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A unusual contemporary art of a fish signed R.Brent.Maldne

Hugh McNeil McIntyre (b.1943), 'Rear Window at 151, Brazil', signed and dated '97, oil on canvas, 91 x 91 cm, The Contemporary Fine Art Gallery, Eton label on the frame.

THOMSON, William "Praktische Anweisung zur Lackirkunst und zum Oelfarben-Anstrich""Kunst alle Arten Firnisse und Lackfirnisse, als Weingeist-, Copal-, ... zu bereiten und auf die verschiedenen Gegenstände, als: Holz, Metall, Leder, Horn, ...aufzutragen". Verlag von Gottfried Basse. Quedlingurg und Leipzig. 1828. 19 x 10,5 cm. Einband mit zeitgemäßen Altersspuren. THOMSON, William "Practical Instruction for Lacquer Art and for Painting with Oil Colors""Art all kinds of varnishes and lacquer varnishes, as wine spirit, copal, ... To prepare and apply to the various objects, as: Wood, metal, leather, horn, ...apply". Published by Gottfried Basse. Quedlingurg and Leipzig. 1828. 19 x 10.5 cm. Binding with contemporary signs of age. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Coxwold Cabinet Makers, Geoffrey Taylor-Gell and Jonathan Dixon, Unicornmen of Yorkshire - a contemporary dining table and set of ten conforming Chippendale design dining chairs, comprising eight side chairs and a pair of carvers, each carved and applied with unicorn signature, the table 78.5cm high, 244cm long, 107cm wide, the side chair 95.5cm high, 50cm wide, the seat 42cm deep, the carver 95.5cm high, 65.5cm wide, the seat 46cm wide and 42cm deepNB - This lot is offered for sale as a work of art, the cushions may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason should not be used in a private dwelling

Contemporary bronze figure of a dancer, in the Art Deco manner, H: 24 cm, no damages. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

Nasr al-Din Shah Qajar (reg. 1848-96) Qajar Persia, circa 1880watercolour and gouache on paper, oval 15 x 11.5 cm.Footnotes:Comparison can be drawn with another oval portrait of Nasr al-Din Shah (though much larger, at 90.5 x 62 cm.), by Abu'l Hasan Ghaffari III (Yahya), dated AH 1291/AD 1874-75, in which the Shah wears the same style of European-cut, wide-lapelled coat, and the same string-like necktie (as well as the typical plumed black hat). In our painting he looks slightly older than in this 1874 work (for which see Christie's, Islamic Art and Manuscripts, 11th April 2000, lot 109).Both paintings are probably based on a portrait photograph. We can suggest a date for our painting of the 1880s, both from the Shah's apparent age, and also from comparison with contemporary carte de visites (see for example J. Y. Chi (ed.), The Eye of the Shah: Qajar Court Photography and the Persian Past, New York 2015, p. 7, no. 2, dated circa 1880-90.Important Notice to BuyersSome countries e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

Josie Spencer (American, contemporary),a silvered bronze female torso, raised on an iron stand, 157cm overallBorn and educated in New York, Josie Spencer studied sculpture in Florence, at the Academia della Sculptura with Antonio Berti. At Sarah Lawrence College, New York, she studied sculpture with Ezio Martinelli and art history with William Rubin, Curator of the Museum of Modern Art. Before becoming a student at the New York Studio School for Drawing, Painting and Sculpture, she studied anatomy and drawing at the Art Students League. Josie later became a Board Member and Vice-Chair of the New York Studio School.She exhibited at a number of group and one-person shows in New York at galleries in Soho and Chelsea, before leaving for the UK, where she works in her own West London studio.Condition Reportsplits to the stretcher, knocks to the paintwork, seat rushing in good order, overall sturdy.

A contemporary Macassar-veneered pedestal, in the Art Deco style, mounted with silvered sections, 35cm wide35cm deep122cm highCondition ReportSome wear and fading. Scratches and marks to top. General knocks and wear. Silvered areas cracked. Remnants of sticky label to the side. Additional images uploaded.

TRÈS RARE ET IMPORTANTE TÊTE DE BODHISATTVA EN PIERREDynastie des Qi du Nord (550 – 577 ap. J.-C)AN IMPORTANT AND EXTREMELY RARE LARGE STONE HEAD OF A BODHISATTVA Northern Qi Dynasty (550-577 AD)The serene face with full lidded eyes downcast below high arched brows set with a central urna, with well-defined nose, sensuous bud mouth and set chin, with full rounded cheeks, flanked by the pendulous ears, below the arched centrally-parted black-pigmented hair, surmounted by a tall tri-foliate bejewelled crown, with traces of black, copper-green and azurite pigments, stand. 43.5cm (17in) high. (2).Footnotes:Provenance:Loo & Cie, Art Ancien de Chine, ParisRobert Rousset, Paris (1901-1981); acquired from the above on 21 February 1924Jean-Pierre Rousset, Paris (1936-2021) The wood stand by Kichizo Inagaki (1876-1951; active in Paris from 1906)Elegantly proportioned and superbly carved, the present head is a remarkable testament to the high standards achieved in Buddhist portraiture during the Northern Qi period, one of the most vibrant periods in the history of Chinese art. At this time, Buddhism flourished in China, with several shrines being constructed under the emperor's personal auspices and eminent monks were appointed as state preceptors. Buddhist art experienced a glorious moment following the dissemination of foreign ideas and styles and copious financial resources were devoted to the construction of Buddhist caves whose marvellous sculptures combined powerful and sensuous modelling with subtlety of expression. These features were likely to have derived from the contemporary Indian style of the Gupta period, which was highly regarded by the Qi aristocracy for its exotic traits. The benevolent expression, conveyed by gently downcast eyes and gentle smile of this majestic head, indicate that it represents Avalokiteshvara, also known as Guanyin, the benevolent Bodhisattva of Mercy. In Buddhist faith, images of deities served as important foci of worship and promoted significant devotional acts, which contributed to the devotee's personal growth towards spiritual liberation.Venerated in Indian Buddhism as the embodiment of the Compassion of the Buddha, Avalokiteshvara (known as Guanyin in China) is described in the 'Lotus Sutra', as capable of hearing all mankind, striving endlessly to help those offering prayers, transforming at will and appearing in more than thirty human guises to expound Buddhist teaching to devotees.Compare with a related limestone head of a bodhisattva, Northern Qi dynasty, from the Nelson Atkins Museum, Kansas City (acc.no.F99-1). See also a limestone head of a bodhisattva, Northern Qi dynasty, from the Museum of Art, San Diego, illustrated by K.Tsiang, Echoes of the Past: The Buddhist Cave Temples of Xiangtangshan, Chicago, 2010, p.230, fig.32. See also a related monumental sandstone standing figure of Guanyin, Northern Qi dynasty, in the Metropolitan Museum of Art, New York, illustrated by A.F.Howard, et al, Chinese Sculpture, New Haven, 2006, p.288, fig.3.92.See a smaller white marble head of Mahasthamaprapta, Northern Qi dynasty (34cm high), which was sold at Bonhams London, The Ollivier Collection of Early Chinese Art, 8 November 2018, lot 31.Socle en bois de Kichizo Inagaki (1876-1951; actif à Paris à partir de 1906)Elégamment proportionnée et délicatement sculptée, cette tête est un remarquable témoignage du raffinement atteint dans l'art du portrait bouddhique à l'époque des Qi du Nord, une des périodes les plus dynamiques de l'histoire de l'art chinois. Le bouddhisme était alors florissant en Chine, avec plusieurs sanctuaires en construction sous le patronage personnel de l'empereur, et d'éminents moines nommés précepteurs à la Cour.Avec la diffusion d'idées et de styles étrangers, l'art bouddhique connut une période brillante, et d'abondantes ressources financières furent allouées à la construction de grottes bouddhiques, dont les magnifiques sculptures combinaient modelé puissant et sensuel et subtilité de l'expression. Ces particularités étaient probablement dérivées du style indien contemporain de l'époque Gupta, lequel était très admiré par l'aristocratie des Qi pour ses traits exotiques.L'expression bienveillante, donnée par les yeux délicatement baissés et le doux sourire de cette tête majestueuse, indique qu'elle représente Avalokiteshvara, aussi appelé Guanyin, le bienveillant boddhisattva de la compassion. Dans la foi bouddhiste, les images des divinités étaient d'importants foyers pour le culte, et encourageaient d'importants actes de dévotion, qui contribuaient à la progression personnelle du fidèle vers la libération spirituelle.Avalokiteshvara (appelé Guanyin en Chine), vénéré dans le bouddhisme indien comme l'incarnation de la compassion du Bouddha, est décrit dans le Sutra du Lotus comme capable d'entendre toute l'humanité, s'efforçant indéfiniment d'aider ceux qui l'invoquent dans leurs prières, se transformant à volonté et apparaissant sous plus de trente aspects humains pour exposer l'enseignement bouddhique aux fidèles.A comparer avec une tête de bodhisattva en calcaire similaire, dynastie des Qi du Nord, au Nelson Atkins Museum, Kansas City (acc.no.F99-1). Voir aussi une tête de bodhisattva en calcaire, dynastie des Qi du Nord, au Musée d'Art de San Diego, illustré dans K. Tsiang, Echoes of the Past : The Buddhist Cave Temples of Xiangtangshan, Chicago, 2010, p.230, fig.32. Et voir une statue monumentale de Guanyin debout en grès, dynastie des Qi du Nord, au Metropolitan Museum of Art, New York, illustré par A.F. Howard et autres, Chinese Sculpture, New Haven, 2006, p.288, Fig. 3.92. Voir enfin une plus petite tête de Mahasthamaprapta en marbre blanc, dynastie des Qi du Nord (H. 34 cm), vendu chez Bonhams à Londres, The Ollivier Collection of Early Chinese Art, le 8 novembre 2018, lot 31.北齊 石雕菩薩首來源：巴黎古董商盧芹齋巴黎Robert Rousset（1901-1981）舊藏，於1924年2月21日購自上述巴黎Jean-Pierre Rousset（1936-2021）舊藏木座為稲垣吉蔵（1876-1951，自1906年後活躍於巴黎）所製。北齊帝皇尊崇佛法，屢屢敕建佛寺佛窟，並徵召高僧如僧稠等入朝為師。此佛教隆盛之世，亦為中國佛教藝術高峰之一。本尊首像容貌安恬，冠飾華麗，比例勻稱，雕工審慎，乃北齊佛教造像藝術之代表。融合了豐富多彩的外來文化及藝術風格，兼有皇權護持，佛教藝術在北朝蓬勃發展。在皇室斥巨資並主ý... For further information on this lot please visit Bonhams.com

Set of four contemporary Mosa Holland tiles, three further tiles, Grayshott pottery clock, motto ware teacup and saucer, jug and mug, Royal Albert Old Country Roses, Chinese mud men figures, Spode etc and Quantity of ceramics and glassware to include art glass vase, Royal Grafton, Royal Doulton and Colclough dinner wares, Poole, copper lustre, vases etc in six boxes

KHALED 'KARL' GHATTAS (Egyptian-British, 1958-2007) monotype - 'Head of Dino', entitled verso on Hirschl Contemporary Art Gallery, London label, signed and dated '96 in pencil, 26 x 19cmsComments: framed and glazed

Naomi Campbell / Allen JonesA Limited Collector's Edition Art Book With Allen Jones Multiple Artwork, 2016Number 618 of 1,000. Hardcover with 4 fold-outs, signed by Naomi Campbell, 496 pages, 33 x 46cm (13 x 18.2in), plus companion volume, 368 pages, within a multiple artwork by Allen Jones (2)Footnotes:This signed, limited two-volume Collector's Edition celebrates Campbell's remarkable career amid the greatest legends of fashion and photography with jaw-dropping images and exclusive autobiographical text. Volume 1 showcases the very best of Campbell's portfolio, with photographs from the likes of Mert Alas and Marcus Piggott, Richard Avedon, Anton Corbijn, Patrick Demarchelier, Steven Meisel, Helmut Newton, Herb Ritts, Paolo Roversi, Mario Testino, Ellen von Unwerth, and Bruce Weber, and such unforgettable shoots as Peter Lindbergh's joyful sequence of Naomi dancing as Josephine Baker on the beach in Deauville for Italian Vogue, or Jean-Paul Goude's stunning composition of Naomi racing a cheetah for U.S. Harper's Bazaar.Volume 2 features Naomi's extensive autobiographical text, illustrated by magazine covers, ads, never-before-seen personal snapshots, video stills, and more. Naomi recalls her childhood; the beginning of her modelling career; her work with fashion's greatest designers, including Azzedine Alaïa, John Galliano, Marc Jacobs, Karl Lagerfeld, Gianni Versace; and experiencing the meteoric rise to superstardom. For the Naomi Campbell Art Edition, Jones's artwork deploys stylized contours and smooth surfaces to invoke a sense of touch, while exploring the role of the supermodel in contemporary culture. In Jones's words, 'it does not attempt to illustrate Naomi, but to encapsulate her.' This edition is sold out.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

Halfpenny (William) The Art of Sound Building..., second edition, engraved allegorical frontispiece and 25 folding plates, advertisement leaf at end, rather soiled and stained, title lacking small portion from fore-margin (repaired), several plates torn and frayed at edges, small hole to plate 14, contemporary panelled calf tooled in blind, rubbed, rebacked and recornered, new endpapers, [Berlin Kat. 2266; Harris 282], folio, for Sam.Birt and B.Motte, 1725.⁂ The first book in English on the geometry of arches; this is an expanded version of the first edition issued earlier the same year.

Hill (Thomas) The Profitable Art of Gardening, 2 parts in 1, fifth edition, titles with typographical borders, woodcut initials and 3 illustrations (2 of mazes), lacking portrait, K3, M3 & X2 & 3, contemporary ink signature to first title, slight worming to inner margin, title and some other leaves shaved at head touching head-lines, by Henry Bynneman, 1579 bound with Lawson (William) A New Orchard and Garden. Or The best way for planting, grafting, and to make any ground good, for a rich Orchard, 4 parts in 1, third edition, title with woodcut illustration of men working in an orchard, woodcut decorations, initials and illustrations, some full-page including 5 of knot gardens, lacking final blank, title soiled, cropped shaving woodcut on title and loss of imprint, many leaves shaved at foot (mostly signature and catchword but occasionally affecting final line), tear to margin of M3, small ink stain causing small hole to N4 affecting initial and a few letters, by I.H[aviland] for Francis Williams, 1626, both largely printed in black letter, endpapers from early italic edition of Aristotle's Politics, Evelyn family copy with modern "JE" book-label, [British Bee Books 20 & 7; Henrey 198 & 228; STC 13494 & 15331; cf.Fussell I pp.18 & 31], small 4to⁂ Two scarce 16th century works on gardens with an excellent association. The first item, first issued in c.1558 as A most briefe and pleasaunte treatise, teachyng how to dresse, sowe, and set a garden, and which Fussell calls "except for herbals...our first book on gardening", includes the not always present second part 'A profitable instruction of the perfite ordering of Bees...' with further sections on weather, and planting and "graffing" trees. The other parts in the second item are titled 'The Country Housewife's Garden', 'A Most profitable new Treatise...of propagating Plants by Simon Harward', and 'The Husband-man's Fruitfull Orchard'.

Horology.- Berthoud (Ferdinand) Essai sur l'Horlogerie; dans lequel on traite de cet Art relativement a l'usage civil, a l'Astronomie et a la Navigation..., 2 vol., first edition, mixed set, half-titles, 38 folding engraved plates, foxing and soiling, mostly to vol.1, particularly edge of plates, vol.1 with small hole to outer margin of g1 & Eee1 and old ink library stamp to verso of title, staining to Fff4 & Ggg1 of vol.2, modern horological bookplate of Francis Wadsworth, vol.1 contemporary mottled calf, spine gilt with red morocco labels, vol.2 contemporary sprinkled calf with "Surry Institution" in gilt to upper cover, spine gilt, lacking one label, upper joint split, lower repaired, also spine ends and corners, [Baillie p. 262; Tardy p.31; cf.Berlin Kat. 1769 & Clockmakers' 72, second edition], Paris, J.Cl.Jombert [& others], 1763 § Reid (Thomas) Treatise on Clock and Watch Making, Theoretical and Practical, first edition, half-title, 20 folding engraved plates, occasional light spotting or soiling, modern calf, spine gilt in compartments with red & black roan labels, [Clockmakers' 726; Tardy p.206], Edinburgh, 1826, 4to & 8vo (3)⁂ Comprehensive treatises on horology.

Leadbetter (Charles) The Royal Gauger; or, Gauging made Perfectly Easy, As it is actually practised by the Officers of his Majesty's Revenue of Excise, sixth edition, 8 folding engraved plates (plate 1 in 2 parts), 3 partially hand-coloured, 2 folding letterpress vouchers, with final blank, occasional spotting or soiling, light water-staining to frontispiece and title, engraved bookplate, contemporary calf, rubbed, spine ends chipped, upper joint split, 1760 § Luckombe (P.) The History and Art of Printing, first edition, woodcut frontispiece of Gutenberg, type and ornament specimens, short tear to Zz1 repaired, modern half calf, uncut, spine gilt, W.Adlard & J.Browne for J.Johnson, 1771 § Whittock (N.) & others. The Complete Book of Trades, engraved additional vignette title and plates, illustrations, marginal water-staining, modern half roan, 1837; and another on gauging, 8vo (4)⁂ The first is a guide to regulating shipments of alcohol and other goods.

Leybourn (William) The Compleat Surveyor, Containing the whole Art of Surveying the Land, second edition, lacking engraved portrait and final blank, with title in red and black, woodcut head-pieces, initials, diagrams and illustrations, a few contemporary ink annotations and calculations, a little soiled and stained, rust spots to D, E & F gatherings causing holes to a couple of leaves, tear to Aa4, paper flaw hole to Gg6 with loss of a few letters, a few leaves shaved at foot, contemporary half calf, rubbed, corners worn, rebacked, [Wing L1908], small folio, by R. & W.Leybourn, for G.Sawbridge, 1657.

Lomazzo (Giovanni Paolo) A Tracte containing the Artes of Curious Paintinge, Carvinge & Buildinge, translated by Richard Haydocke, first edition in English, engraved title and 13 full-page illustrations, some after Dürer, woodcut initials and numerous fine typographical ornaments, lacking final leaf (colophon), title with contemporary inscription at head (shaved) and rather soiled and frayed at edges with slight loss to outer corners (neatly supplied in ink and laid down), small stains to A2-3, B5 & D6, some other staining towards end particularly 2O1 & 2, a few leaves shaved at head at end, 2I1 defective at foot with slight loss to ornament and 3 lines of text on verso, a remboitage in later crimson straight-grain morocco elaborately tooled in gilt with wheel design, spine gilt in compartments, later paste-paper endpapers, rubbed, spine faded, [Harris 519; STC 16698; cf.Berlin Kat 4612 & Fowler 186, earlier Milan editions], small folio (c.250 x 180mm.), [Oxford, by Joseph Barnes for Richard Haydocke], [1598].⁂ Lomazzo's influential Mannerist treatise was the first treatise on art to be published in England. It was dedicated to Thomas Bodley and was one of the first works to be presented to the Bodleian Library. "It was the first book on the arts to be translated and the reason for its choice must have been its thorough treatment of painting...". Harris p.297.

Mason (William) The English Garden: a Poem, edited by W.Burgh, first collected edition, ink signature to head of title, contemporary calf, York, A.Ward, 1783 § Shenstone (William)The Works in Verse and Prose..., 2 vol., engraved portrait, frontispiece, title-vignettes, head- & tail-pieces and folding plan of the Leasowes garden, some light browning, contemporary calf, rubbed, rebacked, for R. & J.Dodsley, 1764 § [Whately (Thomas)] Observations on Modern Gardening, third edition, contemporary ink inscription "Sar: Eliza: Ottley 1771" to front free endpaper, contemporary calf, joints split, upper cover becoming loose, [Henrey 1192], for T.Payne, 1771 § Mason (George) An Essay on Design in Gardening, second edition, "greatly augmented", lacking half-title, some light soiling, contemporary mottled calf, [Henrey 1034], for B. & J.White, 1795, all rubbed, the first and last rebacked, spines ruled in gilt with morocco labels, the last with corners repaired; and another edition of the first, 8vo (6)⁂ The second item includes Dodsley's 'Description of the Leasowes, the Seat of the late William Shenstone, Esq.', an important early natural landscape garden. The third, Whately, was commended by Horace Walpole in his own Essay on Gardening. Whately's brother owned Nonsuch Park in Surrey and it was here that he practised his art.

Pyne (William Henry) The History of the Royal Residences of Windsor Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore, 3 vol., first edition, 100 fine hand-coloured aquatint plates, lacking half-titles, dedication in vol.2 and list of plates at end of vol.3, with ink signature of "Frances Henrietta Packe 1861" to front free endpaper and inscription "Walter Campion a remembrance of his aunt & cousin New Year's Day 1879" to pastedown, an excellent clean and bright copy, handsome contemporary red straight-grain morocco cathedral binding with large gilt ecclesiastical window to covers and elaborate borders in gilt and blind, spines gilt in compartments, g.e., a little rubbed and scuffed, some repairs to joints, [Abbey, Scenery 396], 4to, 1819.⁂ William Henry Pyne (1770-1843) was an artist and printmaker who commissioned the artists and engravers of these plates to show an exact record of the interiors of royal residences. The illustrations have been consulted by art historians, curators and archivists at the Royal Collection to research interior schemes and decorative fashions, even down to such details as the arrangements of hanging pictures.

Sandrart (Joachim von) L'Academia Todesca della Architectura, Scultura & Pittura: oder Teutsche Academie der Edlen Bau- Bild- und Mahlerey-Kunste, vol.1 only (of 2), 2 parts & supplement in 1 vol., half-title (cut down and mounted on blank leaf), engraved allegorical frontispiece, portrait, 3 part titles and 116 plates, lacking vignette title to part 2 but supplied in neat contemporary ink manuscript with pen & ink vignette, supplement with engraved title vignette, woodcut initials, engraved illustrations in text, printed in Gothic letter in double column, light water-staining to lower edge, modern half calf, red morocco label, [Millard N.European 111], folio, Nuremberg, printed by Johann-Philipp Miltenberger for Jacob von Sandrart, and Matthaeus Merian, Frankfurt, 1675.⁂ Comprehensive survey of European art up until that time by the first German art historian, including several portraits of artists; without the second volume issued in 1679.

Vitruvius Pollio (Marcus) Architecture ou Art de Bien Bastir, translated by Jean Martin, second edition in French, title within fine woodcut architectural border, numerous woodcut illustrations, mostly by Jean Goujon, some full-page, one folding out, 2 others folding at edge, woodcut initials and head-pieces, large printer's woodcut device to verso of final leaf, title and final leaf repaired at inner margin, some light foxing, contemporary limp vellum, soiled and stained, lacking ties, yapp edges repaired, [Berlin Kat. 1808; Fowler 411; Millard French 166 & 167; Mortimer French 551; Not in Adams], folio (c.350 x 230mm.), Paris, Marnef & Cavellat, 1572.⁂ A good copy of this reprint of the Paris 1547 edition with illustrations from the original blocks, mostly by Jean Goujon and the remainder taken from the Venice 1511 and Como 1521 editions.

Paul Nash (1889-1946), limited edition woodcut on paper, Abstract No. 1, 1924, 10.2cm x 5.1cm, mounted. Published by Garton and Cooke, May 1985. Ed. 12/45.Printed on Japanese Hosho paper by Ian Mortimer from the original woodblocks in the possession of the Victoria and Albert Museum, with blindstamp of the Paul Nash Trust. Mounted. Provenance – Betty Evans Collection, former President of the Contemporary Art Society for Wales

Carltonware Art Pottery ginger jar and cover; together with a contemporary Chinese ginger jar and cover (2)

ARTHUR GIARDELLI (1911-2009), a perspex, box-framed construction/assemblage: varying concentric paper circles, titled verso 'Between the Tides', also inscribed verso in pencil 'Finished 14.2.80', Gallerie Convergence, Nantes, small monogram in pencil lower left. Giardelli's work is held in many Collections including The Tate, The National Museum of Wales, The National Library of Wales, Contemporary Art Society of Wales, Arts Council of Wales, Museum of Modern Art Wales, Brencknock Museum, Tenby Museum & Art Gallery, together with Museums and Galleries in New York, Dublin, Nantes, Bratislava and Prague (73.5cm high x 45cm wide x 6.2cm deep)

Terri College and Richard P. Golding - Okra - A contemporary cameo glass vase in the Columbine pattern, cased in opal and over blue and cut with stylised flowers below an Art Deco geometric border, engraved signature and dated 2007, height 14.5cm, boxed.

Le Corbusier - Cassina - A contemporary model of the LC4 chaise longue, upholstered in pony hide and with a black leather neck roll cushion to the chromium plated tubular frame, stamped Cassina LC4 No. 72184 and with Le Corbusier facsimile signature, all over a black powder coated steel base with rollers. This chaise is offered for sale as a work of art. It may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason should not be used in a private dwelling.

Unknown - A contemporary compartmental bookcase table in the Art Deco style, fitted with a single frieze drawer, on swivel castors, height 63cm, width 60cm and depth 49cm.

Francis Picabia (1879-1953), Jeudi (Thursday), signed and dated 'Francis Picabia 1951' (lower right), oil on canvas, 46x38,5 cm, The elusive and mercurial Francis Picabia (1879-1953) dedicated his life escaping any and every label that couldpossibly be put on him, whether it regarded his personal life or his artistic endeavours.In 1912 a New York Times critic called him the “Cuban who out-cubed the Cubists”, much to Picabia’s pleasure,as he loved to provoke and to play up his “exotic” background. Born in Paris to a wealthy Cuban father and aFrench mother with her own fortune, Picabia actually never fitted in any specific culture or art scene, nor couldhe or would he play the ‘poor Romantic painter’ card.After studying at the École des Arts Décoratifs in Paris, Picabia tries his hand at Impressionism, but whereasMonet and his colleagues work en plein air, Picabia uses postcards as inspiration. This approach is key tohis art: he is playing with the assumptions and structures of a certain style, translating these into a ready-madestyle, and thus questioning the whole movement altogether. The next typical Picabia move is to then make aclean break and jump to a completely different style, while vehemently condemning the previous one. Thisprocedure would become Picabia’s very trademark.Picabia’s career is one that covers most art movements of the first half of the 20th century. After a brief periodof experimenting with Impressionism and Fauvism, he transitions to Cubism, only to denounce the latteragain at the onset of World War I. During WWI Picabia spends quite some time in New York, then a haven forEuropean artists escaping the war. Here he plays a catalytic role in bringing modern art to America. He diveshead over heels into Dadaism together with his Dada friends Marcel Duchamp, Man Ray and the photographerAlfred Stieglitz. His Portraits Mécaniques, in which bodies morph into pistons and pumps, were exhibited atAlfred Stieglitz’s gallery 291 while Stieglitz’s journal of the same name carries numerous other Picabia’s Dadacontributions. Travelling between New York, Zürich and Barcelona, Picabia picks up new artistic ideas and artfriends as new toys to play with, ever ready to let go of them as soon as he becomes captivated by new ones.By 1920 Dada slowly sizzles out and we see Picabia denounce the movement in his typical way with the crypticstatement: “I separated from Dada because I believe in happiness and I loathe vomiting; the smells of cookingmake a rather unpleasant impression on me.”Dadaism is followed by a short fling with Surrealism while the frenzied mood of the 1920s and 1930s is reflectedin Picabia’s skipping between abstraction, figuration and optical illusion on an almost daily basis. Time andtime again he is playing with the fictional idea of originality and the boundaries of good taste. Materials likehousehold paint, feathers and pasta are put to good use in his everlasting attempt to deliberately mock theholiness of a certain style.In 1937, Picabia’s work takes yet another surprising turn as he starts to produce realistic nude portraits. Subjectsfrom soft-core pornographic magazines are worked over with smooth, fluid brushwork to imitate the sheen ofphotographic paper. Initially, their garish appearance was much frowned upon, decennia later to be connectedwith the work of Rauschenberg, Warhol and Koons and considered a tongue-in-cheek attack on mass media.After WWII Picabia leaves Southern France to return to Paris and although plagued by ill health during his finalyears, he keeps on working tirelessly. True to his fierceful dislike of consistency he creates hybrid works thatmerge the very disciplines he had previously helped shape. See the present lot (Jeudi/Thursday, no. 31) on sale,showing one of his latest works of 1951 and in itself reminiscent of a work by him of 1949, titled ‘Colloquium’.“Notre tête est ronde pour permettre à la pensée de changer de direction: Our heads are round so ourthoughts can change direction”, is another famous quote by Picabia. In 2016 the Museum of Modern Art in NewYork took this citation as the title for its extensive exhibition of Picabia’s work. (MoMa, 2016-17). After havingconsidered his manifold and capricious career we can see why. Impressionism, Cubism, Dadaism, Surrealism,Realism: Picabia has been there and done that. As his friend Marcel Duchamp once said, his oeuvre was a ‘akaleidoscopic series of art experiences’.Consistent in being inconsistent is one thing, but the true genius of Picabia does reveal itself if you try to lookpast Style with a capital S. With wispy watercolours on the one hand and kitschy photo-realism on the other,often in one and the same year, he is the first to push the boundaries between high art and low art, betweendelicate good taste and downright kitsch.Especially in this era where the premises of high art and low art are continuously being questioned, Picabia canbe looked upon as a refreshing example who knew how to scramble elements of good and bad taste. Or, in hisown words: “If you want to have clean ideas, change them like shirts.”-Francis Picabia: ‘the grasshopper of contemporary art’ in: Christies, stories, 18-02-2022, Francis Picabia: ‘the grasshopper of contemporary art’ | Christie’s(christies.com)-Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction / by Anne Umland et al. (Catalogue accompanying the major 2016 exhibitionon the artist, jointly organized by The Museum of Modern Art, New York, and the Kunsthaus Zürich. NY : MoMa, 2016-Francis Picabia: the art ‘loser’ who ended up winning it all : an extravagant new retrospective of the avant-garde French-Cuban artist highlights oftentroubling yet always distinctive work / by Jason Farago, in: The Guardian 23-11-2016.-Dada and beyond: The many Artistic lives of Francis Picabia / by Albert Mobilio, in: New York Times 02-12-2016.-Francis Picabia, 1879-1953, MoMa, Art and artists, Francis Picabia | MoMA-Francis Picabia, awful artist and provocatuer of genius / by Michael Gibson, in: New York Times 21-12-2002-Picabia / by W.A. Camfield, NY : Guggenheim Foundation, 1970, Provenance:-Anon. sale, Loudmer Paris, 23 March 1992, cat. no. 175.-Collection Galerie Beaubourg, Marianne and Pierre Nahon, Ventes.-Galerie Lasés, Amsterdam, where acquired by the present owner.Literature: M.L. Borràs, 'Picabia', London 1985, p. 500, cat. no. 1149, illustrated.'Francis Picabia Anthology', p. 195, cat. no. 124, illustrated in colour.Exhibited:-Paris, Palais des Congrès, 'Picabia: dandy et héraut de l'art du XXe siècle', 1980-81, cat. no. 79.-Milan, Studio Marconi, 'Picabia, Opere 1898-1951', February - March 1986, cat. no. 48, illustrated in colour.-Florence, Galleria Vivita 1, 'Francis Picabia', 14 October - 10 December 1988, p. 47, illustrated in colour.-Montrouge, 39ème Salon de Montrouge, 'Picabia et Montrouge-Barcelone', April - May 1994, p. 56, illustrated in colour.-Lisbon, Centro Cultural de Belém, 'Francis Picabia antologia/anthology', 1997, p. 195, cat. no. 36, illustrated in colour.-Vence, Galerie Beaubourg, 'Picabia', July - October 1998.

APEL.LES FENOSA FLORENSA (Barcelona, 1899 - Paris, 1988)."Jeunes filles à la lessive", 1933.Patinated terracotta plaque.Work included in the catalogue of the Fundació Apel.les Fenosa: cat.no. 0145 ("Jeunes filles à la lessive". Provenance: Palmira Fenosa Coll.: Carlota Rotger, La Floresta).Size: 30 x 9 x 7 cm.Two girls enjoy their nakedness while hanging up their clothes and lying in the sun, recreating the joie de vivre of Mediterranean roots, which Apel.les Fenosa adopted for sculpture, modernising canons and language.Trained with Enric Casanovas, Fenosa travelled to Paris for the first time in 1921. There he held a solo exhibition in 1925, which was presented by Max Jacob. Returning to Barcelona in 1929, he held exhibitions at the Sala Parés in 1930, 1933 and 1936. At the end of the Civil War he moved back to Paris in 1939, where he definitively integrated into his artistic life. There he met great intellectuals of the time such as Theóphile Briand, Cocteau, Paul Éluard, Colette, Henri Michaux, Supervielle, Genet and Tzara, and even had a notorious romance with Coco Chanel. During these years his art discovered a vegetal world, populated by flaming female figures, which retain the fresh imprint of the artist's fingers. His works are daughters of the earth, from which they emerge, the fruit of imagination, with all their wild and natural character. He had repeated solo exhibitions at the Parisian galleries Zborowsky and Jacques Dubourg, as well as at the Hanover Gallery in London (1954), the Paul Rosenberg Gallery in New York (1960 and 1961), in Tokyo (1966 and 1981) and Madrid (1967 and 1976), among other cities. He also took part in major group exhibitions such as the Salons de Mai and de Jeune Sculpture in Paris, the Antwerp Biennale, the International Exhibition of the Musée Rodin, the Carrara Biennale, the Contemporary French Sculpture Exhibition of the Ecole de Paris, the Petit Bronze, etc. In 1980 the Musée Rodin devoted an anthological exhibition to him. He also worked in portraiture, painting friends and colleagues. In France he made several monuments, such as the Oradour-sur-Glane monument and the sphinx emblem of the Conseil Constitutionnel in Paris. He is currently represented in the foundation that bears his name in El Vendrell (Tarragona), the Patio Herreriano Museum in Valladolid, the National Library in Madrid, the Rodin Museum in Paris and the Palau de la Virreina in Barcelona, among others.

APEL.LES FENOSA FLORENSA (Barcelona, 1899 - Paris, 1988)."Tête, 1933.TerracottaSigned with monogram at the bottom.Wooden base.Work included in the catalogue raisonné "Apel.les Fenosa", by Raymond Cogniat (ed. Polígrafa, 1966), n.142.Size: 31 x 15 x 18 cm (sculpture); 3 x 17 x 11.5 cm (base).Trained with Enric Casanovas, Fenosa travelled to Paris for the first time in 1921. There he held a solo exhibition in 1925, which was presented by Max Jacob. Returning to Barcelona in 1929, he held exhibitions at the Sala Parés in 1930, 1933 and 1936. At the end of the Civil War he moved back to Paris in 1939, where he definitively integrated into his artistic life. There he met great intellectuals of the time such as Theóphile Briand, Cocteau, Paul Éluard, Colette, Henri Michaux, Supervielle, Genet and Tzara, and even had a notorious romance with Coco Chanel. During these years his art discovered a vegetal world, populated by flaming female figures, which retain the fresh imprint of the artist's fingers. His works are daughters of the earth, from which they emerge, the fruit of imagination, with all their wild and natural character. He had repeated solo exhibitions at the Parisian galleries Zborowsky and Jacques Dubourg, as well as at the Hanover Gallery in London (1954), the Paul Rosenberg Gallery in New York (1960 and 1961), in Tokyo (1966 and 1981) and Madrid (1967 and 1976), among other cities. He also took part in major group exhibitions such as the Salons de Mai and de Jeune Sculpture in Paris, the Antwerp Biennale, the International Exhibition of the Musée Rodin, the Carrara Biennale, the Contemporary French Sculpture Exhibition of the École de Paris, the Petit Bronze, etc. In 1980 the Musée Rodin devoted an anthological exhibition to him. He also worked in portraiture, depicting friends and colleagues. In France he made several monuments, such as the Oradour-sur-Glane monument and the sphinx emblem of the Conseil Constitutionnel in Paris. He is currently represented in the foundation that bears his name in El Vendrell (Tarragona), the Patio Herreriano Museum in Valladolid, the National Library in Madrid, the Rodin Museum in Paris and the Palau de la Virreina in Barcelona, among others.

RAMON MARTÍ ALSINA (Barcelona, 1826 - 1894)."Cloister".Oil on canvas.Signed in the lower right corner.Slight damage to the frame.Measurements: 60 x 77 cm; 80 x 97 cm (frame).In this work Martí Alsina, offers us a vision of a cloister that could well be the one of the Cathedral of Barcelona, showing us the gothic architecture and the iron grilles, made by the best forgers of the time. All this is done with the brushstrokes and pictorial chromatisms of the great master of Catalan landscape painting.Considered one of the most important figures of Spanish realism, Martí Alsina was part of the European avant-garde of the time. He revolutionised the Spanish artistic panorama of the 19th century, was a pioneer of the study of life and the creator of the modern Catalan school, as well as the master of a whole generation, with disciples of the importance of Vayreda, Urgell and Torrescassana. He began his studies in philosophy and literature, alternating them with evening classes at the Barcelona School of Fine Arts until 1848. After completing this first apprenticeship and deciding to take up painting, he took his first steps in the Maresme region, where he began to earn his living by painting portraits in a naturalistic style and landscapes "à plen air". In 1852 he became a teacher of line drawing at the Escuela de la Lonja in Barcelona, and two years later he began to teach figure drawing, a post he held until the accession of Amadeo of Savoy to the throne. In 1853 he travelled to Paris, where he visited the Louvre and became familiar with the work of Horace Vernet, Eugène Delacroix and French Romanticism. Later he became acquainted with the work of Gustave Courbet, the greatest exponent of realism. In 1859 he was appointed a corresponding member of the Sant Jordi Academy of Fine Arts in Barcelona. His first important exhibition was the General Exhibition of Fine Arts in Barcelona in 1851. From then on he exhibited regularly in Barcelona, Madrid and Paris, and was invited to the Universal Exhibition in the French capital in 1889. His prizes included medals at the National Exhibitions in Madrid, third in 1858 for his work Last Day of Numancia and second in 1860 for his landscape. In his last years he lived in seclusion, focusing his efforts on the search for new forms of expression, with an undone brushstroke close to Impressionism. His subjects include numerous landscapes and seascapes, urban views (especially of Barcelona), portraits and human figures, genre scenes, temperamental female nudes, history painting and biblical scenes. He rarely devoted himself to still lifes, although he also painted some still lifes. Works by Martí Alsina are kept in the Prado Museum, the Thyssen-Bornemisza Museum, the National Art Museum of Catalonia, the Barcelona Museum of Contemporary Art, the Museum of the Abbey of Montserrat and the Museum of l'Empordà in Figueras.

RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Couple in a Parisian café".Pencil and crayon on paper.Signed in the lower right corner.Size: 26.5 x 21 cm; 43 x 35.5 cm (frame).Opisso was a painter, draughtsman and cartoonist. In his youth he participated in the Barcelona modernist environment, and in fact in 1894 he began to work as an apprentice with Antoni Gaudí in the works of the Sagrada Família. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his hometown at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004, entitled "Pintura catalana, del naturalisme al noucentisme" (Catalan Painting, from Naturalism to Noucentisme), was particularly noteworthy, in which his work "Carnaval" (Carnival) was exhibited. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).

Bruce Onobrakpeya (Nigerian, born 1932)Negritude signed and dated 'ONOBRAKPEYA/ 1960' (lower right); further signed 'B.P.O.ONOBRAKPEYA/ 4' (verso)oil on board 60.5 x 91cm (23 13/16 x 35 13/16in).(unframed)Footnotes:ProvenanceA private collection.ExhibitedLagos, Nigerian Council for the Advancement of Art and Culture, Nigerian Art Exhibition, 1-22 October 1960.LiteraturePaul Chike Dike and Pat Oyelola, eds., The Zaria Art Society (Lagos: National Gallery of Art, 1998), no. 397, p. 266 (illustrated).Painted in oil, Negritude (1960) is an important early example of Bruce Onobrakpeya's painting practice. Created while the artist was a student at the Nigerian College of Arts, Science and Technology in Zaria, it was featured as a key work in the Nigerian Council for the Advancement of Art and Culture's Nigerian Art Exhibition in 1960. The exhibition brought together work from diverse artists which were presented alongside examples of the cultural and craft traditions practiced across Nigeria to celebrate the country's newly asserted independence from colonial rule. As the artist and historian David H. Dale asserts, the exhibition 'opened the eyes of many foreign visitors to the vast array of varied art works [created in Nigeria]. This was the beginning of Nigeria's Contemporary Art' (Dale, 1998: p. 266). Onobrakpeya's role in establishing this new Nigerian art was foregrounded in the presentation of the exhibition. Working alongside Uche Okeke and Demas Nwoko, he created large-scale murals that decorated the outside of the arts and crafts pavilion. Onobrakpeya's brightly coloured designs were a conspicuous presence in the exhibition space and illustrated the creative possibilities opened up by the innovative talents of the new generation of Nigerian artists that formed the Zaria Art Society. Together, they rejected the centrality of Western artistic traditions in their art education and worked to establish a distinctly modern Nigerian aesthetic by fusing European themes, techniques, and mediums with those indigenous to Nigeria. As Onobrakpeya explains, 'we re-examined our culture – past and present – and extracted what was relevant to us and then synthesized it with foreign concepts which we believed were useful to us' (Dike & Oyelola, 1998: p. 60).The present work depicts a semi-abstracted image of a crow. The bird's feathers are articulated as a series of black teardrop forms that radiate away from the body. Together with the explosive red rays of light emitted from the tailfeathers and body of the cockerel, the feathers imbue the work with a dynamic energy fitting to the postcolonial optimism of Nigeria's independence. An important animal in the religion of Benin, the cockerel itself serves as a potent symbol. The bird throws its head back as it crows to welcome the rising sun – a metaphor for the new dawn ushered in by the dramatic shifts in the political, social, and cultural life witnessed by Onobrakpeya. Furthermore, as the symbol of one of Nigeria's foremost nationalistic political parties active in the 1950s and 1960s, the National Council of Nigeria and the Cameroons (NCNC), the cockerel stands as a political icon of West African independence (see Omojola, 2012: p. 253).The title of Onobrakpeya's painting situates the work within wider discourses relating to Negritude – a Pan-African movement which rejected European colonial domination and turned to indigenous African practices to assert a new, empowered notion of Black identity. Although originating amongst a group of African and Caribbean students in Paris in the 1930s, ideas relating to Negritude were dispersed at the outbreak of the Second World War and informed artists working to construct a Nigerian artistic tradition following the country's independence in 1960: for instance, while Onobrakpeya experimented with abstraction to cast the cockerel as a metaphor for new beginnings, Ben Enwonwu embarked upon his iconic Negritude series which depicted sinuous female figures that embodied a Pan-African celebration of Blackness.Innovative in style and rich in political meaning, Onobrakpeya's Negritude asserts the artist's position at the forefront of contemporary West African art. The charismatic oil presents a rare opportunity to observe how the seismic shifts in Nigerian society were reflected in the country's artistic life and the fundamental role that artists, such as Onobrakpeya, played in forging a new national identity in the postcolonial period. BibliographyPaul Chike Dike and Pat Oyelola, The Zaria Art Society (Lagos: National Gallery of Art, 1998).David H. Dale, 'The Significance of the Zaria Art Society', in Paul Chike Dike and Pat Oyelola, The Zaria Art Society (Lagos: National Gallery of Art, 1998), pp. 265-268.Bode Omojola, Yorùbá Music in the Twentieth Century: Identity, Agency, and Performance Practice (Rochester, NY: University of Rochester Press, 2012).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Bruce Onobrakpeya (Nigerian, born 1932)Leopard in Cornfield inscribed '11/60', titled 'Leopard in Cornfield' (lower left); signed and dated twice 'Bruce P.O. Onobrakpeya/ 1965' (lower right)silkscreenimage: 60.7 x 44.5 cm (23 7/8 x 17 1/2 in)sheet: 62.5 x 46 cm (24 5/8 x 18 1/8 in)(framed)Footnotes:ProvenanceA private collection.ExhibitedLagos, Lagos Court of Arbitration, Onobrakpeya & the Harmattan Workshop, September - December 2016. LiteratureSafy Quel, ed., Bruce Onobrakpeya Symbols of Ancestral Groves (Lagos, 1985), (illustrated, p. 213).Kenny Da'Silve and Ekpo Udoma, ed., Bruce Onobrakpeya Serigraphs: A Revisit to the Sunshine Period 1960 - 1970 (Lagos, 2012), p. 2, (illustrated, p.1).Dele Jegede, ed., Onobrakpeya Masks of the Flaming Arrows (Milan, 2014), (illustrated, p.25).SMO Contemporary Art, Onobrakpeya & the Harmattan Workshop, (Lagos, 2016), illustrated p. 54.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Interior Decoration - a large contemporary circular silvered metal wall hanging, pierced decoration of fans and roundels, 100cm diameter; another similar, gilt metal; a large contemporary circular wavy edged wall mirror, 100cm diameter; box framed wall art (4)

* Austin (Robert Sargent, 1895-1973). A Roman Madonna, 1922, etching, a very good, clear impression of the second (final) state, printing with plate tone on fine pale cream laid paper, with an indistinct Letters watermark, published in an edition of 30 impressions, signed and dated in pencil below the platemark, titled in pencil in the lower left sheet corner,with margins, pale mount-staining, plate size 176 x 150 mm (7 x 5.9 ins), sheet size 271 x 211 mm (10 5/8 x 8 3/8 ins), framed and glazed (35 x 33 cm), with William Weston gallery label to verso, dated 1975, and manuscript note stating that the work was remounted on acid free card in 1990QTY: (1)NOTE:Provenance: William Weston Gallery, London, purchased 2 June 1975 (gallery label verso).Dodgson 36, ii/ii.A Roman Madonna, dating from the period of his engraving scholarship at the British School in Rome, was considered by contemporary critics as the peak of Austin's art as an etcher before he turned to engraving as his principal medium.

* Nicholson (William, 1872-1949). Portrait of Sir Edward Mortimer Mountain, 1918, oil on canvas, signed and dated lower left 'Nicholson / 1918', inscribed to verso of canvas 'Monday 2.30', 76.5 x 72 cm (30 1/8 x 28 3/8 ins), contemporary ornate gilded frame (89.5 x 84 cm)QTY: (1)NOTE:Provenance: commissioned by Eagle Star and British Dominion Insurance Co. Ltd.; transferred to Zurich financial services.Patricia Reed, William Nicholson Catalogue Raisonné of the Oil Paintings, 382 (illustrated).Sir Edward Mortimer Mountain (1872-1948), underwriter and Insurance company manager, played a pivotal role in the history of the insurance industry through the foundation of Eagle Star, an amalgamation of three life-assurance offices, which was the first company to allow 'all-in' comprehensive policy for householders in 1916. The minutes of a meeting of the company's Board on 6 December 1917 state: 'it was carried unanimously that as a mark of appreciation for the special services rendered by Mr Mountian in bringing about the amalgamation of the Eagle, Star, Sceptre and other Companies with this Company, the sum of 500 guineas be set aside for the purchase of a portrait of Mr Mountain to be presented to him, and further, that a copy of same be made for the use of the Company.' (Patricia Reed, William Nicholson Catalogue Raisonné of the Oil Paintings, Modern Art Press/Yale University Press, 2011, p324).Mountain was knighted in the New Year's Honours List of 1918 and on 18 February of that year, WN wrote to his son: 'I am painting a knight who looks like a postboy: makes £30,000 a year out of insurance - very psychic - owns all of Lorna Doone Country' (TGA 8717/1/1652). This was a reference to Mountain's country house, Orr Manor in Somerset. WN had earlier described the sitter as 'a new knight', having the 'face of an ostler' (TGA 8717/1/1/1651). Only one portrait of Mountain by WN is known, and it seems likely that the sitter, who had a large art collection, decided to present the original portrait to the company. Described as 'a small man with great authority and exuberance', he was created a baronet in 1922 (ODNB).Mountain's wartime reputation had been enhanced by his refusal to insure the RMS Titanic on her maiden voyage in 1912.

The Studio, Special Numbers, 40 volumes, 13 in publisher's embossed cloth, including Pen, Pencil and Chalk Drawings by Contemporary Artists, 1911; The Genius of J. M. W. Turner, 1913; Art in 1898, Art Nouveau covers; Special Winter Number 1900-01, and others, together with 21 other volumes by The Studio, most in later bindings, some with plates removed, sold with all faults (61)

TERRY FROST R.A. [1915-2003]. Tree, Tree, 1989. Etching with aquatint on Somerset wove paper with full margins. Signed and inscribed AP 1 from the untrimmed edition, aside from the edition of 75, printed by Hugh Stoneman and Alan Cox at the Print Centre 1989, published by Austin Desmond Contemporary Books Ltd, London. 56.5 x 38.5 cm [image size], 75.5 x 56.5 cm [sheet size]. Unframed. Literature: Terry Frost Prints [Kemp 107]. Collection: Tate Gallery; British Museum; Government Art Collection; Fitzwilliam Museum. Provenance: acquired directly from the publisher. [Very good condition]. Buyers premium 20% + vat payable. Artists Resale Rights [ARR] of 4% are payable on the hammer price of all lots selling for the UK £ equivalent of 1000 euros or more. Bidding via The-Saleroom.com incurs a fee of 4.95% + VAT on hammer price. This lot is stored in London and can be collected or shipped from there.

TERRY FROST R.A. [1915-2003]. Brown Figure, Newbattle, 1957. Lithograph on handmade Barcham Green paper with full margins. Signed, dated '57 and numbered 4/30, printed at Harley Bros, Edinburgh [with their blindstam], published by St George's Gallery, London. 27.8 x 21.4 cm [image size], 53.3 x 38.5 cm [sheet size]. Unframed. Literature: Terry Frost Prints [Kemp 25]. Exhibited: Contemporary British Printmakers St George's Gallery 1957; International Biennial of Colour Lithography, Cincinnati Art Museum, 1958. Collections: British Museum; Southwark Council Arts Collection. [Fair condition, scattered foxing throughout the sheet, small tear to right-hand margin]. Buyers premium 20% + vat payable. Artists Resale Rights [ARR] of 4% are payable on the hammer price of all lots selling for the UK £ equivalent of 1000 euros or more. Bidding via The-Saleroom.com incurs a fee of 4.95% + VAT on hammer price. This lot is stored in London and can be collected or shipped from there.

SAM HAILE [1909-48]. Floating Objects, 1939. ink on paper. signed and dated. 14 x 16 cm - overall including frame 33 x 36 cm. Provenance: Marianne Haile; private collection, UK. Exhibited: 'Surrealist...Sam Haile', 1967-8, Manchester Institute of Contemporary Art, cat. no.32. One of the UK's earliest Surrealist painters - rarely seen on the market. [very good condition - small impressed line near bottom left corner, maybe a slight dig into the paper - unexamined out of frame]. Buyers premium of 20% payable.

Hank O'Neal (born 1940)/Richard Hambleton and Jean Michel Basquiat - Skull 34th Street, 2015/signed and numbered 40/50 verso/C-Print on Aluminium, 104cm x 81cm/with certificate of authenticity from Woodbury House Contemporary Art CONDITION REPORT: Condition appears good. There are some scratches to the back. ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

Follower of Alexander Archipenko. Cubist figure. Watercolour over pencil. 25cm x 18cm. Bears signature.Condition report:Local collector with an interest in Contemporary/Abstract Art, no further provenance.Paper undulate, slight crease top left corner, paper slightly browned. 

An Ingersoll plated metal keyless Mickey Mouse pocket watch, c1930, 50mm, original pictorial card box and a contemporary art deco giltmetal and painted bone lipstick holder, decorated in the manner of Clarice Cliff with balloon trees, a woman and birds, boxed Both in good condition, the watch in working order. Box scuffed and worn on corners and edges

A Turn art nouveau vase, c1900, decorated with flowers on a shaded apricot ground, 13.5cm h, printed mark and two contemporary Royal Worcester jugs, printed and painted with naturalistic flowers on a shaded apricot ground, printed marks (3) Good condition

A contemporary Art Nouveau style pendant necklace brooch. The necklace strung with a plique a jour peacock upon a 925 silver chain having pendant bale and roller clasp fastener verso. Weight 13.72g. Measures approx; pendant 6cm; chain 44cm.

CONTEMPORARY SCHOOL WALL ART, two different untitled pieces, framed, 121cm x 80cm at largest. (2)

Damien Hirst. 2009. Balloon skull. White print on an inflatable balloon. Printed signature. Numbered 2912/5000 by hand in pencil. Published by the London contemporary art magazine. - Weight: 10 g - Sizes: Divers - Condition: At first sight - good condition - no restoration - not repaired - Author / artist: Damien Hirst

LI GUIJUN (CHINESE B. 1964)Standing Nude,1988oil on canvas101.5 x 62 cm (40 x 24 3/8 in.)signed and dated lower right; signed and titled on versoPROVENANCEThe Estate of Milton Gelfand, Pound Ridge, New YorkEXPERTISEWe are grateful to the artist, Li Guijun, for confirming the authenticity of this work.LOT NOTESBeijing artist Li Guijun is known for his exploration of the dynamics of women in a photo realistic fashion. He painted adolescent girls exclusively for almost twenty years, and the current painting is amongst the artist's rare early works that he created at the time of graduation from the Central Academy of Fine Arts in Beijing in 1988. The work comes from the estate of Milton Gelfand, a successful businessman, who traveled extensively around communist China during the Sino-U.S. rapprochement in the 1970-90s and built an impressive art collection mainly comprised of contemporary Chinese paintings and sculpture.

CHUANG CHE (CHINESE B. 1934)Mountainous Abstract,oil and acrylic on canvas97 x 122 cm (38 1/4 x 48 in.)framed dimensions: 111 x 137 cm (43 3/4 x 54 in.)signed lower right; inventory number on versoPROVENANCEPerlman Gallery, Princeton, NJAcquired from the above by the present ownerLOT NOTESChuang Che is a contemporary Chinese artist whose body of work largely consists of abstract paintings often combining the influence of his Chinese heritage with abstract expressionism. Che’s father introduced him to the art of calligraphy, a medium in which is still present in his work. Che studied Eastern painting traditions, alongside several other artists including Liu Guosong, Fong Chung-Ray and Sun Duoci together forming the Fifth Moon Group with the goal to modernize Chinese art. In 1966, Che was awarded the John D. Rockefeller III Foundation travel grant, allowing him to study in the United States. In the late 1990’s Che found himself living and creating work in New York City, which is where he still resides today. This lot is a prime example of Che’s abstract expressionism drawing on his heritage and influence of calligraphy.

BORIS SHCHERBAKOV (RUSSIAN 1916-1995)By the River,1949oil on board16.5 x 29.5 cm (6 1/2 x 11 5/8 in.)framed dimensions: 36 x 49.5 cm (14 1/8 x 19 1/2 in.)signed lower rightPROVENANCEGekkoso Gallery, TokyoEXHIBITIONArt Export Salon of the USSR Art Fund [Khudozhestvenny salon po eksportu Khudozhestvennogo fonda SSSR] (label on stretcher.), Gekkoso Gallery, Tokyo, Contemporary Soviet Paintings, (label on the backing board.)

ALEXANDER KAMANIN (RUSSIAN 1905-1989)Our Winter,1973oil on canvas41.5 x 58 cm (16 3/8 x 22 7/8 in.)framed dimensions: 61 x 77 cm (24 x 30 1/4 in.)signed and dated lower rightPROVENANCEGekkoso Gallery, Tokyo (two labels on backing board.)EXHIBITIONArt Export Salon of the USSR Art Fund [Khudozhestvenny salon po eksportu Khudozhestvennogo fonda SSSR] (label on stretcher)Gekkoso Gallery, Tokyo, Contemporary Soviet Paintings

NIKOLAI SOLOMIN (RUSSIAN 1916-1999)Lenin's Study Room,1950oil on carton25 x 33 cm (9 7/8 x 13 in.)framed dimensions: 44 x 52 cm (17 3/8 x 20 1/2 in.)signed lower right; signed dated and titled on versoPROVENANCEGekkoso Gallery, Tokyo (label on frame.)EXHIBITIONArt Export Salon of the USSR Art Fund [Khudozhestvenny salon po eksportu Khudozhestvennogo fonda SSSR] (label on stretcher.)Gekkoso Gallery, Tokyo, Contemporary Soviet Paintings (label on backing board.)

Tom McGuinness (1926-2006)"Miner and Child"Signed and dated (20)05, numbered 95/200, lithograph, 55cm by 43cmSold together with a letter from the artist's daughterLiterature: Robert MCManners and Gillian Wales, "Interpreting the Art of Tom McGuinness", Gemini Productions, 2006, p.30Born in 1926 in Witton Park, County Durham, Tom McGuinness showed a predilection towards sketching from an early age. In 1944, he was signed up to the coal industry, as part of the conscriptions enforced by the Bevin government, to counteract falling labour within the industry during World War II.Like his contemporary Norman Cornish see lots 22-26, McGuinness was greatly encouraged in his artistic endeavours by Bill Farrell and the Spennymoor Settlement when he joined in the 1940’s. This direction led to the evocative renditions of the mining community which we appreciate today, albeit in two highly distinctive styles.

Henry Moore OM, CH, FBA (1898-1986)'Sheep and Lamb', 1974Signed and numbered 16/50, lithograph, 17.5cm by 18cmSold together with the certificate of authenticity from Christie's Contemporary ArtVery slight cockling to the paper. Otherwise in good overall condition. Not examined out of the frame.

After Jean Miro (1893-1983)Untitledlithograph, 52 x 34cmProvenance: by repute Bonhams; label verso London Contemporary Art, SW6  printed circa 1970s 

GEORG BASELITZ (B. 1938)Er ist es, ich bin es nicht 2018 signed, titled and dated 24. VIII 2018 on the reverse oil on canvas 305.2 by 170 cm. 120 3/16 by 66 15/16 in. Footnotes:ProvenanceGagosian Gallery, London Acquired directly from the above by the present owner in 2018Georg Baselitz with his inimitable style has long been recognised around the globe as one of the greatest painters of the late Twentieth Century. His works adorn the walls of many of the world's most prestigious public and private museums, such as the Tate Gallery in London, the Guggenheim in New York and the Stedelijk Museum in Amsterdam, as well as many of Germany's most prestigious art institutions. In 1980, Baselitz represented Germany at the Venice Biennale and took part at the Documenta 5, 6 and 7 in Kassel in 1972, 1977 and 1982. The Solomon R. Guggenheim Museum in New York was the first to show a comprehensive retrospective of the artist's work in 1995, an exhibition that then travelled widely and in 2007 the Royal Academy of Art in London organized a further significant retrospective. In Er ist es, ich bin es nicht from 2018, an ethereal, weightless human figure is captured mid movement on a staircase, ascending or descending the thinly outlined steps. This large-scale masterpiece focuses on the human body, the atmospheric figure rendered in shimmering golden hues is difficult to approach or perceive. There is nothing in the title to clarify the identity of the figure, but the style in which the work is rendered draws strong parallels to the artist's pivotal Avignon paintings that were featured in the 2015 Biennale di Venezia - a series of eight towering vertical canvases, each containing a single visceral figure. The series was based on Marcel Duchamp's Nude Descending a Staircase from 1912 – a work, generally considered to be an ending, a departure from painting, but also a new beginning and which Baselitz deems to be stolen from Picasso. Instead of following a prismatic Cubist descent, Baselitz's nude vanishes; feet floating, not fully grounded on the thinly outlined, barely corporeal steps, the head disappearing past the canvas. Throughout his career, Baselitz has incessantly revisited certain motifs and this consistent re-evaluation of subject matter forms an anchor within an oeuvre of constant experimentation.In his 'inverted' paintings, Baselitz intended first to unsettle and confound, then to open our eyes to new ways of viewing the world, to liberate the painting from the limits of immediate comparison to reality. Not simply turning them on their heads, but painting portraits and landscapes upside-down, he aimed to produce images devoid of traditional associations or implications, art which paradoxically utilises elements of the representational while enjoying the freedoms of abstraction: 'I have always seen my paintings as independent from meanings with regard to contents – and also independent from associations that could result from them. If one pursues the logical conclusion of that thought, then it follows that if one needs a tree, a person, or a cow in the picture, but without meaning, without contents, then one simply takes it and turns it upside down. Because that really separates the subject from its associations, that simply has to be believed; it defies an interpretation of the contents' (the artist in: Evelyn Weiss, 'Georg Baselitz in conversation with Evelyn Weiss' in Detlev Gretenkort Ed., Georg Baselitz: Collected Writings and Interviews, London 2010, p. 90). Born as Hans-Georg Kern in 1938 in Deutschbaselitz, the small village from which he later took his working name, Baselitz began painting at a young age. He established himself as something of a rebel during his brief period of study at the Art Academy of East Berlin in 1958, where his refusal to conform to the principles of Social Realism quickly led to his expulsion on the grounds of 'sociopolitical immaturity'. He continued his studies in West Berlin, where he was to immerse himself in the avant-garde and in 1969 he produced his first 'upside-down' painting, the style which would define his career and artistic output.Despite being a contemporary of other great German artists such as Gerhard Richter, Sigmar Polke and Anselm Kiefer, all part of a generation of artists grappling with Germany's recent history, Baselitz can be viewed as something of an outsider. Curator Michael Auping puts him into context as follows: 'It can be argued that of all of these artists – each of whom can be identified with a signature style of art making – Baselitz has been the most forceful and Promethean, in many senses of the term, in carving out his new space of inquiry and reordering' (Michael Auping, 'Portrait of Resistance' in Alberto Cetti Serbelloni Ed., Georg Baselitz: Paintings 1962-2001, Milan 2002, p. 6). Today he lives and works in Basel, Lake Ammersee (Bavaria), Salzburg and Imperia (Liguria, Italy).For over half a century, Georg Baselitz has challenged the very limits of color, composition and material. Most distinctive is his habit of inversion which we see to great effect in the present work. Er ist es, ich bin es nicht exemplifies Baselitz at his best, a consummate painter in complete control of his medium, constantly challenging what has come before and as so many of his best works, it tests the often-ambiguous boundaries between the figurative and the abstract. As a result, it is a work of art which pushes the limits, a work produced by an artist who is an inveterate explorer of the unknown and the new.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lot 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

WOLFGANG TILLMANS (B. 1968)The Cock (Kiss) 2002 signed, titled, numbered 3/3 + 1 and inscribed ph. 11/2002 pr.WT 11/2003 on the reversechromogenic printimage: 61 by 50.8 cm.24 by 20 in.frame: 64 by 53 cm. 25 3/16 by 20 7/8 in. This work is number 3 from an edition of 3 plus 1 artist's proof.Footnotes:ProvenanceGalería Juana de Aizpuru, MadridAcquired directly from the above by the present ownerExhibitedBarcelona, Fundació Foto Colectania, Como si nada: Colección Juan Redón, 2003 Barcelona, Galleria MiTO, Imitación a la vida, 2007Valencia, Instituto Valenciano de Arte Moderno, Perdidos en la Ciudad la vida urbana en las colecciones del IVAM, 2016-2017, p. 33, illustrated in colour Castellón, Sala San Miguel de la Fundació Caixa Castelló, Too Much Art Will Kill You, 2019, p. 24, illustrated in colour Barcelona, Fundació Miró El Sentido de La Escultura, p. 159, 2021-2022, illustrated in colourNew York, Museum of Modern of Art, To look without fear, 2022, another version exhibited LiteratureDouglas Stuart, Young Mungo, London 2022, another version illustrated on the coverOther versions of this image are held in the collections of the Tate, London and the Museum of Contemporary Art Chicago, Chicago.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

ROBERT RAUSCHENBERG (1925-2008)Night Walk (Urban Bourbon) 1988 signed and dated 88; dated and numbered 88.194 on the reverseacrylic and silkscreen ink on enamelled aluminium 121.7 by 183.5 cm. 47 15/16 by 72 1/4 in. Footnotes:This work is registered in the archives of the Robert Rauschenberg Foundation, New York, under RRF 88.194.ProvenanceGuy Pieters Gallery, Knokke-HeistAcquired directly from the above by the present owner circa 1989Night Walk (Urban Bourbon) from 1988 is a superbly atmospheric example from the celebrated Urban Bourbon series of paintings on metal that Robert Rauschenberg created between 1988 and 1996. Having travelled widely throughout his life, Rauschenberg participated in numerous international ventures and believed in the power of art as a catalyst for positive social change. From 1984 to 1991 he embarked on the ROCI project, the Rauschenberg Overseas Culture Interchange, intended to spark a dialogue and achieve mutual understanding through creative work. The project was an expression of his long-term commitment to human rights and on a trip to Chile in 1984 Rauschenberg visited a copper mine and foundry where he learned from artist Benito Rojo about the potential of tarnishing agents on copper. He liked the metal's warm reflective qualities, explaining that, 'the metal carries the image instead of the opposite way around, where the paint is the image on the surface.' (the artist in: Galerie Thaddaeus Ropac press release, BOREALIS 1988-92, www.ropac.net, 21 September 2021). Between 1985 and 1995 Rauschenberg went on to create fifteen different series of metal paintings including Urban Bourbon, all on varying supports that incorporated brass, aluminium and copper. The images featured in Night Walk (Urban Bourbon) have been taken from this trip to Chile, although much of the subject matter is familiar and appears in the artist's work throughout his career.Rauschenberg didn't want his paintings to be didactic; rather they are a collection of motifs that lead the viewer on their own journey, and are subject to the viewer's own thoughts, perceptions, and feelings. Photography and printmaking were two of his abiding interests, allowing him to document and reflect the countries he visited and the world around him, and the photographs used in his work are taken by the artist – often on his extensive travels. The title of the present work - Night Walk (Urban Bourbon) – alludes to the dark blue and black background that emphasises the silkscreened and somewhat familiar, everyday imagery of a commercial sign, a classical sculpture, the petals of a rose, a row of open windows and the lattice of patio chairs. The stark contrast of the images overlapping, cropped and interspersed with swift gestural brushstrokes, set against the bi-tonal background conjures up the feeling of a walk at dusk or in the night, when familiar shapes appear from and disappear into the shadows and become less recognisable. The Urban Bourbon works are paintings with expressionistic brushwork and silkscreened images on enamelled, mirrored and anodised aluminium. The title may reference an exchange between Rauschenberg and Willem de Kooning, where the latter artist was offered a bottle of Jack Daniel's by the former in exchange for participating in the now legendary Erased de Kooning Drawing (1953). The rhyme of 'urban' and 'bourbon' also reflects Rauschenberg's appreciation of wordplay. Works from the popular series can be found in the collections of some of the world's most esteemed institutions such as The Albertina Museum in Vienna; ARoS Aarhus Kunstmuseum in Denmark; Fondation Beyeler, Riehen; Los Angeles County Museum of Art; Museum of Contemporary Art and the Whitney Museum of American Art, New York amongst others.Over the course of his 60-year career, Rauschenberg worked in a wide range of media including painting, sculpture, fabric collage, printmaking, photography and performance, challenging gestural abstract painting at a time where Abstract Expressionism was the dominant creative philosophy in America. Studying at the famed Black Mountain College under the tutelage of Josef Albers, he quickly rose to be one of the most influential and experimental artists of his time, a progenitor of practically every post-war artistic development since Abstract Expressionism and the first American to win the Golden Lion, the top prize at the Venice Biennale in 1964. Today, his works are highly sought after internationally, and Night Walk (Urban Bourbon) incorporates some of the artist's most recognisable and iconic techniques. With its juxtaposition between two different modes of paint application: gestural brushstrokes and mechanically reproduced imagery; the artist bridges the gap between Pop Art and Abstract Expressionism and wonderfully demonstrates his skill and keen eye for how imagery in modern media culture could be propagated, transformed and composed.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com