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VALERY KATSUBA (Belarus, 1965)."Fighters. Real Académica de Bellas Artes de San Fernando", 2016.Analogue photograph on hand-printed C-Print photographic paper adhered to aluminium. Copy 1/4.Work published in the catalogue "La tradición académica", Real Academia de Bellas Artes de San Fernando, Madrid, 2017, p. 13.Measurements: 100 x 100 cm; 103,5 x 103,5 cm (frame).This work belongs to a set that was exhibited at the Real Academia de Bellas Artes de San Fernando, in collaboration with the Academy of Fine Arts of Saint Petersburg and the City Council of Madrid, among other institutions.Valery Katsuba began his training at the Admiral Makarov Higher School of Marine Engineering in Leningrad (now the Admiral Makarov State Maritime Academy, St Petersburg), where he completed a degree in meteorology at the Arctic Faculty with honours. He then began postgraduate research under the guidance of Academician Vladlen Adamenko. It was at this time that he met journalist Sergey Kalinin and art historian Catherine Phillips, and under their influence he began working in journalism. Throughout his career he has participated in numerous exhibitions including: 2000 Winter tales. Central House of Artists, Moscow Photo Biennale, Moscow, 2002 Strength and beauty, Every passion is blind and wild. Central House of Artists, Moscow Photo Biennale, Moscow, 2005 Seasons. My friends. Moscow Museum of Modern Art, Moscow Photo Biennale, Moscow, 2006 Phiscultur. Society of Fine Arts (Círculo de Bellas Artes), Madrid, 2014 100 Years On. Scientific-Research Museum of the St. Petersburg Academy of Arts, parallel program of Manifesta 10, European Biennale of Contemporary Art, St. Petersburg, 2014 Morning. St. Petersburg Academy of Arts, 2015 Faraway from home. St. Petersburg Academy of Arts, 2017 Academic tradition: Saint Petersburg-Madrid. Museum de Bellas Artes de San Fernando, Madrid, 2018-19 Models: classics and contemporary. National Museum of San Carlos, Mexico City and 2021 Valery Katsuba: Russian Romantic Realism, Shanghai Center of Photography, Shanghai. His work is currently held in numerous major art collections, among which are for example; Georges Pompidou National Center for the Arts, Paris, El Centro de Arte Contemporaneo 2 de mayo, Madrid, Shanghai Center of Photogaraphy, Shanghai, the State Russian Museum, St. Petersburg, Moscow Museum of Modern Art, Moscow. Moscow Museum of Modern Art, Moscow, Multimedia Art Museum, Moscow, Suzdal Museum of Fine Culture, Suzdal, State Archive of Film and Photo Documents, St. Petersburg, French National Association for Contemporary Art, Paris and the Academia de Bellas Artes de San Fernando, Madrid.

EDGAR PLANS (Madrid, 1977)."Pajaropolus", 2011.Mixed media on paper.Signed with initials, dated and titled in the lower margin.Provenance: Miguel Alzueta Gallery. Particular collection.Size: 70 x 48 cm; 79 x 57 cm (frame). Picasso claimed that learning to paint like the Renaissance artists took him only a few years, while painting like children took him a lifetime. The background of this mythical phrase of the painter from Malaga could well be applied to the singular vision that Edgar Plans imprints on his plastic universe: revealing himself in the face of the annihilation of the spirit of childhood, the artist from Gijón has decided, as Picasso said, to do the most difficult thing: to paint with the same freedom of a child.In the words of the artist himself, "Even as a very young child I have engraved in my memory the cocking of the keys of my father's typewriter (Juan José Plans, 1943-2014). In his studio he had a low table with four seats, and around it, while he was writing, I remember drawing with my brothers". His academic training began at the age of 15 when he started studying at the studio of the artist José María Ramos. Two years later, Plans, he opened his own studio, which had in turn been the studio of the artist Nicanor Piñole. Throughout his career he has participated in numerous group and solo exhibitions, including Art Notes 019, Ainori Gallery, Lisbon, Wall Art Notes, Galería Miquel Alzueta, Barcelona, ArtWynwood. Casa Cuadrada Gallery, Art Paris Art Fair. Miquel Alzueta Gallery, Art New York. Cuadrada Gallery, Busan, Korea. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Kiaf Art Fair. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Art Taipei, Ting Ting art Space, London Art Fair. Miquel Alzueta Gallery, Juxtapoz magazine selection, Tales of art Gallery, Imola, Italy, Kiaf Art Fair. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Art Miami. Miquel Alzueta Gallery. Currently his work can be found in numerous collections of great artistic relevance of particular character, and in relevant institutions such as; the Museum of Contemporary Art of Havana, Cuba, the Museum of Fine Arts of Asturias, the Pinacoteca Eduardo Úrculo, the Illuro Foundation, Masters of Contemporary Art, the Laboral, Contemporary Art Centre, the La Caixa Foundation, the Cristina Peterson Foundation, the Masaveu Foundation, and the Junta del Gobierno del Principado de Asturias, among many others.

LUIS FEITO LÓPEZ (Madrid, 1929).Untitled.Watercolour on paper.Signed in the lower right corner.Size: 29 x 40 cm; 40 x 50 cm (frame).Born and trained in Madrid, he was one of the founding members of the group El Paso. In 1954 he held his first individual exhibition, with non-figurative works, at the Buchholz gallery in Madrid. From then on Feito exhibited regularly in the most important cities in the world, such as Paris, Milan, New York, Helsinki, Tokyo and Rome. Appointed professor at the San Fernando School of Fine Arts in 1954, two years later he left teaching and went to Paris on a scholarship to study the avant-garde movements in force. During this period he was influenced by automatism and matter painting. In 1962 he became a founding member of the El Paso group, with which he had lost contact during his years in Paris. His first works were figurative painting, followed by a phase in which he experimented with cubism and finally moved fully into abstraction. At first he only used black, ochre and white colours, but when he discovered the potential of light he began to use more vivid colours and smooth planes. He evolved until he used red as a counterpoint in his compositions (from 1962) and, in general, more intense colours. In his abstract phase, which includes the 1970s, Feito showed a clear tendency towards simplification, with the circle predominating in his compositions as a geometric form. Possibly, the influence of Japanese art can be seen in his preference for large bands of black. Most of his works are untitled and can therefore be recognised by a number assigned to them. Among his awards is his appointment as an Officer of the Order of Arts and Letters of France in 1985. In 1998 he was awarded the Gold Medal of Fine Arts in Madrid, and was made a Full Member of the San Fernando Royal Academy of Fine Arts. In 2000 he was awarded the Prize of the Spanish Association of Art Critics at the Estampa Salon, in 2002 the AECA Grand Prize for the best international artist at ARCO, in 2003 the prize for the most important artist at the Osaka Art Fair (Japan), in 2004 the Prize for the Culture of Plastic Arts of the Community of Madrid, in 2005 the Francisco Tomás Prieto Prize of the Fábrica Nacional de Moneda y Timbre, and in 2008 the Jorge Alió Foundation Prize and the Grand Prize for Spanish Contemporary Art CESMAI. Luis Feito is represented in the most important museums around the world, including the Gallery of Modern Art in Rome, the Guggenheim, the MoMA and the Chase Manhattan Bank in New York, the Museums of Modern Art in Tokyo, Paris, Rio de Janeiro and Montreal, the Lissone in Italy and the Albright Art Gallery in Buffalo.

CHEMA MADOZ (Madrid, 1958)"Untitled. 1999.Black and white photography. Copy: 5/15.Signed, dated and justified by hand on the back.Size: 30 x 40 cm.Visual paradox is the fertile ground in which Chema Madoz moves. His way of interpreting art through photography and his poetic vision make Madoz one of the most interesting, influential and recognisable creators on the contemporary art scene. Emphasising the irony that underlies the objects and the hidden relationships between them. In a surrealistic search for new meanings, through which to let the imagination wander towards new paths. Playing with the everyday, generating associations, metamorphoses, in a playful background, he generates a singular strangeness. His artistic work has been described as "analytical photography or visual trope" and his visual style as "surreal rationality or the logic of the oneiric", to refer to the compositions of objects that are the protagonists of his works - in the words of the philosopher and art historian Luis Arenas. Madoz manipulates, invents and photographs objects. Defined as a visual poet, the associations he develops from objects as commonplace as a key, a stone or a ladder lead to a torrent of creativity. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented the exhibition Madoz. Objects 1990-1999, the first solo exhibition that the museum dedicated to a living Spanish photographer. Internationally, he has exhibited at institutions such as the Centre Pompidou in Paris, the Nederlands Fotomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, the Museo de Bellas Artes in Caracas and the Multimedia Art Museum in Moscow. He has received the National Photography Award and the PHotoEspaña Award in 2000, and the Culture Award of the Community of Madrid in the category of Photography in 2012, among others.

FINE EWE TEXTILE EASTERN GHANA OR TOGO, EARLY 20TH CENTURY strip woven cloth, a graphic composition, formed of twenty strips with weft woven blocks of yellow, maroon and orange on a blue ground(190 x 127cm)Provenance: The Keir McGuinness Collection of African Textiles Note: It has long been noted that Western modernism was heavily influenced by African artistic traditions. Comparisons have often focused on Cubism’s links with African sculptural and architectural aesthetics. The wide-ranging traditions of African textiles and their influence on Western Modernism are less well known, yet no less significant. Ewe kente cloth offers complex patterns with colour and form expertly balanced to create enveloping compositions. The visual language feels familiar and can begin to recall the vivid abstract geometries of Western artists Paul Klee and Hans Hofmann. Both Klee and Hofmann were influenced by Cubism and the colour palettes of artists like Robert Delaunay and Matisse. In making these links to Western modernism the artists were in turn heavily indebted to the visual languages of African art and textiles, given that they had informed these avant-garde European movements so strongly. The varied aesthetics of African textiles continue to influence contemporary art globally. African American artist, Kehinde Wiley, draws on West African textile design in the patterned backdrops that encroach on his portraits of black sitters in an aristocratic style recalling Old Master paintings. British-Nigerian artist, Yinka Shonibare, uses the colonial legacy of Ankara fabric in his work to subvert Western art traditions and comment on globalisation and the construction of culture. Ghanaian sculptor El Anatsui creates intricate cloth-like sculptures using thousands of shards of recycled aluminium bottle caps, which give the effect of shimmering patterned textiles whilst simultaneously embodying Western commercial influence in Africa. The appeal of African textiles for contemporary artists seems to be linked to their cyclical role in global commercial trade, which can serve to reflect experiences of diaspora communities and disrupt the linear history of Western modernism.

A quantity of cut glass, including tumblers, scent bottles, an art glass wine glass A Batchelor Arlesford codd bottle, five other bottles, two art glass model birds, a clear glass pestle and mortar, a contemporary art glass vase, 10 3/4" high, and other items

Sara Wicks: mixed media on paper, "Songs for Silver Fish", 27" x 20", Contemporary Art Society Market label verso, in stained frame

ELISABETH FRINK R.A. (1930-1993), Eagle Owl, lithograph in colours, limited edition 118/250, signed and numbered in pencil, printed at the Curwen Press, published by Christie's Contemporary Art, 30 1/4" x 22 1/2", aluminium frame (Illustrated) (subject to Artists Resale Right) (Est. plus 21% premium inc. VAT)Very good

A large and impressive panoramic view of the city of Lahore Punjab, Lahore, circa 1840-45watercolour with some gold on paper, 11 separate joined sheets of paper, identifying inscriptions in Persian on painted surface, in mount, framed 24 x 235 cm.Footnotes:The two peaks of Lahore's fortune as a great city were first under the early Mughal emperors, until the death of Aurangzeb, when it was adorned with palaces, gardens and tombs; and second, the period of Maharajah Ranjit Singh, the acme of Sikh power, from his triumphant entrance into the city in 1799 and the establishment of his regime, to the collapse of Sikh rule in the years after his death, and British control of the Punjab. Between those two events it had been captured twice, first by the Persian Nadir Shah, in his catastrophic invasion of India in 1739, and then again by the Afghan Ahmad Shah Durrani.In 1831 the British political officer and traveller, Alexander Burnes, capturing something of the ancient nature of the city, and its various layers of history, wrote:On the morning of June 18th we made our public entrance into the Imperial city of Lahore, which once rivalled Delhi. We moved among its ruins [...] In our evening at Lahore, we had many opportunities of viewing this city. The ancient capital extended from east to west for a distance of five miles, and an average breadth of three, as may yet be traced by the ruins. The mosques and tombs, which have been more stably built than the houses, remain in the midst of fields and cultivation as caravanserais for the travellers. The modern city occupies the western angle of the ancient capital, and is encircled by a strong wall. The houses are very lofty, and the streets, which are narrow, offensively filthy, from a gutter that passes through the centre. (Travels into Bokhara, London 1834).The city was first of all drawn by various European artists, including Frances ('Fanny') Eden (1801-1841), sister of the more famous Emily Eden, who recorded sketching it in her diary for December 1838 (so roughly contemporary with our painting). However, the European doctor, Martin Honigberger, who was in Lahore at the Sikh court between 1829 and 1833, and then again between 1839 to 1849, recorded that he sold a panorama of Lahore by an Indian artist to the Russian painter Prince Alexis Soltykoff. Honigberger apparently took home similar paintings, since in his illustrated memoir Thirty-Five Years in the East (1852) he included lithograph views based on them (see F. S. Aijazuddin, Lahore: Illustrated Views of the 19th Century, 1991, pp. 48-49, no. 15). Woodcut versions, apparently derived from such paintings, but in a much more naive style, were also being produced in the latter half of the 19th Century: for an example, see F. S. Aijazuddin, op. cit., 1991, pp. 84-85, no. 39. At a similar date, panoramas of Delhi, and other highly detailed topographical studies of the city, were being produced by artists such as Mazhar Ali Khan, at the tail end of Mughal power, and Mughal art (for which see J. P. Losty, 'Depicting Delhi: Mazhar Ali Khan, Thomas Metcalfe, and the Topographical School of Delhi Artists', in W. Dalrymple, Y. Sharma (edd.), Princes and Painters in Mughal Delhi 1707-1857, New York 2012, pp. 52-59.)For another example of such a panorama, see Christie's, Arts of India, 10th June 2015, lot 101 (previously at Sotheby's, Exotica: East Meets West, 1500-1900, 25th May 2005, lot 139), which appeared in the exhibition Interaction of Cultures: Indian and Western Paintings 1780-1910, The Fine Arts Museum of San Francisco, 1998, cat. no. 71 (pp. 278-80). For a smaller example from a similar viewpoint, see Christie's, Art of the Islamic and Indian World, 4th October 2012, lot 221.An example of similar size with both English and Persian inscriptions is in the Singh Toor Collection: for a good discussion, along with a survey of the locations and buildings depicted, see D. Singh Toor, In Pursuit of Empire: Treasures from the Toor Collection of Sikh Art, London 2018, pp. 96-101.The monuments identified identified in the inscriptions include (ten have not been fully deciphered):The Shah's tower.The Tower of Rajah Ranjit Singh, construction of which began in 1839, not completed until 1851.The Shah's Tower of Yakki Gate.The Royal (Padshahi) Samman Tower.The Black Gate.The Gate of Light (Roshnai Gate) (illuminated at night).The White (Jasmine) Gate of Jawahir Singh Jiv.The Masti Gate.The Kashmiri Gate (facing in the direction of Kashmir).The Khizri Gate.The Royal (Padshahi) Mosque.The Old Mosque.The Mosque of Vazir Khan.The Hazuri Garden. The Mazhar 'Ali small garden.The Royal Summerhouse.The Sleeping quarter.The Large Sleeping quarter.The Mansion of [...] Nau Nihal Singh Jiv.The Mansion of Sardar Thij [?] Singh.The Mansion of the officer of the army, Khoshhal Singh.The Mansion of Sardar Ahlu Waliyah [?]. The Mansion of Sardar [...] Singh.The Arsenal [?] of Mazhar 'Ali.The Akbari District.The Akbari stable.For further information on this lot please visit Bonhams.com

Charles R. Gerrard ARA (British, b. 1892) The Delhi Gate, Delhioil on board, signed C. Gerrard lower right 51 x 61 cm.Footnotes:The Delhi Gate depicted by Gerrard in this painting was built in the 17th Century, comprising one of fourteen such gates built by Shah Jahan within his city walls, having moved his capital from Agra (the city's original name was Shahjahanabad, after its founder). The Delhi Gate stands at the entrance of Daryagani, linking New Delhi city with the old walled city.C. R. Gerrard was Principal of the Sir J. J. School of Art in Bombay from 1936 to 1946, introducing a keen personal observation of 1930s modernist developments in British and European painting, sculpture, graphic design and architecture. He was assisted in this by exiles from the Nazi regime such as Walter Langhammer and Rudi van Leyden, who with Gerrard directed at the School, invigorated the Bombay Art Society and encouraged modernist and art deco European design amongst local architectural practices and in commercial printing. Despite the pupils' necessarily local origins and inability to travel during the war, Gerrard encouraged groupings of pupils to adopt this eye on Western developments.In 1941 a group referred to as the 'Young Turks' held a show featuring the work of P. T. Reddy, M. Y. Kulkarni, A. A. Majeed, C. Baptista and M. Bhople, artists who regarded themselves as being in modernist opposition to the more Victorian and Edwardian style of Dhurandhar, Haldankar, and Trindade. But more notably in the history of modern Indian art the less tentative group known as the Bombay Progressives emerged. This consisted of Francis Newton Souza (whom, however, Gerrard was forced to expel from the School for his connections with the pro-independence movement), H. A. Gade, S. H. Raza, S. K. Bakre, K. H. Ara and M. F. Husain. Some of Gerrard's pupils retained close ties with Bombay (e.g. K. K. Hebbar and Tyeb Mehta) while others, like Souza and Raza, under his influence embarked for Britain and Europe after the war.Gerrard brought the J. J. to maturity: under enlightened predecessors such as Lockwood Kipling, Solomon Gladstone, Cecil Burns and M. V. Dhurandhar a beaux-arts and arts and crafts traditionality had understandably persisted, but with Gerrard the J. J. became modernist.For discussion of Gerrard and his work, his influence on Bakre and others, and the Bombay art scene at this time, see Y. Dalmia, The Making of Modern Indian Art: the Progressives, New Delhi 2001, pp. 27-28, 189, 240-241; and N. Tuli, The Flamed Mosaic: Indian Contemporary Painting, 1997, pp. 196, 200.For further information on this lot please visit Bonhams.com

Rudolf von Leyden (German, 1908-83) View of Portofinooil on canvas, signed lower left, label of Chemould Gallery, Bombay, on stretcher 51 x 70 cm.Footnotes:Why does a view of the Italian resort of Portofino, painted by an emigré German artist - feature in a sale devoted to India in Art?Rudolf (Rudy) von Leyden, was art critic of the Times of India, and a political cartoonist and satirist. He 'discovered' and encouraged many of the young artists who became the major figures of modern Indian art post-1947. Syed Haider Raza, for instance, travelled to France in 1950 on a scholarship from the Alliance Francaise, with support from von Leyden and Walter Langhammer, and Paris and France, and its landscape, became fundamental to Raza's work of the 50s and 60s. Von Leyden produced a book about him in 1959.Kekoo Gandhy, of the Jehangir Art Gallery, wrote: 'Remember that in those days, Indian artists had no means of going abroad or of following trends in Europe. Of course, there were magazines, but the unexpected arrival of all these Europeans - most of them Jews fleeing from Austria - really started the Progressive movement off'. ('The Beginnings of the Art Movement', Seminar, no. 528, quoted in D. Singh, 'German-speaking exiles and the writing of Indian art history', arthistoriography.files.wordpress.com, p. 16).Rudy von Leyden was born in 1908 in Berlin to a middle-class family, the younger of two sons. He was a man of Jewish descent and of left-wing political views, so the rise of the Nazi party was naturally the main motivation for him to leave Germany. But while, like other such political refugees, he might have gone to France, Britain or the USA, he seems to have chosen India instead, most probably because his elder brother, Albrecht, had been living and working in Bombay since 1927. Rudolf had just finished his studies (he received his PhD in Geology from the University of Göttingen in 1932) and was looking to embark on his own career. He arrived in Bombay in 1933.Geology was rapidly left behind, and he began working in the publicity department of a textiles firm, but also soon showed his interest in visual art. He set up the Leyden Commercial Art Studio, painted watercolours while travelling around the country, and also began series of political cartoons, which he continued to produce throughout the war, publishing under the pseudonym 'Denley', an English-sounding anagram of 'Leyden', and in which he maintained a resolutely anti-Nazi tone.He was a central figure in the art scene in Bombay and elsewhere, collecting Indian art from various periods, organising exhibitions, and actively promoting young, contemporary artists. He wrote articles, for instance, about the work of the Calcutta Group (whose members included, inter alia, Paritosh Sen and Gopal Ghose), founded in 1943He was a contributing editor of the leading art review MARG from 1946 and served as an adviser for the acquisitions and art commissions of the Tata Institute of Fundamental Research (TIFR), which owned one of the most important collections of post-independence Indian art. He collected, and also became an authority on, antique board games and Indian playing cards (ganjifa). Many German or Austrian nationals were arrested as enemy aliens after the outbreak of war in 1939. Von Leyden had managed to acquire a British passport by that time, and used his contacts to help other German-speaking emigres to navigate the British authorities. One fellow artist and cartoonist, Walter Langhammer, and his wife Käthe were rescued from exile and arrest when von Leyden sent Langhammer's cartoons to several influential people in Bombay, to prove his political disposition and loyalty to the British government. Langhammer later became Art Director of the Times of India.For further information on von Leyden and his context, see N. Tuli, The Flamed Mosaic: Indian Contemporary Painting, 1997, pp. 198-201; S. S. Bean (ed.), Midnight to the Boom: Painting in India after Independence, London 2013, pp. 37-42; and M. Arbuthnot, 'Bombay satire: Rudolf von Leyden's political cartoons in India in the 1930s and 40s', British Library blogpost, 12th December 2018.For further information on this lot please visit Bonhams.com

Sven BERLIN (1911-1999)Girl Drinking from a BottleWatercolour on paperSigned and dated '7349x29cmNote: This study is a very similar work to the watercolour 'Teenagers' in David Bowie's collection, that sold for £20,000 in Sotheby's Bowie/Collector Part II: Modern And Contemporary Art, Day Auction, November 2016. Bowie originally acquired the work from Christies in 1993. We sold another similar black and white work in our April Sven Berlin sale.

A modern plaster decorative display bust of an elegant young woman in the Art Deco style, a Art Deco style black and chrome cocktail shaker with hare's head finial, and decorative circular glass wall clock with image of contemporary young woman, diameter 43cm (3).

Maurice Utrillo (French, 1883-1955)L'eglise, circa 1938Oil on canvas25-3/4 x 21-1/4 inches (65.4 x 54.0 cm)Signed lower right: Maurice Utrillo, V PROVENANCE:Private collection, Switzerland;Max Müller, Switzerland, acquired from the above, 1930s;Thence by descent to the present owner, 1973.The Comité Utrillo-Valadon has kindly confirmed the authenticity of this work, which will be included in the next volume of the Catalogue raisonné de l'oeuvre complet de Maurice Utrillo.During the middle decades of the twentieth century, this vibrant late work by Post-Impressionist Maurice Utrillo formed part of the collection of contemporary European paintings assembled by Max Müller, a German-born Dutch citizen who made his fortune exporting the health tonic Sanatogen to Hong Kong, Malaysia, and the Far East. On his travels, Müller routinely frequented galleries, investing in works by both emerging and established artists. Othon Coubine's Bouquet of lilacs in a vase in the present sale is also from his collection (see lot 69006).Utrillo's distinctive, self-taught style—with its strong outlines, simplified flattened forms, and emphasis on church and street views—is as famous as his tortured biography. The son of Suzanne Valadon, an artist's model who evolved into a painter of remarkable force, Utrillo struggled most of his life with alcoholism, depression, and mental illness. Although initially disinclined towards artistic expression, Utrillo was encouraged to paint by his mother as "art therapy" during his turbulent late teens, an approach that greatly helped his mindset. He rechanneled his turmoil into painting with an extraordinary intensity of focus, which in turn enabled him to find periods of emotional balance.Projecting his style onto the world around him, he virtually created his own genre; bold, richly textured scenes of his rustic hometown of Montmartre, where simple figures strolled along the narrow, winding streets. His art went through a distinct evolution from the darker grittier early works of Montmartre nightclubs, seedy bars, and small wooden houses to his now-famous "White Period" which made his reputation during World War I. These paintings possess a white tonality derived from the mixture of plaster and sand into the oil paint, and are characterized by an eerie emptiness—streets with no people. His third "style" is one of brighter colors, sunny blue skies with people milling about, which reflects the influence of Impressionism.The present work belongs to this last category of Utrillo's art, but with the richer depth of color and strong black contours characteristic of his later works. In 1936 he had married Lucie Pauwels and settled into a more orderly bourgeois existence at Vésinet, one of the more affluent suburbs of western Paris. He would make visits to the country to paint provincial churches such as this one. However, from 1937 on, Utrillo was looked after by his friend and dealer Paul Pétridès, owing to struggles with his mental and physical health. Nonetheless, he kept painting and produced works with a deep vein of poetic melancholy that are now cherished by collectors. To honor his mother Suzanne Valadon's unwavering love and support of him, Utrillo took to signing his works with his name, together with a V. HID12701242017

Jules Adolphe Aimé Louis Breton (French, 1827-1906)Jeune pêcheuse bretonne, Douarnenez, 1878Oil on canvas laid on board22-1/8 x 14-1/2 inches (56.2 x 36.8 cm)Signed and dated lower right: Jules Breton 1878 PROVENANCE:Henry Reinhardt, New York, by descent, 1918;Paul Watkins, Winona, Minnesota, acquired from the above;Christie's, New York, October 27, 2004, lot 130;Christopher-Clark Fine Art, San Francisco, California;Private collection, Las Vegas, Nevada, acquired from the above.Upon the occasion of the painting's sale in 2004, Christie's noted that "this work has been authenticated by Annette Bourrut-Lacouture and will be included in her forthcoming catalogue raisonné, Jules Breton, Painter of Peasant Life."During the late nineteenth century, an era marked by rapid industrialization and urbanization, Jules Breton's bucolic subjects were widely admired for their portrayal of rural life in France. The artist's rustic pastoral scenes depicted a simpler time, offered a reassuring sense of tradition and continuity, and championed the poor and laboring peasant class, for whom the artist had a deep affinity and admiration. Breton's first official artistic recognition came in 1855 for The Gleaners (National Gallery of Ireland), followed soon afterwards with a silver medal at the 1857 Salon for The Blessing of the Wheat in Artois (Musée des Beaux Arts, Arras), which was purchased by the French State. Throughout the ensuing decades, Breton's success continued unabated with awards, critical accolades, and enthusiastic patronage both in Europe and abroad. The artist's works were particularly sought-after in America following the Civil War, leading Breton to quickly become the most popular French artist across the Atlantic. In 1877, Samuel G. W. Benjamin wrote that "popular and artistic opinion is more united in favor of the merits of Jules Breton than upon any other living painter" (Contemporary Art in Europe, New York, 1877, p. 92).For Breton and his contemporaries, the agricultural region of Brittany provided the ideal backdrop for scenes of peasant life, as it does in the present work. The province became a popular destination for artists and tourists alike, when the first railway line from Paris was completed in the 1860s, because the traditional way of life there remained relatively unchanged and thus exceedingly picturesque. Age-old methods of farming and fishing were still in use, and Breton peasants, particularly the women, continued to dress in their distinctive traditional attire with bonnets, aprons, and wooden shoes. Douarnenez, a commune in western Brittany, was the location of a centuries-old fishing port, which provided the artist's inspiration for the present work.Painted in 1878 at the height of the artist's career, Jeune pêcheuse bretonne, Douarnenez depicts a young fisherwoman at end of her work day seated upon the rocky shore. Captured in a moment of reverie, the girl rests her chin on the end of her fishing pole, the fading warm late afternoon sun illuminating one side of her face. Since she is backlit by a sky nearing dusk, which glows near the horizon, the young Breton fisher girl is presented in near-silhouette, a very difficult visual effect to paint. By this period Breton's technique was marked by looser brushstrokes and more casual poses of his sitters, qualities that may have derived from the influence of the Impressionists, whose contemporaneous artistic innovations favored freedom of execution over a more static academic approach. A superb draughtsman and colorist, Breton utilized subtle gesture and muted color to create a tranquil mood in this poetic composition. As is the case with most of his peasant scenes, Breton does not dwell on the hardship of girl's labor in this work, opting instead to evoke a more poetic image of youthful wistfulness. HID12701242017

Pettibon, Raymond -- Oh my sister, words cannot undo the doneFeder in Schwarz und Braun auf Velin. 199133 x 25 cm.Verso mit Kugelschreiber in Schwarz signiert "Raymond Pettibon" und datiert.Raymond Pettibon machte erst einen Abschluß in Wirtschaft in Los Angeles, arbeitete kurz als Mathematiklehrer an einer High-School, bevor er seine Karriere als Künstler begann. Pettibon gilt als Kultfigur der Los Angeles Punk Rock Szene, und seine internationle Bedeutung als zeitgenössischer amerikanischer Künstler bezieht sich auf verschiedenste Werke, die Zeichnungen, Text und Buchgestaltung beinhalten. In seinem Werk bezieht sich Pettibon auf das aktuelle Geschehen, Literatur des 19. Jahrhunderts, amerikanische Politik der 1960er Jahre oder auch die zeitgenössische Popkultur. Retrospektiven seiner Arbeiten fanden u.a. im Philadelphia Museum of Art, Santa Monica Museum of Art und im Museum of Contemporary Art, Los Angeles statt. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Sam Francis (San Mateo 1923 – 1994 Santa Monica). Ohne Titel. 1959Gouache auf Papier. 16,8 × 12,5 cm (6 ⅝ × 4 ⅞ in.). Rückseitig mit Pinsel in Schwarz monogrammiert und datiert: S.F. 1959. Dort auch mit Bleistift signiert: Sam Francis. Auf der Rückpappe ein Etikett der Leonard Hutton Galleries, New York.[3077] Gerahmt. Provenienz: Privatsammlung, SüddeutschlandAddendum/Erratum: Das Werk ist registriert im Online Catalogue Raisonné Project der Sam Francis Foundation, Pasadena, unter der Nr. SF59-450. Literatur und Abbildung: First Open - Post-War and Contemporary Art. New York, Christie's, 23.9.2005. Kat.-Nr. 128, m. Abb.Wir berechnen auf den Hammerpreis 32% Aufgeld.

Julius Bissier, 16. Dez. 58Aquarell auf Aquarellpapier 24 x 13,8 cm. Unter Glas gerahmt. Oben rechts braun signiert, datiert und betitelt '16. Dez. 58 Julius Bissier'. - Das Papier leicht unregelmäßig geschnitten.ProvenienzThe Museum of Contemporary Art, San Diego; Esther Robles Gallery, Los Angeles (mit Rahmenetikett); Privatbesitz, Süddeutschland

George Barrett Snr RA (c.1730 - 1784)Sun Rising: An Extensive Wooded Landscape with Fishermen Oil on canvas, 101.5 x 126 cm (40 x 49½")Engraved: by Robert Laurie (Fig 2), published by Robert Sayer and John Bennet, No 53 Fleet Street, London, 10 July 1774Literature: Taking Stock, Acquisitions, 2000-2010, Exhibition Catalogue, National Gallery of Ireland (Dublin, 2009) p. 13: ‘a smaller but equally high-quality version of this picture recently appeared on the London art market’One of the most compellingly dramatic paintings by George Barret, and a masterpiece of eighteenth-century Irish art, this landscape has recently been identified as a painting entitled in the artist’s lifetime Sun Rising.Here, in a work directly inspired by the beauties of the Wicklow landscape, Barret offers a magically rendered account of the moment when, at dawn, the sun emerges anew.Since the builders of Newgrange, sunrise has acquired associations with myth and religion and become richly freighted with symbolic charge – hope for renewal, rebirth or even resurrection. While playing with these multiple and complex resonances, Barret also evokes with great bravura of technique the sheer wonder that dawn presents and offers us a masterly rendering on canvas of the elemental beauty of nature.The painting relates directly to a somewhat larger work in the National Gallery of Ireland, (Christie’s 12/5/2005, £512,000, approx. €615,000) (fig. 1).That the present work is the prototype of the composition and the NGI picture a later reworking, seems apparent from the presence here of distinct pentimenti – signs of where the artist has changed his mind while working on the canvas – and also the evidence of an engraving by Robert Laurie made in 1774 some years after the work was painted (fig 2). This shows two figures in the boat in the foreground (as here), rather than single figure as in the National Gallery of Ireland painting, clearly indicating from which work it was taken. The larger NGI painting, painted on an anomalously sized canvas, is likely to have been a commission to rework this successful composition for a specific location.The print is titled Sun-Rising, and presumably was so christened with Barret’s blessing as he must have made his composition available to the printmaker to copy, or encouraged its purchaser to lend it. Indeed the engraving is a great rarity as its seems to be the only print commissioned after one of his Irish, or Irish-inspired, paintings, suggesting that it was a landscape with which Barret was particularly pleased and proud.Barret, born in Dublin’s Liberties, rose to be one of the most successful landscape painters in eighteenth-century London, and a founding member of the Royal Academy. Here by looking at nature afresh he moves beyond the classical tradition of followers of Claude like Richard Wilson and shows himself a proto-Romantic and, indeed, an important precursor of Turner. This is most apparent in the swirling vortex of light almost entirely surrounded by cloud, a compositional device (with pronounced symbolic charge) that Turner in his late period – many decades later – would take further. Here Barret stands as a pioneer of European landscape art.This aspect of Barret’s practice was astutely commented on by his friend Edmund Burke. Burke writes how the artist: ‘presents you with such a glorious assemblage, as I have sometimes seen among high mountains rising into unusual agreeable appearances while the early beams of the sun sport themselves ... through the vast arcades and sometimes glances on a great lake whose ascending vapours spread themselves like a veil over the distance’. Burke could have been specifically thinking of the present work in which ‘the early beams of the sun’ are individually visible.Writing of the National Gallery of Ireland replica Brendan Rooney notes how it is a ‘profoundly atmospheric painting, the apparent serenity of the river and relaxed activity of the figures upon it are countered by a sunburst that breaks though the trees to the left and the huge, ominous arc of cloud that glowers over the scene’.As Dr Rooney notes, the composition ‘owes a considerable debt to the artist’s experience working in the Dargle Valley’, in county Wicklow. Until recent research made the obvious link with the NGI work, and, indeed, the engraving, the present picture was described quite inaccurately as a Welsh view, ‘Llanberis and Dolbadarn Castle’.It is unclear if a specific location in Wicklow is intended. Perhaps most likely it is based on sketches made in the Dargle Valley worked into a pleasing but not topographically accurate whole.Described by one contemporary visitor as ‘most exceedingly romantic and beautiful’, the scenery of the Dargle which inspired Barret here was instrumental in the swift rise of the Dublin School of Irish landscape painting, pioneered by Barret in the 1750s and ‘60s. Under the patronage of Viscount Powerscourt, and the inspiration of Edmund Burke, Barret painted repeatedly in the area.The Dargle scenery continued to inspire Barret and his first two exhibits in the Society of Artists in London in 1764 were of the Powerscourt Waterfall and the Dargle River. Dr Rooney suggests this juncture in Barret’s career as the date of the present composition, when the young Irish artist, recently arrived in London, was still inspired by the Wicklow scenery with which he had recently so fruitfully engaged. Equally, it is possible that this is one of the paintings that Barret brought with him from Dublin to London.We thank Logan Morse for her assistance in preparing this catalogue entry.

Tony O'Malley HRHA (1913-2003)Arrieta-Orzola (Lanzarote)Oil on board, 91.5 x 122cm (36 x 48'')Signed and dated (19)'88; also signed, inscribed and dated 1988Provenance: With Taylor Galleries, label verso.Literature: Brian Lynch 'Tony O'Malley', published by Scholar Press in association with Butler Gallery, 1996, p.235.The image was used to illustrate an Irish 44p stamp as part of the Europa Contemporary Art Series of stamps, 1993.As a self-taught artist Tony O’Malley’s work did not fit with the prevailing and more traditional styles of Ireland in the 1950s. His initial training and then subsequent relocation to St Ives provided him with an important artistic community with whom he could share ideas and draw inspiration. Much is already known about O’Malley’s ill health and need for a warmer climate which provided the subject matter number of works of the Canary Islands and the Bahamas. While rejecting the term ‘abstract’ in order to describe his works, he recognised his paintings as non-figurative, devoid of objects or people. They were instead reflections of his experiences in nature, observations of what he had witnessed and felt at the time. They are deeply emotive, lyrical and energetic expressions of the world around us.  O’Malley used a range of visual signifiers that often appear across different works, repeated symbols and marks made on the canvas. As in this instance, he is using the end of the brush to scratch lines into the red paint. They draw the eye to the texture of the painted surface but also may suggest the wings of a large bird soaring in the sky overhead. This potential viewpoint looking down on the dark red sands of the island, the distinctive red ochre colour caused by various volcanic eruptions, changes our perspective of the composition. We can see how he uses colour and shape to delineate the different sections of the landscape. The pinks and greens on the edges of the canvas, as flowers and foliage, the dark blue at the bottom, possibly a small rock pool on the beach. This darker colour palette creates a greater depth of tone and exudes a warmth that is often absent in his other works.  Throughout his career he made a series of works based on Lanzarote, a place he often visited with his wife Jane in the winter months of the year. This example takes inspiration from the small costal village of Arrieta located in the northern most townland of the Island. Its verdant sub-tropical climate is populated by Canary Island date palms, ferns and wild olive trees. There is vibrancy and warmth coming from the painting. Gestural shifts in the composition, introducing small sections of colour, varying shapes and lines make the work vibrate with movement. Something is taking flight soaring above us or swimming just beneath the surface of the water. There is a liveliness to his Lanzarote works with his depictions of the landscape here evoking a magical atmosphere by which we get swept up in.  Niamh Corcoran, May 2022

Jack Butler Yeats RHA (1871-1957)Talk (Egglers) (1905)Watercolour, 26.5 x 36.5cm (10½ x 14¼")SignedProvenance: With Victor Waddington, London; N.Bernstein, Dublin; Private Collection, Dublin.Exhibited: London, Baillie’s Gallery, February/March 1905, cat.no.69; Dublin, Leinster Hall, 1905, cat.no.18; London, Waddington Galleries, 1961 as Talk.Literature: Studio162 (July 1961) 27 (repro); Hilary Pyle, Jack B. Yeats: His Watercolours, Drawings and Pastels, Irish Academic Press, 1993, cat.no. 552, illus.Yeats’s painting was first exhibited at the show, Sketches of life in the West of Ireland at Leinster Hall, Molesworth Street, Dublin in 1905 and in London the same year. It depicts two men in a darkened interior. Their heads are close together and one is whispering into his companion’s ear. A distinctly conspiratorial tone is evoked. A contemporary reviewer in 1905 described the figures as ‘typical countrymen … bargaining or preparing to bargain’. The enclosed interior is contrasted by the open view to the left through which a streetscape and shop front is evident. This introduces light and colour into the composition and reinforces the sense of claustrophobia and menace embodied in the two men. The pencil marks of the under drawing are visible in the outlines of the mens’ features alongside the dark brown of the watercolour. White paint is used to highlight the contours of the faces. The figure on the right bears a resemblance to Jack B. Yeats who may have used himself as a model in the work.The original title of the painting was Egglers. Egglers were men who dealt in eggs, an industry that was dominated by women in the Ireland of their day. The period in which this work was painted saw major attempts by the government through the Congested Districts Board and by the Irish Agriculture Organisation Society to regulate the poultry industry. The IAOS paid high prices for eggs from Irish countrywomen in order to counteract the activities of the egglers or gombeenmen whose dealing had a negative impact on the price of this important commodity, as well as affecting the income of many Irish women who depended on the sale of eggs and a fair price for the produce. Like many of Yeats’s other watercolour paintings, this work explores in a humorous manner an important aspect of life in contemporary Ireland. Its exaggerated use of colour and form make this a highly original and expressive painting. As another reviewer noted, ‘everyone who takes an interest in art, and good and rugged art at that, should look in at Jack B. Yeats’s art in Molesworth Street.’Dr Roisin Kennedy, May 2022

AVRIL PATON (SCOTTISH CONTEMPORARY b.1941)  THE ART SCHOOL First edition print, signed, inscribed 'The Lighthouse 8th May 2000', dated (2000), 44 x 33cm Condition Report:Please note the print has been rolled, creased, and is in poor condition.

WARHOL, ANDY1928 Pittsburgh, PA/USA - 1987 New YorkTitel: Lamentation. Datierung: 1986. Technik: Farbserigrafie auf Lenox Museumskarton. Darstellungsmaß: 91 x 91cm Rahmen: Rahmen. Auf der Rückseite befinden sich die Stempel mit den Bezeichnungen: "The Estate of Andy Warhol" und "Authorized by the Andy Warhol Foundation for the Visual Art". Bei der Serigrafie handelt es sich um einen TP-Abzug mit Unikatcharakter. Das Motiv ist eines von dreien aus der Mappe "Martha Graham", die anlässlich des 60jährigen Bestehens des Martha Graham Center of Contemporary Dance in New York entstand.Zu dieser Arbeit liegt eine Kopie des Fotozertifikats von der Andy Warhol Foundation for The Visual Arts, Inc., New York, vom 20. August 2006 vor. Der Abzug hat die Nr. PT 144B UT.009.Provenienz:- Privatsammlung- Privatsammlung BelgienLiteratur:- Vgl. Feldman, Frayda/Schellmann, Jörg: Andy Warhol Prints, A Catalogue Raisonné 1962-1987, Mailand 2003 (4. Aufl.), WVZ.-Nr. II.388. Andy Warhol USA Pop Art Fotografie Nachkriegskunst Grafik 1980er Tanz / Tänzer Druckgrafik Serigrafie FrauErläuterungen zum Katalog

FÖRG, GÜNTHER1952 Füssen - 2013 Freiburg i. BrsgTitel: Villa Malaparte. Untertitel: Unikat. Datierung: 1990-1991. Technik: Gelatinesilberabzug.Darstellungsmaß: 177,8 x 118cm Rahmen: In Künstlerrahmen (186 x 127,5 x 5,5cm). Bei dieser Arbeit handelt es sich um ein Unikat.Provenienz: - Privatsammlung Schweiz- Phillips, New York, Auktion Veronica's Revenge - Contemporary Photography from the Lambert Collection, 8./9.11, 2005, Lot 131- Galerie Max Hetzler, Berlin- Privatsammlung BerlinAusstellungen:- Centre d'Art Contemporain, Genf/Recontres Internationales de la Photographie, Arles/Museum van Hedendaagse Kunst, Antwerpen/Deichtorhallen, Hamburg/City of Prague Gallery, Prag/Musée National d'Histoire et d'art, Luxembourg/Centro Portugeès de Fotografiia, Porto/ Museum for Moderne Kunst, Arken/Museum of Contemporary Art, Sidney, 1997-2001Literatur:- Janus, Elizabeth (Hrsg.): Veronica's Revenge: Contemporary Perspectives on Photography, Zürich/Berlin/New York 1998, S. 251, Abb. Günther Förg Deutschland Abstraktion Nachkriegskunst Fotografie 1990er Landschaft Fotografie GelatinesilberabzugErläuterungen zum Katalog

Phanuel Chakuda (Zimbabwean, b.1953)Hippopatamuscarved in black serpentine on an associated white marble plinth, 2cm high, signed43cm highProvenance: A private collection. The Contemporary Fine Art Gallery, Eton.No obvious major faults.

*Nichola Theakston (b.1967)'Wildebeest', the pottery beast depicted at rest64cm long39cm highProvenance: A private collection. The Contemporary Fine Art Gallery, Eton.*Artist's Resale Right may apply to this lot.The hind left leg has been broken off from the main body previously and has been glued back together, this has been neatly done leaving a small crack but please refer to condition report images for detail. There is a small mark to front of the hind right foot. Light surface dust. No other obvious flaws.

‡David Vivians (20th Century) Portman Hunt Race; Isle of Wight Adjacent Hunts A pair, both signed David/Vivians (lower right), the former inscribed and dated PORTMAN HUNT RACE/4PM 1965 (lower left); the latter inscribed and dated I.O.W ADJACENT HUNTS/4.30 7.5.66 (lower left) Both oil on board Each 43.7 x 69cm (2) Provenance: Woolley and Wallis, Salisbury, 20th Century and Contemporary Art, 8 June 2016, lot 227

‡Peter Howson (Scottish b.1958) Strong Man and Dog Signed Howson (lower right) Pastel 59.6 x 44.2cm Provenance: The Contemporary Fine Art Gallery, Eton, where purchased by the present private collector, November 2003

‡Charles Harvey (1895-1970) The Yacht Club, Dartmouth Harbour (recto); Landscape with a shepherd and his flock, the sea beyond (verso) Signed CHARLES HARVEY (lower right) Oil on board 45.5 x 36.9cm Unframed Provenance: Woolley and Wallis, Salisbury, 20th Century & Contemporary Art, 8 June 2016, lot 194

‡Sally Anne Fitter (b.1963) A Calm Day at Golant Signed and inscribed A calm day at Golant/SA Fitter (to reverse) Oil on canvas 76.5 x 76.5cm Provenance: McTear's, Glasgow, The Scottish Contemporary Art Auction, 13 December 2020, lot 885

A George V Art Deco 9ct gold cigarette case, banded design, with push button, hallmarked to interior and bearing contemporary inscription, 8 cm by 8.5 cm Birmingham 1927, 109g

PAN Das wichtigste Organ des deutschen Jugendstils Hrsg. von der Genossenschaft PAN. Redaktion von O. J. Bierbaum und J. Meier-Graefe. Jgge. I-V in 10 Bänden (komplett, alles Erschienene). Berlin, PAN und (ab Jg. II) Fontane 1895-1900. - Vollständiges Exemplar der bedeutendsten und reich ausgestatteten Kunst- und Literaturzeitschrift der Jahrhundertwende - Mit der häufig fehlenden Farblithographie Mademoiselle Marcelle Lender von Henri de Toulouse-Lautrec 'Pan was the first significant German periodical of the Nineties devoted to contemporary art and literature' (Eleanor Garvey) Exemplar der allgemeinen Ausgabe auf Kupferdruckpapier, erschienen in einer Auflage von 1100 bis 1500 Exemplaren. Sämtliche Kunstbeilagen im Rand typographisch bezeichnet und auf verschiedenen Papieren gedruckt, darunter Japan, China, Kaiserl. Japan, Bütten und Kupferdruckpapier; tlw. in der Platte signiert, bzw. monogrammiert. - Enthalten sind u. a. Originalgraphiken von H. de Toulouse-Lautrec (Delteil 102), P. Behrens, L. von Hofmann, A. Illies, M. Klinger (Singer 226; 244), K. Kollwitz (Klipstein 10 IIc), M. Liebermann (Schiefler 35 IVb 2, 42 IIb 2, 44 IIIb 2,49 b 2), E. Orlik und A. Rodin. - Exemplar mit der Verlagsankündigung (zu Beginn von Bd. 2 gebunden) für die Fortführung der Edition ab Bd. II, mit einer Liste des Aufsichtsrats der Genossenschaft PAN und der Herausgeber-Kommission. 'Von den anderen literarischen Zeitschriften unterscheidet Pan besonders sein umfangreicher Inhalt (Literatur und Kunst), sein buchkünstlerisches Wollen und seine Ausstattung' (Schlawe). - Die Zeitschrift ist 'außerordentlich in ihrem Folioformat, frei von Renaissance und Gotik, aufsehenerregend durch die animalische Dämonie des Pan-Kopfes auf dem Titelblatt .. einer der großen Sammelplätze und Aufbruchsorte der neueren deutschen Buchkultur' (Schauer). EINBAND: Lederbände der Zeit (in unterschiedlichen Brauntönen) mit reicher Blindprägung und goldgeprägtem Rücken- und Deckeltitel (Orig.-Umschläge eingebunden). 37 : 28,5 cm. - ILLUSTRATION: Mit 106 tlw. farbigen Orig.-Graphiken von H. de Toulouse-Lautrec, P. Behrens, P. Signac, K. Kollwitz, M. Liebermann, H. van de Velde u. v. a. sowie 126 tlw. farbigen Tafeln, 2 Musikbeilagen und sehr zahlreichen tlw. farbigen Textabbildungen. - PROVENIENZ: Alle Bände meist auf dem Titel mit Stempel der Städtischen Öffentlichen Bibliothek Odessa, datiert 2. April 1904. - Schweizer Privatsammlung. LITERATUR: Söhn, HDO 525-530. - Bauch S. 236. - Dok. Bibl. I, 426. - Garvey/Wick 98. - Kirchner 15508. - Schlawe I, 48ff. - Schauer I, 20ff. Complete copy of the most important and richly furnished art and literature magazine of the turn of the century. - 1 of 1100 resp. 1500 copies on copperplate paper. 10 vols. (all published). With 106 orig. prints, partly in color, by H. Toulouse-Lautrec, M. Klinger, K. Kollwitz, A. Rodin etc. Brown leather bindings (differently colored) with rich blindtooling and gilt tooled title on spine (orig. wrappers bound in). - First vol. with library label on spine. here and there with larger brown stains, 1 plate stronger damp stained. Inner joints slightly shaken in parts, bindings partly somewhat scraped, spines and boards partly discolored. In general well-preserved copy. - Mostly the titles with stamp of the library of Odessa, dated 1904. - Swiss private collection. Dieses Objekt wird regelbesteuert angeboten (R).

* GEORGINA MCMASTER (SCOTTISH b. 1980),HOLLYoil on canvas, signed image size 72cm x 92cm, overall size 93cm x 113cm Framed and under glass.Note: A commissioned painting from a private collection.Note 2: In The Scottish Contemporary Art Auction of 6th March 2022, "Camouflage" (lot 206) by Georgina McMaster sold for £4400 (hammer) setting another UK auction record price for one of Scotland's most notable young artists.

* GEORGINA MCMASTER (SCOTTISH b. 1980),GLYNISoil on canvas, signedimage size 51cm x 61cm, overall size 71cm x 81cm Framed and under glass.Note: In The Scottish Contemporary Art Auction of 6th March 2022, "Camouflage" (lot 206) by Georgina McMaster sold for £4400 (hammer) setting another UK auction record price for one of Scotland's most notable young artists.

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),LOCHGILPHEAD REFLECTIONSoil on board, signed and dated '99, further signed, titled and dated versoimage size 60cm x 60cm, overall size 78cm x 78cm Framed and under glass.Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick'sTug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),WINDY DAY, TAYVALLICHoil on board, signed and dated '97, titled label versoimage size 49cm x 49cm, overall size 67cm x 67cm Framed and under glass. Label verso: Macaulay Gallery, East Lothian.Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick'sTug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.Condition is good overall, with no visible signs  of restoration, damage, or known issues.

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), MONTEJAQUE FROM THE GARDEN OF EL NARANJO oil on card, signed and dated 2001, titled versoimage size 40cm x 46cm, overall size 60cm x 64cm Framed and under glass.Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).

* HAMISH MACDONALD DA PAI (SCOTTISH 1935 - 2008),PITTENWEEM HARBOUR oil on board, signed and titledimage size 29cm x 35cm, overall size 47cm 52cm Mounted, framed and under glass.Note: Hamish MacDonald was born in Glasgow in 1935. He studied at Glasgow School of Art between 1963 and 1967. From 1968 he successfully combined painting with teaching and also guest lectured throughout Scotland. In 1991 he retired from his post as an Art Department Principal to concentrate fully on the development of his painting. Much of his work was inspired by the Scottish Colourist movement, but MacDonald preserved an individuality which marks him out as both a vibrant and important artist. Throughout his career he succeeded in capturing dramatic scenes with his own passionately innovative palette. Hamish MacDonald is now widely regarded as one of Scotland's most successful contemporary artists. Since 1964, Hamish staged numerous solo exhibitions in Scotland and Cornwall. He also participated in group shows with prominent galleries in London and throughout the UK. His works can be found in many major collections throughout the world.

* PAUL REID (SCOTTISH b. 1975),CROUCHING WOMANmixed media on paper, signedimage size 40cm x 33cm, overall size 62cm x 53cm Mounted, framed and under glass.Note: Paul Reid is undoubtedly one of the great figurative painters to have emerged out of Scotland in recent years. His personalized interpretations of ancient myths have attracted a growing and enthusiastic audience, with highly successful exhibitions recently held in Edinburgh and Harrogate. A major publication of his work was published by 108 Fine Art in 2006, with an introduction written by His Royal Highness The Prince of Wales and essay by Laura Gascoigne. Paul Reid studied at Duncan Of Jordanstone College Of Art, Dundee from 1994 – 1998. He was awarded a Carnegie Trust Vacation Scholarship and the John Kinross Scholarship. His work is held in numerous public and private collections including JK Rowling and HRH Prince of Wales. In 2002, The New Statesman named him as one of the "Best of New British under the age of 35". In 2004 Paul accompanied HRH The Prince of Wales on a trip to Turkey and Jordan, completing a series of paintings and drawings based on the landscape and people of the areas visited. In 2009 he again accompanied HRH on a visit to Canada. His first public art gallery exhibition was arranged by 108 Fine Art, and toured the UK in late 2007 / 2008. The exhibition charted the development of his work over the previous ten years, with the emphasis on his series of paintings, based on ‘The Minotaur’ and, ‘Circe’. In a review by Iain Gale, “Six of the best painters point the way forward”, in Scotland on Sunday: “Since he burst on to the British art scene three years ago, shaking up received notions of what contemporary art was about, Paul Reid has been gathering a loyal audience with his unique take on the apparently redundant tradition of neo-classical painting. His art is unlike anything else you will see on the contemporary scene. While some others might imitate the old masters, Reid creates his own vocabulary and towers over his rivals through his sheer draughtsmanship and feel for paint. But there is nothing reactionary about this work. Reid is not attempting single-handedly to subvert the current trend for conceptualism, some of which he admits is powerful and valid. Rather he sees himself as part of a bigger picture, using Greek myth as it was originally intended to be used, as a metaphor through which to tap into basic human truths and mysteries.” Paul Reid is represented by The Scottish Gallery (Edinburgh).

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),GIOVANNI'S ALLOTMENT, TUSCANYoil on board, signed, titled label versoimage size 51cm x 102cm, overall size 64cm x 115cm Framed.Handwritten artist's label verso.Note: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years, he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian clifftop villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In the Scottish Contemporary Art Auction of 8th November 2020 lot 567 "The Red House" a 60 x 90cm oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.Condition is good overall, with no visible signs  of restoration, damage, or known issues. Provenance is from a private Scottish collection. 

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),LANDSCAPE IN TUSCANYoil on board, signed, titled labels versoimage size 21cm x 16cm, overall size 37cm x 33cm Framed.Handwritten artist's label verso.Label verso: The Open Eye Gallery, Edinburgh.Note: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule, and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years, he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian clifftop villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In the Scottish Contemporary Art Auction of 8th November 2020 lot 567 "The Red House" a 60 x 90cm oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.

* RYAN MUTTER (SCOTTISH b. 1978),TITANICoil on canvas, signedimage size 121cm x 101cm, overall size 137cm x 117cm Framed.Note: "Titanic" is almost certainly the best-known example of Ryan Mutter's work. It was acquired soon after it was exhibited and has remained in the same private collection ever since. Note 2: Born in 1978, Ryan Mutter studied at The Glasgow School of Art, where he graduated in 2001. He has since won many distinguished awards, including a remarkable six from the Royal Glasgow Institute of Fine Arts. His inspiration comes from Britain's industrial heritage and its connection between man and the sea. In Glasgow alone, shipbuilding provided work for 70,000 men in more than 50 yards spread along 11 miles of quayside. But today these yards sit empty, a silent shadow of their former self. The advancements made in technology and design methods superseded the old, and made once important skills and craftsmanship redundant. This is what drives Ryan as he looks to capture and remind people of how important this workforce was in the development of the modern world. Ryan has built up a formidable reputation as a powerful contemporary painter of Industrial and Maritime subjects. His bold realism combined with expressionistic brushwork transports you into a world of arresting detail and mechanised splendour. Perhaps unsurprisingly, very few of Ryan Mutter's paintings appear at auction (anywhere) and his larger work is even rarer. However, in The Scottish Contemporary Art Auction of 28th March 2021, lot 517 "Cutty Sark in Moonlight" a relatively small 38 x 46cm oil on canvas (by Ryan Mutter) sold for £3000 (hammer)

* JOHN HASKINS (BRITISH b. 1938),SUMMERTIME PLAYoil on board, signedimage size 49cm x 53cm, overall size 80cm x 83cm Mounted, framed and under glass.Note: John Haskins is a contemporary painter with vibrant flair and an impressionist style and remains a firm favourite among collectors. With a successful career spanning decades, Haskins has firmly established himself among some of the country’s most popular and collectable artists of today. He began his artistic career in illustration. After gaining his City and Guilds Diploma in illustration at art school, Haskins had a successful early career as a Chief Technical Illustrator with British Aerospace, Rolls Royce and NASA. Today, from his home studio in the heart of the English countryside, Haskins continues to create paintings that reflect all the atmosphere and colour of his surroundings. His lifelong attention to detail lends an authenticity to the rural scenes he depicts in his landscapes. His figurative work too remains equally authentic; occasionally using his daughters and grandchildren as models, his figurative paintings vividly evoke intimate memory and nostalgia. John Haskins’ long and established career as an artist has seen great success. The universal popularity of his work has yielded successful exhibitions and one-man shows over the years in London, Frankfurt, Paris, Edinburgh, Los Angeles, Melbourne and Sydney, among others. His paintings can be found in major galleries and private collections around the world, and continue to be sought-after by a wide range of collectors. His published work also continues to thrive, with many international publishers specially commissioning his work for prints, limited editions and greeting cards.

* JOHN HASKINS (BRITISH b. 1938),THE WATERING PLACEoil on board, signed, titled label versoimage size 49cm x 59cm, overall size 71cm x 81cm Framed and under glass.Note: John Haskins is a contemporary painter with vibrant flair and an impressionist style and remains a firm favourite among collectors. With a successful career spanning decades, Haskins has firmly established himself among some of the country’s most popular and collectable artists of today. He began his artistic career in illustration. After gaining his City and Guilds Diploma in illustration at art school, Haskins had a successful early career as a Chief Technical Illustrator with British Aerospace, Rolls Royce and NASA. Today, from his home studio in the heart of the English countryside, Haskins continues to create paintings that reflect all the atmosphere and colour of his surroundings. His lifelong attention to detail lends an authenticity to the rural scenes he depicts in his landscapes. His figurative work too remains equally authentic; occasionally using his daughters and grandchildren as models, his figurative paintings vividly evoke intimate memory and nostalgia. John Haskins’ long and established career as an artist has seen great success. The universal popularity of his work has yielded successful exhibitions and one-man shows over the years in London, Frankfurt, Paris, Edinburgh, Los Angeles, Melbourne and Sydney, among others. His paintings can be found in major galleries and private collections around the world, and continue to be sought-after by a wide range of collectors. His published work also continues to thrive, with many international publishers specially commissioning his work for prints, limited editions and greeting cards.

* JOHN HASKINS (BRITISH b. 1938),WELCOME SHADEoil on board, signed, titled label versoimage size 29cm x 39cm, overall size 55cm x 65cm Mounted, framed and under glass. Artist's label verso.Note: John Haskins is a contemporary painter with vibrant flair and an impressionist style and remains a firm favourite among collectors. With a successful career spanning decades, Haskins has firmly established himself among some of the country’s most popular and collectable artists of today. He began his artistic career in illustration. After gaining his City and Guilds Diploma in illustration at art school, Haskins had a successful early career as a Chief Technical Illustrator with British Aerospace, Rolls Royce and NASA. Today, from his home studio in the heart of the English countryside, Haskins continues to create paintings that reflect all the atmosphere and colour of his surroundings. His lifelong attention to detail lends an authenticity to the rural scenes he depicts in his landscapes. His figurative work too remains equally authentic; occasionally using his daughters and grandchildren as models, his figurative paintings vividly evoke intimate memory and nostalgia. John Haskins’ long and established career as an artist has seen great success. The universal popularity of his work has yielded successful exhibitions and one-man shows over the years in London, Frankfurt, Paris, Edinburgh, Los Angeles, Melbourne and Sydney, among others. His paintings can be found in major galleries and private collections around the world, and continue to be sought-after by a wide range of collectors. His published work also continues to thrive, with many international publishers specially commissioning his work for prints, limited editions and greeting cards.

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),NEAR JOUCAS (PROVENCE)oil on board, titled verso but obscured by the backboardimage size 41cm x 42cm, overall size 58cm x 60cm Framed and under glass.Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).

Trevor Price (British, b. 1966) Feast II Coloured print on hand made paper Signed and numbered 39/100 in pencil Framed and glazed  57 x 58 cm (22 x 22 in) Trevor Price is a member of the Royal Society of Painter Printmakers (since 1991) and Vice President (2013 - 18). He has work in various collections including His Royal Highness Prince Michael of Kent, Victoria and Albert Museum (London), Ashmolean Museum (Oxford), Fitzwilliam Museum (Cambridge), Yinchuan Contemporary Art Museum (China), Guangdong Museum of Art (China), Yale University (USA), Office of Public Works (Dublin), University of Wales, Bank of England etc. Also obtaining many awards including Printmaking Today award, Bankside Gallery 2017, Mall Galleries 1997, Clifford Chance award. Royal Society of Painter Printmakers annual show. Bankside Gallery 2017, Wyndham award. Royal Society of Painter Printmakers annual show. Bankside Gallery 2014, Invited 'Printmaker of the year' 2011 at Printfest. North Britons only annual art event dedicated to Printmaking, Royal Society of Painter Printmakers. University of Wales purchase award 2005. Julian Trevelyan Outstanding Printmaker award. National Original print exhibition 2001.  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) Reface Digital print on paper with gold pen (Hirst + Face)   Signed to the verso and numbered 6/13 to the front 70 x 61 cm (27 x 24 in) each one 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 recorded 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. 

Su Trembath (b. 1965)DreamMixed media on paperFramed and glazed with paper labels to the verso 85 x 120 cm (33 x 47 in)Artist, born in Rustington, Sussex, who studied at Bristol Polytechnic, Humberside College of Higher Education, Edinburgh College of Art and Cheltenham & Gloucester College of Higher Education. She gained an Andrew Grant Bequest Major Award & Travel Scholarship, 1989; Helen Rose Bequest, same year; Winsor & Newton Prize, Edinburgh College of Art, and 1st Prize, Macallan Award, RSA Student Exhibition, both 1990. Group exhibitions included RWA Summer Show from 1984; Glasgow Print Workshop, Glasgow, 1989; Courtauld Institute of Fine Art, 1993; and Royal Over-Seas League Open, 1996. Solo shows included Art First, 1996. Trembath’s work was held by Contemporary Art Society and a number of corporate collections.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Adam Neate (British, b. 1977)Come On, 2007Giclee PrintSigned, dated and numbered 59/75 in pencil85 x 56 cm (33 x 22 in)Adam Neate is a British artist known for playing with perspective in his multi-dimensional collages. Working within a personal contemporary Cubist aesthetic he calls “dimensionalism,” Neate began his career by leaving his artworks on the street, yet now shows the paintings and assemblages in galleries. With notable influences from Francis Bacon and from Pablo Picasso, his practice combines street art techniques and materials with traditional methods of mark-making and construction. Born in Colchester, England, Neate studied graphic design while teaching himself how to paint and sculpt. His pieces were left first around the city of Ipswich, then London, where he moved in the late 1990s. Currently living and working in between Brighton, England and Sao Paulo, Brazil, Neate has expressed that “the whole point of being an artist is to be creative and to create, to invent new ways of seeing and showing the world.”  He gave away works to friends, but built up an excess and left them wrapped in bin liners outside charity shops as a donation. When he discovered that they were not being sold, but thrown out with the rubbish, he started to leave them in the streets instead.  Over a five-year period, he left thousands of his works in London streets. He kept away from galleries, but was contacted by Elms Lesters Painting Rooms in London, who wanted to show his work. Neate took up the invitation, but decided to do different work from his street art and develop other techniques and styles. In August 2007, he had a solo show with them, which sold out within hours of opening. He is described as a pioneer of the new movement which shows street art in conventional art galleries.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Adam Neate (British, b. 1977)The Queens Special, 2007Giclee PrintSigned, dated and numbered 59/75 in pencil85 x 56 cm (33 x 22 in)Adam Neate is a British artist known for playing with perspective in his multi-dimensional collages. Working within a personal contemporary Cubist aesthetic he calls “dimensionalism,” Neate began his career by leaving his artworks on the street, yet now shows the paintings and assemblages in galleries. With notable influences from Francis Bacon and from Pablo Picasso, his practice combines street art techniques and materials with traditional methods of mark-making and construction. Born in Colchester, England, Neate studied graphic design while teaching himself how to paint and sculpt. His pieces were left first around the city of Ipswich, then London, where he moved in the late 1990s. Currently living and working in between Brighton, England and Sao Paulo, Brazil, Neate has expressed that “the whole point of being an artist is to be creative and to create, to invent new ways of seeing and showing the world.”  He gave away works to friends, but built up an excess and left them wrapped in bin liners outside charity shops as a donation. When he discovered that they were not being sold, but thrown out with the rubbish, he started to leave them in the streets instead.  Over a five-year period, he left thousands of his works in London streets. He kept away from galleries, but was contacted by Elms Lesters Painting Rooms in London, who wanted to show his work. Neate took up the invitation, but decided to do different work from his street art and develop other techniques and styles. In August 2007, he had a solo show with them, which sold out within hours of opening. He is described as a pioneer of the new movement which shows street art in conventional art galleries.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)4th, 5th & 6th Class Stamp of Mass DestructionGiclee printsSigned and numbered 48/150 in black penWith gallery Certificate of Authenticity 70 x 61 cm (27.5 x 24 in) each oneThe 4th, 5th and 6th Stamps of Mass Destruction were issued in 2004 to mark the continuation of the “War on Terror”, and also withdrawn from sale after threat of legal action by the Royal Mail.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.

James Cauty (British, b. 1956) Bad Car Bad Art  Set of 2 Pop Edition Giclee prints, with 1st Day Issue Stamps and press release poster Prints signed and numbered 9/100 and 15/100 in black pen 31 x 55.5 cm (12 x 22 in) 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 recorded 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.  

James Cauty (British, b. 1956) Dead Dad 21 Giclee print Signed in plate and numbered 7/20 in pencil 31 x 38 cm (12 x 15 in) 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. 

Shepard Fairey (American, b. 1970) Obedience Problems / Obey 99', 2006 Screen Print on cotton rag archival paper Signed and numbered 6/89 in pencil with blind stamp 106 x 73 cm (41 x 28 in) Frank Shepard Fairey (born February 15, 1970) is an American contemporary artist, activist and founder of OBEY Clothing who emerged from the skateboarding scene. In 1989 he designed the "Andre the Giant Has a Posse" (...OBEY...) sticker campaign while attending the Rhode Island School of Design (RISD). Fairey designed the Barack Obama "Hope" poster for the 2008 U.S. presidential election. The Institute of Contemporary Art, Boston has described him as one of the best known and most influential street artists. His work is included in the collections at The Smithsonian, the Los Angeles County Museum of Art, the Museum of Modern Art in New York City, the Museum of Contemporary Art San Diego, the National Portrait Gallery in Washington, D.C., the Virginia Museum of Fine Arts in Richmond, and the Victoria and Albert Museum in London. 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) and Billy Childish (British, b. 1959) James ‘Naughty’ Cauty VS ‘Wild’ Billy Childish, 2006 London Art Fair 2006 promotional poster  Open addition, signed by both artist in black pen 43 x 61 cm (17 x 24 in) 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 recorded 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.

Lucas Price (British, b. 1975) Telepathik Heights 18 Screen print on woven paper Signed in pencil Framed & glazed  72 x 53 cm (28 x 20 in) 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.

James Cauty (British, b. 1956)5-11 Black smoke Terror AwareSet 3 pop edition giclee printsNumbered 26/100 with artist stamp31 x 33 cm (12 x 13 in)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 recorded 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.

James Cauty (British, b. 1956) Dead Dad 1, 2007 Lithograph poster, part of the Operation Magic Kingdom series Unsigned, open edition 70 x 48 cm (27 x 19 in) 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 recorded 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. 

Adolf Luther (1912 Krefeld-Uerdingen - 1989 Krefeld) (F)Spiegelobjekt, konkave Linse und Spiegel unter Plexiglas, 18,5 cm x 18,5 cm x 8 cm x verso signiert, 77 datiert, cm, altersbedingter Zustand, Spiegel an den Ränden partiell mit blinden Flecken, Plexiglas partiell mit Klebespuren.Adolf Luther (1912 - 1990) war ein bedeutender deutscher Maler und Objektkünstler nach 1945. Nach frühen monochromen Bildern mit pastös aufgetragener Farbe wandte er sich 1958 der Erforschung des Lichts in seinen energetisch-optischen Eigenschaften zu. Er arbeitete teils seriell mit angeordneten optischen Linsen, Gläsern und Spiegeln, die durch Lichtbrechung und Spiegelungseffekten eine Art von Immaterialität erzeugen. Geradezu interdisziplinär sind seine Arbeiten, die sich mit den feinsten Phänomenen des Lichts und der Optik beschäftigen, indem er sie in künstlerischer Sprache durch eingerahmte Linsen, übersetzt. Das Spiel aus konkaver/ konvexer Form und der Farblosigkeit, die durch das eintreffende Licht selbst spiegelnd zu natürlicher Farbe auf umgebenden Oberflächen wird und ebendiese Farblosigkeit aufhebt. So fein und zart erscheint uns das Licht durch das Objekt und wird von einer wissenschaftlichen Apparatur zu einem Werk der zeitgenössischen Kunst. Adolf Luther (1912 Krefeld-Uerdingen - 1989 Krefeld) (F)Mirror object, concave lens and mirror under Plexiglass, 18.5 cm x 18.5 cm x 8 cm, verso signed, 77 dated, age-related condition, mirror around the edges partially with blind spots, Plexiglass partially with adhesive traces.Adolf Luther (1912 - 1990) was an important German painter and object artist after 1945. After early monochrome paintings with pasty applied paint, he turned to researching light in its energetic-optical properties in 1958. He worked partly serially with arranged optical lenses, glasses and mirrors, which create a kind of immateriality through light refraction and reflection effects.His works are almost interdisciplinary, dealing with the most subtle phenomena of light and optics by translating them into artistic language through framed lenses. The play of concave/convex form and colourlessness, which is mirrored by the incoming light itself, becomes natural colour on surrounding surfaces and cancels out this very colourlessness. The light appears so fine and delicate to us through the object and turns from a scientific apparatus into a work of contemporary art.