 and served artistic apprenticeships under sculptors Barbara Hepworth and Denis Mitchell, and was friends with leading artists such as Peter Lanyon, John Wells and Tony O’Malley. In 1999 O’Casey recalled: ‘One day, watching television, some time in the late fifties, I saw a film about Alfred Wallis…the film incidentally showed St Ives and the studios of the artists living there. I realised it was the place for me. I owned a small orange Ford van. I packed the van and went. St Ives! In those days it was still a working fishing port, with tourism and artists tolerated, but kindly tolerated. Coming from Torquay, where I had felt like a rhinoceros walking along the streets, the relief of mingling with other crazy artists was enormous…I felt secure and there was a sort of electricity in the air.’ (2) O’Casey’s abstract style was poetic and focussed on discovering the simplicity of objects and forms. For him there was ‘nothing new under the sun, but an infinity of arrangements’ and when asked about objects that captivated him it was ‘not the wood, not the tree, but the leaf; not the distant view, but the hedge; not the mountain, but the stone’. He would return to geometric motifs and natural forms again and again throughout his career and considered himself a ‘traditional innovator’, fascinated by ancient, primitive and non-western art, but imbuing it with his own poetic sensibilities and discoveries through all the creative channels he explored. Although often overshadowed by his St Ives contemporaries, O’Casey’s legacy, talents and unique skills are now being reassessed, and greater importance given to his accomplishments beyond narrow and interlocked art circles. We are delighted to bring this collection of his work together to showcase many of the aspects of O’Casey’s prodigious artistic output, and to celebrate his significance as a true renaissance figure of British 20th-century art and craft. 1 / Peter Murray quoted in Sarah Coulson and Sophie Bowness, Breon O’Casey: An Anthology of his Writings, Yorkshire Sculpture Park, Wakefield, 2005, p.32 / Breon O’Casey quoted in Brian Fallon and Breon O’Casey, Breon O’Casey¸ Scolar Press, Aldershot, 1999, p.48.

Porthia Prints Design Proofs By Robert Adams, Trevor Bell, Peter Lanyon and Denis Mitchell, screenprinted on paper and linen Dimensions:Various sizes, the largest 39.5cm x 49.5cm (15 1/2in x 19 1/2in)Provenance:ProvenanceThe Estate of an important St. Ives artist.Note: In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints. They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976, Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Porthia Prints Four Table Linens By Barbara Hepworth, Trevor Bell, John Forrester and Denis Mitchell, screenprinted linen Dimensions:various sizes, the largest 30.5cm x 43cm (12in x 17in)Provenance:ProvenanceThe Estate of an important St. Ives artist.Note: In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints. They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976, Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Three contemporary art glass vases with poppy design

Ian Phenna (British b. 1967)Mirrored2011Oil and spray paint on canvasSigned, titled and dated to the verso91 x 123 cm (36" x 48")Ian Phenna is a portrait artist from Liverpool, England. After travelling and painting around the world, he has exhibited on streets and in galleries across the UK, Europe and Sydney and has work in private collections worldwide. Phenna's ability to migrate between different mediums is his real talent. With a love of street art gained from his early days, Ian has always had incredible skills with a brush or a spray can in his hand and originally started by daubing paint on walls. Known mostly for his portrait and figurative work, he brings significant elements of street style to his contemporary based approach. Ian has for years produced thoughtful and provocative work via a variety of mediums, he now creates paintings, drawings and mixed media artworks if not painting on the street.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Rich Simmons (British b. 1986)Hula Hoops To Hand Guns 2013Mixed media and spray paint on boardAccompanied with certificate of authenticity200 x 122 cm (78.5" x 48")Rich Simmons is a Contemporary Urban Pop Artist who has exhibited all over the world. Simmons work explores the intersections of visual culture, spanning pop art, comic books, the Renaissance, contemporary fashion, sexuality and beyond. London-based Rich Simmons has a global reach and celebrity following, having exhibited in some of the world’s most prestigious galleries in London, New York, LA, Tampa, Miami, Montreal, Toronto, Seoul and Geneva. Simmons work has now made it into Museum collections with the Men Of Steel, Women Of Wonder exhibition debuting at the Crystal Bridges Museum of American Art in 2019. In 2018, a painting created for Gracious Hearts Charity for children with cerebral palsy sold for £52,000 at a Christie’s charity auction. 2022 saw the launch of Simmons NFT debut, with Reflections selling out the 3,333 mint in under an hour and going on to generate $1.8 million in sales on Opensea in the first month. The collection debuted in the top 10 Art NFTs on Opensea and earned finalist spots in the NFT NYC Awards as Best NFT Artist and Best Emerging NFT Artist.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Jim Starr (British b. 1976)Retropop Triptych2011Mixed media and screen print on woodSigned in black marker to the versoAccompanied with certificate of authenticity74 x 174 cm (29" x 68.5")Jim Starr has been screen-printing for 15 years and has exhibited in upwards of 70 group shows and 7 solo shows. His work has gone under the hammer alongside some of the world’s most celebrated contemporary artists at auctioneers Dreweatts’s Urban Art Sales (at Paintworks, Bristol, and Selfridges, London), and has been exhibited solo at London’s Dalston Superstore. He has also shown at The Pall Mall Deposit, London, The Coningsby Gallery, London and at Bristol’s 2 Degrees Gallery, the Wilder Street Gallery and King of Paint. Jim’s use of pop culture and pin-up imagery is guaranteed to inspire anyone who loves the louche and the lowbrow. His work fuels the spirit and strikes a chord in the soul, continuing to resonate long after the first glance. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

James Cauty (British b. 1956)Suicide Bunny 2Giclee printUnsigned, numbered 29 of 321 with stampFramed and glazed41 x 30 cm (16.5" x 12")Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recoded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Hugh Mendes (British b. 1955)Obituaries Pope John Paul II2006Oil on canvasSigned, titled and dated to the versoComes with the original exhibition catalogue 35 x 45 cm (13.5" x 17.5")Hugh Mendes is a contemporary British painter. He was born in the British Military Hospital in Hostert, Germany. Mendes was graduated from Chelsea School of Art with a BA in painting in 1978, and from City and Guilds of London Art School with an MA in painting in 2001. Mendes paints obituaries taken from newspapers and he has had a solo exhibition at Fishmarket Gallery, Northampton. He was exhibited in "The Future Can Wait" in 2008. Mendes is represented by Gusford and had his first solo exhibition with them in March 2013. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Alex Echo (American, born 1958) 'Horizon Colour Study 4' Undated Mixed media & resin Signed to verso  Framed 24 x 24cm (9.5" x 9.5")The art of Alex Echo is characterized by pattern painting - vivid colours, repeated elements and secret codes hidden within the complex imagery of his work. Born in America and now living in the UK, Alex Echo uses a unique perceptive and palate of colour to create complex and extraordinary works of contemporary art. More recently, Sir Paul Smith commissioned Echo’s work to form the principal pattern for his women’s spring/summer 2011 collection. “Classic with a Twist” was used to create an elegant, playful fabric which captivated the catwalk at London Fashion Week 2010.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Pedro Matos (Portuguese, b. 1989) 'Therefore The King'2010 Giclee and screen print with hand varnishing on 300gsm fine art paper Signed and numbered 18/75 Professionally framed 94 x 80 cm (37" x 31") Pedro Matos has been hailed as one of Portugal’s most promising contemporary artists. His practice has been a continuous investigation of the ephemeral and decaying, the withered and downtrodden - Qualities the artist finds present in the urban landscape and nature alike, whether made by unconscious human gestures and mark making or natural phenomena. Rendered in the form of meticulous and highly detailed works, the artist explores the intricacy of abstract textures and fragmented details, lying at the boundary between abstraction and representation. Pedro Matos was born in Santarém, Portugal in 1989. He studied at the Fine Arts University of Lisbon (2008); Arco Visual Arts Centre (2009) and Central Saint Martin's College of Art at the University of London (2011). Pedro's work has been widely exhibited internationally, both in solo and group exhibitions such as The National Army Museum in London (2013); Martha Otero Gallery in Los Angeles (2013); The Goss Michael Foundation in Dallas (2012); University of Arizona Museum of Art in Tucson (2011) and Phillips de Pury in London (2010). His work is in the permanent public collections of The National Army Museum in London and Museu da Guarda in Portugal. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Jim Starr (British b.1976)Medusa2010Screen printSigned, titled, dated and numbered 6/10Framed and glazed100 x 60 cm (39.5" x 23.5")Jim Starr has been screen-printing for 15 years and has exhibited in upwards of 70 group shows and 7 solo shows. His work has gone under the hammer alongside some of the world’s most celebrated contemporary artists at auctioneers Dreweatt’s Urban Art Sales (at Paintworks, Bristol, and Selfridges, London), and has been exhibited solo at London’s Dalston Superstore. He has also shown at The Pall Mall Deposit, London, The Coningsby Gallery, London and at Bristol’s 2 Degrees Gallery, the Wilder Street Gallery and King of Paint. Jim’s use of pop culture and pin-up imagery is guaranteed to inspire anyone who loves the louche and the lowbrow. His work fuels the spirit and strikes a chord in the soul, continuing to resonate long after the first glance.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Lucas Price / Cyclops (British, b. 1975)Mentasm2008Screen print on woven paperSigned and numbered 12 of 45 in pencilFramed & glazedAccompanied with certificate of authenticity 51 x 36 cm (20" x 14")Contemporary artist Lucas Price, formerly known as Cyclops, blends the traditional and the modern, merging contemporary photo realism with antiquated styles and religious iconography. Price completed a Masters degree at the Royal College of Art, London. In 2008, he exhibited at the Tate Modern as part of their exhibition ‘Art on the Street’ and, in 2015, appeared in Bonhams’ contemporary auction. As well as working as a fine artist, Lucas Price founded the postmodernist menswear label ‘A.Four Labs’, with Tokyo-based designer Kazuki Kuraishi.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

◆ Jankel Adler (Polish 1895-1949) Mädchen mit Katze (Girl with Cat), 1942 signed (lower left)oil on canvasDimensions:81cm x 91cm (32in x 35 3/4in)Provenance:ProvenancePeter Watson, London (by 1948)Private collection, LondonLiteratureStanley William Hayter, Jankel Adler, Nicholson & Watson, London, 1948, p.viii, illustrated in black & white, pl.17, as 'Girl with Cat (1942) Private collection Peter Watson, Esq. London'Annemarie Heibel, Jankel Adler (1895-1949): Band II: Werkverzeichnis der Gemälde, Westfälische Wilhelms-Universität, Munster, 2016, no. WV 217, repr. p.301.Note: Born in Poland into an Orthodox Jewish family, Jankel Adler trained in engraving in Belgrade and the applied arts in Barmen (now Wuppertal) before enrolling at the Düsseldorf Akademie der Künste. Based in Düsseldorf between 1922 and 1933, he became steeped in progressive art circles, associating with Lyonel Feininger and Wassily Kandinsky amongst others, and teaching alongside Paul Klee at his alma mater. After the Nazi’s declaration that his work was ‘degenerate’, Adler moved to Paris in 1933, where he worked with Stanley William Hayter at the experimental Atelier 17 and met Pablo Picasso - a rite of passage for any artist with serious aspirations to belong to the avant-garde. Following the outbreak of World War Two, Adler joined the Polish army, with whom he was evacuated to Scotland in 1940. Demobilisation in 1941 was followed by a move to London in 1943. He thus personified the European avant-garde in Britain whilst becoming a central figure in the art worlds of Glasgow and then London. Solo exhibitions were held at T&R Annans & Sons in the former, and at the Redfern Gallery, Lefevre Gallery and at Gimpel Fils in the latter; he was to have a tremendous impact on British artists, in particular Robert Colquhoun and Robert MacBryde, who shared a studio with John Minton two floors beneath that of Adler in Kensington.Mädchen mit Katze (Girl with Cat) is thus a major example of continental Modernism, painted in Britain. It is one of his most sophisticated and poetic images: a contemplative seated woman in the right foreground holds an enigmatic object to her chest. A companion cat lying on a table to the left directly confronts the viewer, its startling eyes penetrating our souls, whilst the distinctly modernist sculptures to the rear – an homage perhaps to fellow émigré Naum Gabo – introduce a sense of time and place to this potentially timeless domestic scene. Adler’s post-Cubist approach to form is arguably seen to best effect in the sensitively rendered facial features of the female protagonist, although his technique across the canvas surface is as varied as the range of muted and bold tones and colours used to realise volume, perspective and mass.This work exemplifies Philip Vann’s declaration that ‘finding refuge in Britain in 1941, the forty-six-year-old Jankel Adler embarked afresh on a richly distinctive journey as an artist. The powerful, often stark monumentality characterising his earlier continental period gave way to vibrant new works of most subtle intricacy and compassionate poignancy. All that he had learned and absorbed from the great Modernists he had known in the 1920s and ‘30s – notably Klee, [Max] Ernst and Picasso – was now assimilated and integrated with apparently spontaneous ease into radically original, humane pictures.’ (quoted in Richard Cork, Jankel Adler: The British Years 1941-49, Goldmark Gallery, Uppingham, 2014, unpaginated).Such is Mädchen mit Katze’s significance within Adler’s oeuvre that it was selected for reproduction in Stanley William Hayter’s 1948 monograph on the artist, by which time it had been acquired by the legendary British art collector Peter Watson. He and Adler are believed to have met for the first time in Glasgow, with their mutual acquaintance Colquhoun reporting that Watson ‘believes Adler to be quite exceptional.’ (Undated letter from Colquhoun to Ian Fleming, quoted in Patrick Elliott et al, The Two Roberts: Robert Colquhoun & Robert MacBryde, National Galleries of Scotland, Edinburgh, 2014, p.29). The millionaire Watson was without doubt the eminence grise of the London contemporary art world during the 1940s, when many artists struggled to make ends meet: Watson funded the arts journal Horizon, which was launched in 1940; was a co-founder of the Institute of Contemporary Art in 1946; lived in a Wells Coates-designed flat in London surrounded by works including by Christopher Wood, Graham Sutherland, Henry Moore, Ben Nicholson, Pierre-Auguste Renoir, Joan Miró, Chaïm Soutine and John Tunnard; and counted Sutherland, Nicholson, Augustus John, Lucian Freud and John Craxton amongst his artist friends. Mädchen mit Katze thus joined one of the most remarkable collections of modern and contemporary art in Britain at the time.The related painting, Woman with a Cat (formerly known as Girl with Cat) of 1944, was presented by the Contemporary Art Society to Aberdeen Art Gallery in 1952 (ABDAG002283).

§ † David Hockney O.M, C.H., R.A. (British 1937- ) In an Old Book (from Illustrations for Fourteen Poems from Constantine Cavafy), 1966-67 (Tokyo 52) annotated A/P DH in pencil, not in the artist's hand, below the plateetching on paper, working proof, aside from the edition of 75Final edition published by Editions Alecto, London Dimensions:35cm x 22.5cm (13 3/4in x 9in) (plate); 47cm x 36cm (18 1/2 x 14 1/4in) (sheet)Provenance:ProvenancePrivate collection, UKLiteratureAndrew Brighton, David Hockney Prints, 1954-77, Scottish Arts Council, Edinburgh, 1979 cat. no. 52David Hockney Prints, 1954-1995, Museum of Contemporary Art, Tokyo and Tankosha Publishing Co., Tokyo, 1996, cat. no. 52Marco Livingstone, David Hockney: Etchings and Lithographs, Thames and Hudson, London, 1998, repr. b/w p.19 and pl.19 Note:'Illustrations for Poems from C P Cavafy, etched in 1966 and published in 1967, can be regarded not only as Hockney’s first sustained exercise in line drawing but as one of the most impressive achievements of his naturalist phase…The Cavafy images arose in three different ways: most of the figures were drawn from life; others, such as the boy frontally posed in In an Old Book were taken from photographs; and the buildings were based on drawings made on a visit to Beirut…Metaphor continues to operate in these prints in subtle and emotive ways. Whereas in his prints of the early 1960s Hockney had treated the paper as the support for a tactile and often heavily textured surface, in these images the white of the paper become both an enveloping atmosphere – all the more physically palpable for being undefined in its limits – and an equivalent for the sensuous smoothness of skin.Hockney’s originality as an illustrator is amply demonstrated in the Cavafy prints by his decision not to make pictures of particular poems but to capture the general mood in Cavafy’s poetry of a nostalgia for the erotic and then to select the poems to accompany the images.’Marco Livingstone, David Hockney: Etchings and Lithographs, Thames and Hudson, London, 1988, pp.20-21

◆ Amedeo Modigliani (Italian, 1884-1920) Head of a Girl pencil on papersigned (lower right) Dimensions:43cm x 26.5cm (17in x 10 1/2in)Provenance:Provenance Christopher 'Kit' WoodSold by the above to Lefevre Gallery, 6th March 1930 (stock number 447/29)Acquired from the above by R. K. Blair, 28th January 1932, and thence by family descent to current ownerNote: This delicate, beautiful drawing by Amedeo Modigliani has all the hallmarks of his unique style, with the mask-like face, large but blank almond eyes, the curve of the nose hinting at a Cubist change of viewpoint but not quite, everything described with clarity and a spareness entirely counterpoint to his chaotic, bohemian life. It is perhaps no surprise, then, that it was originally in the collection of another artist: the British painter Christopher ‘Kit’ Wood, who first visited Paris in 1920, just a few months after Modigliani himself had died tragically young, thereby cementing his legend as the enfant terrible of the Parisian avant-garde. Wood himself – tall, handsome, erudite, bisexual – was a perfect fit in bohemian circles and caught the eye of Antonio de Gandarillas, diplomat, patron and friend to many artists, who introduced Wood to everyone who was anyone in the art world.Wood the painter would have found Modigliani’s economy of line and the simplification of form into near abstraction as very close to what he himself was looking for in his art - a ‘modernist primitivism’ that was all the rage in European painting at the time. For Modigliani’s generation, the main inspiration was African art, particularly masks, in which they saw a connection to an underlying visual ‘truth’ that had long been obscured in Europe by technical facility and academic ‘naturalism’. In Modigliani, though, we also see hints of Europe’s oldest art, that fluid, blank quality of Cycladic figures, whose beauty speaks across the ages. In Head of a Girl, Modigliani’s model is both a contemporary Parisian ‘kiki’(with her bobbed hair and androgynous look) and mysterious goddess.Although Kit Wood is in many ways a very English artist – in 1928 he encountered the retired marine scrap merchant-turned-painter Alfred Wallis in the Cornish fishing town of St Ives, adding a layer of English folk vernacular to his ‘modernist primitivist’ style - a good many of his paintings were made in France, in Paris, where he was a regular visitor throughout the 1920s, and in Brittany, where he followed in Gauguin’s footsteps searching for a primitive authenticity a little closer to home. Whilst we don’t know exactly when Wood acquired the Modigliani, we do know that he sold it to his London dealer, Alex. Reid and Lefevre Gallery, in March 1930, less than six months before his own tragic, early death, aged 28, by suicide, whilst withdrawing from the drug habit he had acquired amongst the Parisian beau monde. The Lefevre Gallery was the place in London at the time to go for the latest word in contemporary European art (they had held an exhibition of Modigliani paintings in March 1929 and mounted a memorial exhibition of Wood’s work in 1932). That year they sold the present drawing to a private collector and it has remained in the same family ever since. Now it is once again on a gallery wall for everyone to see, allowing us to imagine what it was - the subtlety of Modigliani’s line, the mystery of his sitter’s expression and the timelessness of it all – that drew Kit Wood to it a century ago.

Hans CoperLarge bell-form vase with 'Saturn' ring, circa 1965Stoneware, layered porcelain slips and engobes over a textured body with ring, the neck, lip and interior with a manganese glaze.21 cm high, 24 cm diameterImpressed with artist's seal.Footnotes:ProvenanceBonhams, Knightsbridge, 'Contemporary Ceramics Masterworks', 13 November 1997, lot 96Private collection, London, acquired from the aboveThence by descent to the present ownerLiteratureMaya Nishi, ed., Hans Coper Retrospective: Innovation in 20th Century Ceramics, exh. cat., The Museum of Ceramic Art, Hyogo, 2009, p. 73 for a comparable exampleThis 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

Ettore Sottsass, Jr.'Le Strutture Tremano' table, from the 'bau. haus art collection', designed 1979Enamelled metal, glass, plastic laminated-wood.115.5 x 61 x 61 cm Manufactured by Studio Alchymia, Milan, Italy. Underside of base with manufacturer's label printed STUDIO/ALCHYMIA/MILANO.Footnotes:ProvenanceThe Estate of Evelyn FosterThence by descentBonhams, Los Angeles, 'Modern Design | Art', 30 September 2020, lot 240Acquired from the above by the present ownerLiteratureRenato Barilli, 'Arredo Alchemico', Domus, no. 607, June 1980, p. 35Barbara Radice, Memphis, Milan, 1984, p. 15Andrea Branzi, The Hot House: Italian New Wave Design, Cambridge, 1984, p. 136Gilles de Bure, Ettore Sottsass Jr., Collection Rivages/Styles, dirigée par Gilles de Bure, Paris, 1987, p. 61Albrecht Bangert, Italian Furniture Design: Ideas Styles Movements, Munich, 1988, p. 62Kazuko Sato, Contemporary Italian Design, Berlin, 1988, pp. 17, 20Klaus-Jürgen Sembach, Gabrielle Leuthäuser, Peter Gössel, et al, Twentieth-Century Furniture Design, Cologne, 1991, p. 214Barbara Radice, Ettore Sottsass: A Critical Biography, London, 1993, pp. 195, 197Giuliana Gramigna, Repertorio del Design Italiano 1950-2000, Volume II, Turin, 2003, p. 290Glenn Adamson; Jane Pavitt, eds., Style and Subversion, 1970-1990, exh. cat., Victoria and Albert Museum, London, 2011, p. 40Cindi Strauss, Germano Celant, et al., Italian Radical Design: The Dennis Freedman Collection, exh. cat., Museum of Fine Arts, Houston, New Haven, 2020, p. 121The present model is held in the collection of the Victoria and Albert Museum, London.Nick WrightCo-author of Cut and Shut: The History of Creative Salvage, London, 2012Dishonesty of MaterialsCharles Jencks identified the death of Modern architecture as taking place on July 15, 1972. 'At 3,32 (or thereabouts)' the Pruitt-Igoe projects were demolished. Like so many modernist blocks, their architects had promised good housing for all using an economy of design and modern materials impervious to the elements and fashion. In fact, their design was so compromised they were dynamited less than 20 years after construction. In their seminal postmodern text, Learning From Las Vegas, Robert Venturi and Denise Scott-Brown documented the Vegas strip during the fat Elvis era. Succeeding Gio Ponti as Domus' editor in 1979, Alessandro Mendini wrote of the architect's obligation to accommodate the taste, even the bad taste, of the client. The postmodern citizen would be the determinant of design, the historic city not a gaudy maras to be bulldozed and built anew along rational lines, but accommodated by the architect whose obligation was to add to it in sympathy with its citizen's needs AND desires. (Who doesn't love fat Elvis?) This was the intellectual thrust of postmodernism.It was Alessandro Guerrero's supergroup, Alchymia, through which these ideas were first expressed in three dimensions. Designed in 1979 as a series of prototypes by Mendini, Ettore Sottsass and Andrea Branzi, amongst others, the 'Bauhaus One' collection was conceived along the lines of a fashion show. Pieces were to be exhibited for one season only, sold, another collection produced for the next, 'Bauhaus Two'.The star of that first show was Mendini's 'Proust'. The most significant chair since Gerrit Rietveld's 'Red and Blue Chair', it began as a reproduction monster-piece found in a Milan junk shop. Signalling the return to decoration made superfluous by functionalism, a section of a Paul Signac painting was projected onto the whole and copied by artists Pier Antonio Volpini and Prospero Rasulo, the aim to fuse kitsch and high culture. Sottsass' 'Svincolo' lamp in the same 'Bauhaus One' collection went so far as to employ bare neon tube lighting redolent of the Vegas strip. In fact, a take on the Italian autostrada illumination, the surface decoration on the totem featured Sottsass' now famous 'Bacterium' pattern. If stared at too long, the design causes a hallucinatory effect as the bacteria seemingly squirm before the eyes.People are not purely rational. Indeed, much of our behaviour is predicated on emotion, logic being a means of post-rationalisation - the decorative laminate applied to chipboard. Architects must acknowledge this duality. Yes, we want our built environment to provide accommodation, but it should also speak to our emotions. Design can seduce, shock, delight, even delude in its trickery and Alchymia does just this. Revelling in a dishonesty of materials such as decorative laminate and rattle-can paint, the group alchemised base metal into architectural gold. Lappino Binazzi had been a member of the Italian radical UFO group of the late sixties. The big film studios were in financial difficulties, and seeing their discarded props and advertising, he appropriated the signage in a series of lamps. The 'Paramount' lamp was first produced by Groupo UFO in 1970. The PARAsol began the title, the ceramic MOUNTain beneath completed it. Together with the MGM lamp, the 'Paramount' was reissued by Alchymia in 1979 for the 'Bauhaus One' collection, its new context making explicit the postmodern implications. Is there a more alchemical process than actors playing out a scripted fiction which, when projected onto a flat screen, creates a 3D reality that feels as vivid as any lived experience? Sottsass' 'Structure Tremano' in the present sale is also from 'Bauhaus One' collection and distinguished from later Belux and Kumewa editions by the glitter lacquer. Alessandro Mendini estimated that on average about six of each of the 'Bauhaus One' pieces were produced. Perhaps because of his association with the Memphis group, which built on Alchymia's blueprint, Sottsass' pieces are amongst those items made in greater numbers. Nonetheless, an original Alchymia 'Structure Tremano' is rare. Moreover, like all the Bauhaus One collection, it needs to be understood intellectually - 'read' as Mendini put it - to be fully appreciated.The plinth is made of chipboard – base metal - and covered in shinny white laminate – gold - whilst its scale suggests it is designed to bear great weight. In a historical sense it does. The tubular steel legs reference Marcel Breuer's work at the Bauhaus. Revolutionary in the 1920s, tubular steel chairs like the 'Wassily' had, by the late seventies, become as much a cliché as the corporate lobbies they furnished, and this is the 'function' of the 'Structure Tremano'. It is not the wobbly looking tubular legs which tremble in the shock wave from the Pruitt-Igoe's detonation, but Modernism itself. In the vacant lot was built Memphis Milano, Alessandro Mendini's Groningher Museum and Frank Gehry's Guggenheim.This lot is subject to the following lot symbols: TPTP 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

[Osborne (Francis)] Advice to a Son; or Directions for your better Conduct through...this Life...I.Studies &c. II.Love and Marriage. III.Travell. IV.Government. V.Religion., third edition, woodcut initials and typographic ornaments, title and one or two other leaves lightly soiled but generally a good clean copy, later calf with triple rule and small ornaments to corners in blind, rubbed, light staining and small worn patch to upper cover, spine chipped at head, [Wing O510], Oxford, by H[enry] Hall...for Thomas Robinson, 1656 § Aikin (John) Letters from a Father to his Son..., 2 vol., mixed edition, vol.1 third edition, vol.2 second edition, Marcus Gage's copy with his contemporary ink inscription to head of titles and bookplate, contemporary sprinkled calf, gilt, spines gilt, 1796-1803 § [Hurd (Richard)] Dialogues on the Uses of Foreign Travel; considered as a Part of an English Gentleman's Education..., first edition, title in red & black, old ink library stamp to title and pastedown, contemporary half calf, joints split, label chipped, W.B. for A.Millar, 1764 § [De Britaine (William)] Human Prudence; or, the Art by which a Man may Raise Himself and Fortune to Grandeur, eighth edition, old ink library stamp to verso of title and final leaf of text, contemporary sheep, bit worn, rebacked preserving old spine, repaired, [This edition not recorded by ESTC], Dublin, Peter Hoey, 1794; and 2 others, courtesy, including a poor and imperfect copy of Braithwait's English Gentleman of 1641, v.s. (7)⁂ Osborne was Master of the Horse to Shakespeare's patron William Herbert, Earl of Pembroke. His work was very popular, particularly with Oxford scholars, and went through five editions in 1656. It was subsequently charged by Puritan divines as containing atheistic principles and forbidden to be sold, which in fact appeared to increase sales.

[Deslandes (André Francois)] The Art of Being Easy at all Times and in all Places. Written chiefly for the use of a Lady of Quality, translated by Edward Combe, second English edition, with half-title but ?lacking initial blank (third leaf is signed A4 as in ESTC), with 2 final Contents leaves, woodcut initials and head- & tail-pieces, lightly browned, trace of blind library stamp to title, modern boards, spine faded, C.Rivington, 1724 § [Champion de Crespigny (Mary, Lady)] Letters of Advice from a Mother to a Son, first edition, without 24pp. publishers' catalogue at end, contemporary ink signature "Anne Hort" to title, ex-Welsh library copy with stamp to title and label, contemporary half calf, rubbed, rebacked preserving old roan label, 1803, 8vo et infra (2)⁂ The first is a scarce early work on the philosophy of happiness. ESTC records only 3 UK copies (BL, Bristol, and Cambridge) plus 2 in America.The second is a conduct book in the form of letters written over a twenty year period, with chapters on charity, economy, drinking, gambling, duelling, seduction, swearing, marriage etc.

NO RESERVE Bindings.- Lucas (E.V., compiler) The Friendly Town, one or two light spots, contemporary green crushed half morocco, spine gilt and tooled with Art Nouveau floral design in two compartments, brown morocco spine label (chipped), extremities lightly rubbed, New York, Macmillan, 1906 § Lyndon (Roderick) Another Point of View, first edition, bookplate of Fritz Ponsonby to pastedown, contemporary red crushed half morocco, joints rubbed, spine gilt in compartments, light spotting, 1907 § Wood (Rev. J. G.) Homes Without Hands, new edition, engraved plates, prize bookplate, contemporary red polished prize-stamped calf with gilt border, spine gilt with black morocco label, 1898; and c.80 others, mostly prize bindings and attractive late 19th century calf, v.s. (c.85)

NO RESERVE Castellani (Valentina) & others, editors. Francis Bacon: Triptychs, loose as issued in original orange cloth drop-back box, Gagosian Gallery, 2006 § Lynton (Norbert) Ben Nicholson, 1993 § Stephens (C.) & Andrew Wilson. David Hockney, 2017 § Chapman (Jake & Dinos) Like a Dog Returns to its Vomit, 2005, plates and illustrations, many colour, all but the first original cloth or boards, the second with dust-jacket; and c.25 others on modern and contemporary British art, v.s. (c.30)

NO RESERVE Earnest (Jarrett) Nathalie Provosty, signed and inscribed by the artist ""To Alan, for our lives in art. Nathalie" on half-title, slightly rubbed at edges, New York, 2016 § Lieberman (Justin) Hopi Basket Weaving, uncorrected proof gallery copy, signed and inscribed by the artist with sketch of "Big Sandwich" and Union flag on half-title, original wrappers, dust-jacket, New York, 2006 § Koestenbuam (W.) & others. Lari Pittman, signed and inscribed by the artist on half-title, New York, 2011 § Peyton (Elizabeth) Ghost, Ostfildern, 2011 § Bonami (Francesco, editor) Rudolf Stingel, New Haven & London, 2007 § Sussman (E.) & others. Eva Hesse, San Francisco, 2002 § Bilsborough (M.) & others. Sean Landers: 1990-1995, Improbable History, St.Louis, 2011, illustrations, many colour, all but the second original cloth or boards, the last five with dust-jackets; and c.45 others on contemporary American art, 4to & 8vo (c.50)

NO RESERVE Elsner (Slawomir) Panorama, signed by the artist on front inside cover, Ditzingen, 2008 § Verdier (Fabienne) Rhythms and Reflections, 2016 § Armleder (John) About Nothing: Drawings 1962-2004, Zurich, 2005 § Charlet (Nicolas) Yves Klein, Paris, 2000 § Spieler (R.) & others. Franz Gertsch: Retrospective, Ostfildern, 2006 § Asthoff (Jens) & others. Janis Avotins, Schwaz, 2008, illustrations, many colour, original cloth or boards, the last three with dust-jackets; and c.25 others on European modern and contemporary art, 4to & 8vo (c.30)

NO RESERVE Franzke (Andreas) Tàpies, Munich, 1992 § Andel (J.) & others. José-Maria Cano: Welcome to Capitalism!, text in English and Czech, Prague, 2008 § Dennison (Lisa) & others. Clemente, New York, 1999 § Mazzoleni (Giovanni) Alberto Burri, original cloth-backed boards, 2015 § Manzoni (Piero) Achromes: Linea Infinita, original white cloth, transparent plastic slip-case, still sealed in publisher's cellophane wrapping, Turin, 2017, illustrations, many colour, the first three all original cloth with dust-jackets; and 11 others on modern and contemporary Spanish and Italian art, 4to & 8vo (16)

NO RESERVE Gingeras (Alison M.) & Barry Schwabsky. The Triumph of Painting, Saatchi Gallery, 2005 § Vitamin P: New Perspectives in Painting, 2002; Vitamin D: New Perspectives in Drawing, 2005 § Kellein (Thomas) The 80s Revisited from the Bischofberger Collection, Bonn, 2010 § Sullivan (E.J., editor) Brazil: Body & Soul, New York, 2001 § Bousteau (Fabrice, editor) Made by Indians, Paris, 2007, illustrations, many colour, original cloth or boards, all but the last with dust-jackets; and c.35 others, mostly European modern and contemporary art, 4to & 8vo (c.40)

NO RESERVE Gould (Stephen Jay) & others. Alexis Rockman, New York, 2003 § Kirsten (Lincoln) Quarry: A Collection in Lieu of Memoirs, one of 3000 copies, Pasadena, CA, Twelvetrees Press, 1986 § McDermott & McGough. A History of Photography, Santa Fe, NM, 1998 § Bleckner (Ross) Page Three, one of 3000 copies, signed by Bleckner on title, Santa Fe, NM, Twin Palms, 1998 § Bolofo (Koto) Sibusiso Mbhele and his Fish Helicopter, signed and inscribed by Bolofo on title, New York, 2002, illustrations, some photographic, original cloth or boards with dust-jackets, the fourth also with slip-case; and 6 others, contemporary art and photography, mostly American, 4to & 8vo (11)

NO RESERVE Holzwarth (Hans Werner, editor) Christopher Wool, Cologne, 2012 § Rothkopf (Scott) Wade Guyton, New York, 2012 § McCarthy (Paul) Piccadilly Circus [&] Bunker Basement, 2 vol., 2004 § Kelley (Mike) Educational Complex Onwards 1995-2008, Brussels, 2008 § Linker (Karl) Carroll Dunham: Painting and Sculpture 2004-2008, Zurich, 2008 § Butler (Cornelia) Marlene Dumas: Measuring Your Own Grave, Los Angeles, 2008 § Shaw (Jim) Distorted Faces & Portraits 1978-2007, signed and inscribed by Shaw on title, original pictorial wrappers, Zurich, 2007, illustrations, many colour, original cloth or boards, the first two with dust-jackets, the third with slip-case; and c.40 others on the same, contemporary American art, v.s. (c.45)

NO RESERVE Njami (Simon) The Divine Comedy. Heaven, Purgatory and Hell Revisited by Contemporary African Artists, Berlin, Kerber Verlag, 2014 § [Mulvey (Linda)], "Linder", Works 1976-2006, Zurich, JRP, 2006 § Yayoi Kusama,Tate Publishing, 2012, all with collected essays, photographic illustrations and plates, original pictorial boards; and c.90 others, mostly relating to art, v.s., (c.95)

NO RESERVE Parkett: Kunstzeitschrift/Art Magazine, vol.10-14, 20, 21, 26, 27, 29, 30, 32-38, 43, 44, 46-50/51, 53-71 & 73-91, together 64 in 63 issues, text in English and German, illustrations, some colour, original pictorial wrappers, vol.27 with slight stain to spine, otherwise a good set, a few still sealed in publisher's cellophane wrapping, Zurich, 1986-2012; and another about Parkett and 2 duplicates, 4to (66)⁂ Important magazine on contemporary art including issues on Andy Warhol (12), Gilbert & George (14), John Baldessari & Cindy Sherman (29), Gerhard Richter (35), Ed Ruscha & others (55).

NO RESERVE Pierre et Gilles. Album, one of 5000 copies, Paris, 2002; The Complete Works 1976-1996, Cologne, 1997 § Abadie (Daniel) Lalanne(s), text in English, Paris, 2008 § Gauss (Ulrike) & others. Stankowski 06: Aspects of his Oeuvre, text in German & English, Ostfildern, 2006 § Moorhouse (Paul) John Hoyland, 1999 § Hume (Gary) (A Cat on a Lap), 2009, illustrations, many colour, original cloth or boards, all but the first with dust-jackets; and 10 others, modern & contemporary European art, 4to & 8vo (18)

NO RESERVE Restany (Pierre) Botero, New York, 1984 § Celant (Germano) Mimmo Rotella, Milan, 2007 § Rondinone (Ugo) "Heyday", one of 1300 copies, with biographical leaflet in pocket at end, Zurich, 1996; Zero Built a Nest in My Navel, 2006 § Pesce (Gaetano) Il Rumore del Tempo, leaves cut with outline of profile, bound in original doormat cut to form profile, no backstrip as issued, Milan, 2005 § Salvaterra (G.), Robert Rosenblum & Franco Fontana. Pulcherrimae Strade: Contemporary Art in Historical Places, text in Italian and English, original wrappers with plastic dust jacket, fastened with metal bolt, Milan, 2002, illustrations, some colour, all but the last original cloth or boards, the first with dust-jacket, the last with slip-case; and 3 others by Rondinone, folio & 4to (9)

NO RESERVE Rubin (William) "Primitivism in the 20th Century": Affinity of the Tribal and the Modern, 2 vol., New York, 1984 § Johnson (Robert Flynn) Artists' Books in the Modern Era 1870-2000, 2001 § Patrick Painter Editions 1991-2005, Basel, 2006 § Virgine (Lea) & others. The Art of the 20th Century. 2000 and Beyond: Contemporary Tendencies, Milan, 2010 § Joachimides (C.M.) & Norman Rosenthal. Die Epoche der Moderne Kunst im 20. Jahrhundert, Ostfildern, 1997, illustrations, some colour, original cloth or boards, all but the third with dust-jackets, the first also with cloth slip-case; and c.45 others on art, mostly modern, 4to & 8vo (c.50)

NO RESERVE Ruf (Beatrix) & others, "General Idea". File 1972-1989, 6 vol., original wrappers, together in slip-case, Zurich, 2008 § Greenough (Sarah) Modern Art and America: Alfred Stieglitz and his New York Galleries, Washington D.C., 2000 § Evans (Harold) The American Century, New York, 1998 § Fitzgerald (Michael) Picasso and American Art, New York, 2006 § Coppel (Stephen) & others. The American Dream: Pop to the Present, 2017, illustrations, many colour, all but the first original cloth or boards with dust-jackets; and c. 30 others on modern and contemporary American art, v.s. (c.35)

NO RESERVE Storr (Robert) Gerhard Richter: Forty Years of Painting, New York, 2002 § Arasse (Daniel) Anselm Kiefer, 2001 § Trockel (Rosemarie) Herde, Cologne, 1997 § Baudach (Guido W., editor) Thomas Zipp. Achtung! Vision: Samoa, The Family of Pills & The Return of the Subreals, Ostfildern, 2005 § Moure (Gloria) Sigmar Polke, Barcelona, 2005 § Genzken (Isa) I Love New York, Crazy City, ?New York, [?2006], illustrations, many colour, original cloth or boards, the first three with dust-jackets, the last stil sealed in publisher's cellophane wrapping; and c.35 others on modern and contemporary German art, v.s. (c.40)

[Deguerle (Jean Marie Nicolas] Éloge des Perruques...par le Docteur Akerlio, first edition, half-title, light foxing, bookseller's ticket of Rouanet of Paris to verso of half-title, later etched bookplate of G. de Mandre and a printed caricature, handsome nineteenth century calf, by Simier, ruled in gilt, upper cover with gilt arms, spine gilt in compartments with five raised bands and signed at foot, t.e.g., slightly rubbed, Paris, Maradan, [1799] § [Evans (Arthur Benoni)] The Cutter, in Five Lectures upon the Art and Practice of Cutting Friends, Acquaintances, and Relations, first edition, with initial imprint (otherwise blank) leaf, hand-coloured etched frontispiece and 5 folding aquatint plates by and after John Augustus Atkinson, lacking 8pp. publisher's catalogue at end, frontispiece with pencil inscription at head and frayed at fore-edge, plates lightly browned and offset, contemporary half red roan, rubbed, [Abbey, Life 295], 1808 § [Caswall (Edward)] Characteristic Sketches of Young Gentlemen. By "Quiz", Junior, ?first edition, wood-engraved frontispiece and title-vignette, 8pp. publisher's catalogue at end, foxing, lacking front free endpaper, original cloth with paper label to upper cover, a little rubbed and stained, lower cover faded, [Library Hub: BL & Cambridge only], for the author, by William Kidd, [1838] § Buday (George) The Rules of Etiquette for Ladies & Gentlemen, advance copy for presentation to friends at Christmas with loosely-inserted slip signed by the author/artist, printed in blue, wood-engraved illustrations, original pictorial wrappers, lower cover stained, 1954, 8vo et infra (4)⁂ The first is on wigs.

HALCYON DAYS, GOOD AND VARIED COLLECTION OF ENAMEL PILL BOXES CONTEMPORARY comprising approximately eighty boxes (predominantly Halcyon Days, though others) decorated with varying subject matter including art, history, geography, holidays, novelty, and more, many of a limited edition, approx. 88 in totalof sizesImages displaying all included boxes now available

'RAM’S HORNS' BY ARTISAN HOUSE brown patinated metal on black metal plinth, 60cm high Provenance: The Chris Griffith collection of Contemporary Art & Sculpture

'EXUBERANCE' BY ARTISAN HOUSE part of the C. Jere Collection, a freestanding shaped metal sculpture on a pedestal base, 203cm high, with certificate of authenticityProvenance: The Chris Griffith collection of Contemporary Art & Sculpture

*CHARLIE BAKER (B. 1972) 'The Great Tree' signed lower right, acrylic painting, 56cm x 80cm, in pine frame and glazedProvenance: purchased from Joe Daisy Studios in 2003.The Chris Griffith collection of Contemporary Art & Sculpture.

*ALEX KATZ (B. 1927) 'Sweatshirt II' from the Alex and Ada series (1960s-1980s), signed and numbered in pencil lower left no. 116/150, screen print in colours on Arches paper, 91cm x 72cm, published by Gaultney-Klineman, New York and printed by Styria Studio, New York, in silvered frame and glazedProvenance: purchased in New York 2005, possibly Crown Art Gallery.The Chris Griffith collection of Contemporary Art & Sculpture.