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Lot 521
A 19TH CENTURY MARBLE BUST AFTER THE ANTIQUE bust length portrait of a man with a robe across shoulder, 64cm highCondition report: They were found the garden of a house clearance, the family are historically wealthy and well-travelled, particularly in the late 19th century, dirt and blemishes including some ‘chipped holes’ as seen on his exposed left shoulder and on edge of toga, ‘rough’ areas on the nose, eyebrows and forehead.
Lot 317
JOHN FURNIVAL (1933-2020); a collection of square stoneware tiles bearing the impressed names of various plants, 11 x 11cm (17). (D)Furnival used ash from burning plants in his garden to glaze each of the relevantly named tiles.A distinguished artist and teacher Furnival is best known for his ‘wordscapes’.Additional InformationFive tiles are broken in pieces, otherwise appears good with no further signs of faults, damage or restorations.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 40
iron and black paint42.5cm x 51cm x 39cm (16.75in x 20in x 15.3in)Provenance:In Barns-Graham's notes about her collection, she states she purchased one 'iron sculpture' by Brian Wall and was given another.This work was displayed outside Wilhelmina Barns-Graham's studio in the garden at Balmungo. Footnote: Notes: Confirmed by Brian Wall studio as not Minus Three.Brian Wall came to St Ives as a young artist in the 1950s and was, for a time, Secretary of the Penwith Society. His early work was heavily influenced by Mondrian, but he evolved away from this aesthetic whilst working as a welder in Hepworth’s studio. It is from this transitional period that these works date, Barns-Graham having acquired them in the late 1950s. Sparce, almost industrial and austerely Post-War in aesthetic, and reflective somehow of the ruggedness of the Cornish landscape, they were very avant-garde by the standards of the time. Wall welded his metal forms in an intuitive manner, simultaneously beginning to divorce his sculptures away from human or naturally rooted formalities. Though obvious parallels with the work of Anthony Caro can be drawn, it should be noted Caro adopted the techniques of welding metal several years after Wall, and Wall was widely perceived by critics of the time to be under-sung. After working in the thick of swinging Sixties London for a time, Wall went to the San Francisco Bay area of America where he continued to base himself for over thirty years. He was a faculty member at the Central School of Art in London, and a professor of art at the University of California, Berkeley.These works were in Barns-Graham garden at Balmungo, Scotland (hence the weathering).
Lot 22
monogrammed and dated (to base), wood26cm high, 9.5cm wide (10.25in high, 3.75in wide)Footnote: Note: Sven Berlin was an interesting figure within the St Ives school and part of one of the earliest waves of settlers to the artist’s colony. Born in London, Berlin had originally begun a career as an adagio dancer, before moving to Cornwall in 1938. It was via his job in the market garden belonging to Adrian Stokes and Margaret Mellis in Carbis Bay that he made an introduction to Hepworth and Nicholson. One of his most significant contributions to the legacy of the St Ives School was the publication of his biography of the fisherman / artist Alfred Wallis; the first text to be written on this fascinating figure whose aesthetic so influenced the development of Nicholson and his followers. Berlin became a well-known figure and something of an attraction within the St Ives community; he could frequently be observed in his studio garden, stripped to the waist, working on his sculpture. He exhibited paintings, drawings and sculpture regularly with the St. Ives Society of Artists and in London, and was a founding member of the Crypt Group, alongside artists including Barns-Graham, Peter Lanyon, John Wells and Bryan Wynter, and was also a member of the Penwith Society of Arts for a short time.
Lot 41
iron and black paint72cm x 53cm x 56cm (28.3in x 20.9in x 22in)Provenance: In Barns-Graham's notes about her collection, she states she purchased one 'iron sculpture' by Brian Wall and was given another.Footnote: Note: Brian Wall came to St Ives as a young artist in the 1950s and was, for a time, Secretary of the Penwith Society. His early work was heavily influenced by Mondrian, but he evolved away from this aesthetic whilst working as a welder in Hepworth’s studio. It is from this transitional period that these works date, Barns-Graham having acquired them in the late 1950s. Sparce, almost industrial and austerely Post-War in aesthetic, and reflective somehow of the ruggedness of the Cornish landscape, they were very avant-garde by the standards of the time. Wall welded his metal forms in an intuitive manner, simultaneously beginning to divorce his sculptures away from human or naturally rooted formalities. Though obvious parallels with the work of Anthony Caro can be drawn, it should be noted Caro adopted the techniques of welding metal several years after Wall, and Wall was widely perceived by critics of the time to be under-sung. After working in the thick of swinging Sixties London for a time, Wall went to the San Francisco Bay area of America where he continued to base himself for over thirty years. He was a faculty member at the Central School of Art in London, and a professor of art at the University of California, Berkeley.These works were in Barns-Graham garden at Balmungo, Scotland (hence the weathering).
Lot 45
JEAN-PIERRE RAYNAUD (born 1939)Mur 815 1968 signé et daté 1968 au reversassemblage de polyester, métal, tôle émaillée et peinturesigned and dated 1968 on the reversepolyester, metal, enamelled sheet metal and paint300 x 75 cm. 118 1/8 x 29 1/2 in.Footnotes:ProvenanceGalerie Mathias Fels, Paris Collection particulière, France (acquis auprès de celle-ci)Puis par descendance au propriétaire actuel ExpositionsParis, Musée des Arts Décoratifs, Peintres Européens d'Aujourd'hui, 1968, n.p., n° 78, illustré en noir et blancLausanne, Musée Cantonal, IIIe Salon International des Galeries Pilotes, 1970LittératureDenyse Durand-Ruel, Jean Pierre Raynaud. Catalogue Raisonné 1962–1973, Tome 1, Paris 1998, p. 112, n° 200, illustré en noir et blancJean-Pierre Raynaud est un véritable visionnaire, dont la trajectoire artistique, bien qu'alignée sur le Pop Art européen, est demeurée absolument unique et profondément liée au readymade de Duchamp, aux monuments modernistes de Brancusi et au Nouveau réalisme. Deux œuvres cruciales et de qualité muséale sont aujourd'hui proposées à la vente, qui sont représentatives de l'avant-garde française des années 1960 : l'une de ses pièces les plus célèbres et reconnaissables, le Grand Demi-Pot, de 1969 – une œuvre qui constitue indubitablement le couronnement artistique de sa série des Psycho Objets (1964-1968) – et Mur 815, l'un des premiers « murs » créés par Raynaud en 1968, témoin de son récent intérêt pour l'architecture et sa fonction en tant qu'art. Cette idée a cheminé dans son esprit au point de devenir un projet qui a occupé une longue période de sa vie : sa maison à La Celle Saint-Cloud, qu'il a minutieusement habillée de carreaux blancs pendant 25 ans, avant de la démolir finalement et de la reconstituer comme une œuvre d'art en 1993.Raynaud a fait des études d'horticulture et a exercé le métier de jardinier. Toutefois, c'est en 1962 qu'il a fait le « saut » conceptuel qui allait ensuite définir la suite de toute sa carrière artistique, en remplissant l'espace vide d'un pot de jardin afin de créer ce qui lui est apparu comme une forme sculpturale parfaite. Raynaud a trouvé dans le pot un totem capable de soutenir une multitude d'idées ; depuis le pot, conçu comme un vaisseau qui donne et abrite la vie, jusqu'à la forme inversée qui rappelle les angles aigus du Cubisme ou la grandeur des structures mayas antiques. Pot Rouge, qui mesure près de deux mètres de haut, frappe par son immensité et son audace. Son échelle, sa simplicité et sa perfection produisent un effet de dépaysement, accentué par le fait qu'il est coupé en deux et semble surgir tout naturellement du mur ou du sol.Initialement créé comme un pot entier par l'artiste, avant d'être coupé en deux pour les besoins de l'exposition de Raynaud à l'Hôtel George V, qui avait commandé des œuvres à Raynaud en 1969, Grand Demi-Pot était la pièce centrale de la présentation, où il trônait à l'horizontale dans la cour de cet hôtel parisien. C'était une installation spectaculaire, qui présentait non sans humour un pot de jardin surdimensionné dans un jardin ornemental, était monumentale et frappante, et évoquait une profonde sobriété pour Raynaud. Commentant son inspiration pour les œuvres présentées, l'artiste déclarait : « Le George V ressemble à un cimetière. À l'intérieur on y rencontre des vieilles femmes prêtes à mourir, qui se traînent dans les couloirs. Je me suis dit qu'il fallait continuer dans cette voie » (Marc Sanchez, 'Jean Pierre Raynaud; Chronologie 1939 – 1998', en ligne). L'œuvre présentée aujourd'hui reflète un sentiment de vulnérabilité et un sens profond de la condition mortelle de l'homme, le pot comme présage du cycle de la vie et de la mort. Scellé et rempli, coupé en deux, l'autre moitié étant mise au rebut puis partiellement enterrée dans le sol, Pot Rouge est devenu un objet de contemplation, doué d'une forte charge émotionnelle et empreint d'une beauté silencieuse.Mur 815 reprend les codes iconiques de l'œuvre de Raynaud. Dans cette œuvre réalisée dans le rouge iconique qui caractérise sa production au cours de cette période, l'artiste a associé au mur une échelle trouvée et des balances dont il a marqué chacune de ses œuvres consacrées au « mur ». Fragment de la réalité, comme tombé d'un immeuble, Mur 815 révèle les différences profondes et saisissantes entre le Pop Art américain et européen des années 1960. Chez Raynaud, le caractère ordinaire et banal de l'objet n'est que le point de départ de l'œuvre d'art, alors qu'il est pour Warhol l'essence même de sa démarche artistique. L'œuvre ici présentée s'inscrit parfaitement dans la lignée des autres « murs » de Raynaud. La comparaison avec ces autres œuvres révèle non seulement la continuité dans laquelle s'inscrit l'œuvre ici présentée, mais également la signification non dite de celle-ci.Raynaud a représenté la France à la Biennale de Venise en 1993, en plus d'être collectionné par des institutions majeures, parmi lesquelles le MoMA, New York, le Musée National d'Art Moderne, Paris et le Musée Hara, Tokyo. Autant dire que la postérité d'Erró, en tant qu'artiste majeur du Pop Art européen des 60 dernières années, est assurée. Les deux œuvres monumentales et sereines ici présentées sont deux pièces muséales, représentatives de la période de création la plus complexe et audacieuse de l'artiste, qui représentent des icônes de l'art français des années 1960.Jean-Pierre Raynaud is a true visionary, charting a career arc that, whilst aligned with European Pop Art, remained utterly unique and deeply connected to the Duchampian readymade, Brancusi's modernist monuments, and Nouveau réalisme. Presented here for sale are two seminal, museum quality works that embody the French avant-garde of the 1960s: one of his most celebrated and recognisable pieces, Grand Demi-Pot, from 1969 – a work that is undoubtedly the crowning artistic achievement of his Psycho Objets series (1964-1968) – and Mur 815, one of the first 'walls' that Raynaud made in 1968 that established his newfound interest in architecture and its function as art. This would be an idea that would grow into a lifelong project for Raynaud: his house in La Celle Saint-Cloud that he would fastidiously clad in white tiles for 25 years, before its ultimate destruction and reconstitution as an artwork in 1993. Raynaud himself studied horticulture and was a practicing gardener. However, it was in 1962 that he made the conceptual leap that would largely define his artistic career subsequently, filling the empty internal space of a garden pot to create what appeared to him a perfect sculptural form. In the pot, Raynaud found a totem that was able to sustain a matrix of ideas; from the pot as a vessel that gives and harbours life, to the inverted form that evinces the hard edges of Cubism or the grandeur of ancient Mayan struc... For further information on this lot please visit Bonhams.com
Lot 255
Gardening.- Step (Edward) and William Watson. Favourite Flowers of Garden and Greenhouse, 4 vol., 316 coloured plates by D. Bois, a few working loose, occasional very light spotting, some splitting at gutter, original cloth, lettered in gilt, rubbed with some soiling, corners and spine ends bumped, t.e.g., [1896-7]; and 9 others, gardening, 8vo (13)
Lot 256
Gardens.- Amherst (Hon. Alicia) A History of Gardening in England, second edition, 1896 § Jekyll (Gertrude) Children and Gardens, 1908 § Maxwell (Sir Herbert) Scottish Gardens..., 1908 § Blunt (Wilfrid) In for a Penny: A Prospect of Kew Gardens..., 1978 § Le Rougetel (Hazel) The Chelsea Gardener: Philip Miller 1691-1771, 1990 § Thompson (Ian) The Sun King's Garden, 2006, plates and illustrations, some colour, original cloth or boards, the first pictorial gilt, the first three rubbed, the last three with dust-jackets, the last nicked at lower outer corner; and 3 others on garden history and design, 8vo & 4to (9)⁂ The first is the first scholarly account of the history of gardening and contains an extensive bibliography.
Lot 258
NO RESERVE Gardens.- Plant-Hunting.- Cox (E.H.M.) Plant-Hunting in China, 1945 § Goodspeed (T.Harper) Plant Hunters in the Andes, [c.1940] § Coats (Alice M.) The Quest for Plants: A History of the Horticultural Explorers, 1969 § Fisher (John) The Origins of Garden Plants, 1982 § Veitchii (James H.) Hortus Veitchii: A History, limited edition facsimile reprint, Exeter, 2006, all but the last first editions, illustrations, original cloth or boards, the second pictorial gilt (a little rubbed), the rest with dust-jackets (the first with faded spine), 8vo (5)
Lot 259
NO RESERVE Gardens.- Ingram (Collingwood) Ornamental Cherries, 1948; A Garden of Memories, 1970; Isles of the Seven Seas, light spotting, ownership ink and embossed stamps to half-title, frontispiece and title, 1936, first editions, plates or illustrations, original cloth or boards, the last two with dust-jackets, rubbed, the last frayed, 8vo (3)
Lot 261
Gardens.- M'Intosh (Charles) The New and Improved Gardener, and Modern Horticulturist, hand-coloured engraved frontispiece and additional vignette title, engraved portrait, 24 hand-coloured plates, numerous wood-engraved illustrations, some light foxing, handsome contemporary tree calf, gilt, spine gilt, slightly rubbed, spine a little faded, 8vo, 1859.⁂ Charles M'Intosh or McIntosh (1794-1864) was descended from several generations of gardeners to the Duke of Atholl. Having worked in Scotland and for Sir Thomas Baring at Stratton Park, Hants., he became gardener to Prince Leopold of Saxe-Coburg, later King of the Belgians, in both Esher in Surrey and in Belgium, and later to the Duke of Buccleuch at Dalkeith Palace near Edinburgh, where he developed magnificent gardens, particularly developing the vast hot-houses which became his speciality. The author of several books, this work was first published as The Practical Gardener in 2 volumes 1828-29 and reissued in one volume as The New Improved Gardener... in 1839, running into several editions. This copy contains the usual 10 hand-coloured plates of flowers but also a further 10 plates of fruit (pineapple, strawberry, peach, grape, plum, melon, cherry etc.) and 4 plates of garden buildings, all hand-coloured.
Lot 262
Gardens.- Paul (William) The Rose Garden. in two divisions, 15 hand-coloured lithograph plates, tissue-guards, illustrations, list of subscribers, occasional spotting, previous owner's ink signature, original cloth, gilt, sunned spine, bumping to corners and extremities, 1848 § Latham (Charles) The Gardens of Italy, first edition, 2 vol., frontispieces and plates, original pictorial cloth, gilt, slight bumping to spine extremities, 1905; and 3 others similar, 8vo & folio (5)
Lot 263
Gardens.- Paxton (Joseph) and John Lindley. Paxton's Flower Garden, 3 vol., 108 chromolithograph plates, 1 detached and loosely inserted, one or two with chipping to edges, tissue-guards, illustrations, vol. 1 title becoming loose, scattered spotting, bookplates, previous owner's ink inscriptions, cracked hinges, original pictorial cloth, chipping and small loss to spine extremities, a little rubbed, 4to, 1882-84.
Lot 264
Gardens.- Wilson (Ernest H.) China: Mother of Gardens, 1929; America's Greatest Garden: The Arnold Arboretum, 1925; If I Were to Make a Garden, 1931; Aristocrats of the Garden, third edition, 1926; More Aristocrats of the Garden, 1928; The Lilies of Eastern Asia, 1925, all but the fourth first editions, plates, original cloth, the first with dust-jacket (a little frayed at edges), slightly rubbed, all but the last Boston; and a poor mixed set of A Naturalist in Western China, 2 vol., 8vo (8)
Lot 159
A REGENCY PAINTED SILK AND WOOLWORK EMBROIDERY Circa 1825, depicting a lady sitting in a garden holding an umbrella, with a verre eglomise surround in its original giltwood frame carved with acanthous leaves and shells to each corner, Height 37cm, Width 30cm (without frame); Height 58cm, Width 51cm (with frame)
Lot 197
with date code for 21st October 1969, strung with six strings, six further strings accompanyingProvenance: Given by Roger to his brother Alan and thence by descent within the familyThe proceeds from the sale of this lot will be shared equally and donated to MIND and Arthur Rank Hospice Charity. Footnote: One of the most internationally significant cultural touchstones of the 20th century, Roger ‘Syd’ Barrett, both man and legend, is revered not only as an individual, but as a totemic figure, capturing the nihilism, hedonism and excess of the 1960s.After his departure from Pink Floyd in 1968, Barrett briefly embarked on a solo career, releasing two albums, The Madcap Laughs and Barrett, in 1970, but spent most of his time cocooned in the basement of his childhood home in Cambridge, where he boarded up the windows and ensconced himself within a jungle of paintings, records and musical equipment. The present lot is believed to date from around this time and is thought to have been referenced by Barrett in an interview with Rolling Stone Magazine, dated December 23rd 1971. Speaking to Mick Rock, from his garden at 183 Hills Road, Cambridge, Barrett, then aged just 25, is reported to have produced the guitar, which is noted by Rock to be a Yamaha, before beginning to strum a new version of Love You, from his album Madcap. Barret continues, "I worked this out yesterday. I think it's much better. It's my new 12-string guitar. I'm just getting used to it. I polished it yesterday”. Shortly after his interview with Mick Rock, Barrett retreated almost entirely from both the music industry and the public eye, and instead dedicated his time and energy to painting.The guitar is sold together with a copy of the 1971 edition of Rolling Stone Magazine.Condition report: IN good overall condition, strung with only 5 strings, a few light surface marks and scratches.
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