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Lot 43
Sebastian Klotz (1696-1775) – Attributed, violin with curved sound body. Two open note keys. Original long neck with curved scroll. Four later metal chords with later ebonized neck and stringer piece. Chinrest, endpin and soundpost from a later period. Light brown – red colour with later laquer. Playable. Small damages and signs of use. Inside old paper label described Sebastien Klotz AN 1700. In a later wooden casket. Inside green velvet. 59 cm long, 21 cm wide.
Lot 101
Beautifully hand-crafted, this bowl showcases high ruffled sides made from translucent light blue and pink art glass. The swirl of these two colors evokes the image of a traditional piece of candy. Embedded with bits of silver flake, the glass sparkles elegantly, and it's finished with silver crest edges. Issued: 20th centuryDimensions: 3.25"H x 9" dia.Condition: Age related wear.
Lot 51
Jonas Wood (American 1977-), ‘Large Shelf Still Life Poster’, 2017, offset lithograph in colours on wove paper, published by Voorlinden Museum; sheet: 59.5 x 59.5cmsheet: 59.5 x 59.5cmIn good condition No knocks or tears to the sheet Light creasing to the upper edge of the sheet, lower edge of the sheet and lower left hand corner, visible upon close inspection There are some minor markings verso, not visible rectoThis work has been stored rolled and has not been framed.
Lot 34
Faile (Collaboration), 'Mary (Black and White)', 2007, acrylic and silkscreen on lenox 100 paper, from an edition of 14, sheet; 61 x 30 cm (framed)In very good/artists condition No visible knocks, tears or creases to the sheet Some potential light wear to the edges of the sheet, however this is likely from time of production and with artists intentionThis work has been framed in a white frame and float mounted, leaving all corners and edges of the sheet visible This work has not been examined outside of the frame.
Lot 145
Banksy (British 1974-), 'Queen Victoria', 2003, screenprint in colours on wove paper, numbered from an edition of 500 in pencil, published by Pictures On Walls; sheet: 70 x 50cmARR sheet: 70 x 50cm Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity In very good condition No knocks or tears to the sheet Very minor wear to the edges of the sheet (upper left, lower right and lower edge) and lower left hand corner of the sheet, visible upon close inspection There are some light variations around the sheets white border Light markings to the right of the image on the red background Minor markings to the sheet verso and some potential light handling creases, not visible recto This work has been examined inside and outside of the temporary frame.Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity
Lot 65
Nick Smith (British), 'All The Truth Of Nature', 2020, giclee screenprint with varnish on Canson Rag Photographque 310 gsm, signed and numbered from an edition of 49 in pencil, sheet; 106 × 56 cmARR sheet; 106 × 56 cm In very good condition No knocks or tears to the sheet Light handling creases to the lower section of the sheet and minor crease to lower right hand corner Very minor marking to the lower edge of the sheet/to the sheet verso and minor wear to lower left section of deckled edge, visible upon close inspection This work has been stored flat and has not been framed.
Lot 227
Stik (British 1979-), 'Holding Hands (Teal)', 2020, offset lithograph in colours on wove paper, signed in black ink, sheet; 50 x 50 cmARR sheet; 50 x 50 cm In very good condition No visible knocks or tears to the sheet Light handling creases to the sheet (mainly to middle section) and some minor markings verso, visible upon close inspection One horizonal and one vertical fold to the sheet, as originally issued This work has been stored flat and has not been framed.
Lot 148
Banksy (British 1974-), 'Soup Can - Yellow/Blue/Tan', 2005, screenprint in colours on wove paper, signed, dated, and numbered from an edition of 10 in pencil, published by Pictures On Walls; sheet: 50 x 35cmARR sheet: 50 x 35cm Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity In very good condition No visible knocks or tears to the sheet Very light crease on the upper right hand edge of the sheet, to the upper left hand corner and lower left hand edge, visible upon close inspection There are some minor markings to the right hand edge of the sheet and some minor markings verso Some potential imperfections to the background of the sheet, likely from time of production This work has been examined inside and outside of the frame.Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity.
Lot 209
Kaws (American 1974-), 'Clean Slate (Brown)', 2018, open edition painted cast vinyl collectible, published by The Modern; 35.5cm tall35.5cm tallIn Good ConditionStructurally sound with no apparent defectsLight wear to the underside of the feet from previously being displayedSome minor markings to the figure, most notably to the main figure's earPresentation box/original packaging not presentIn Good Condition
Lot 81
Takashi Murakami (Japanese 1962-), 'And Then x6 Blue', 2013, offset lithograph in colours on wove paper, signed and numbered from an edition of 300 in ink, published by Kaikai Kiki Co; sheet: 50 x 50cmsheet: 50 x 50cmIn good condition No knocks or tears to the sheet Light creasing to lower left hand section of the sheet and minor crease to the lower right hand cornerThis work has been stored flat and has not been framed.
Lot 156
Invader (French 1969-), 'Rubik Kubrick I - Alex', 2006, screenprint in colours on wove paper, numbered from an edition of 300 in pencil, published by Pictures On Walls; sheet: 50 x 70cmARR sheet: 50 x 70cm In very good condition No knocks or tears to the sheet One very minor crease to the upper right hand edge of the sheet, visible upon close inspection Very light markings to the left hand side of the sheet verso, this is not visible recto There are four framing strips attached to the edges of the sheet verso, from previous framing This work has been stored flat and is not currently framed.
Lot 147a
Banksy (British 1974-), 'Napalm', 2004, screenprint in colours on wove paper, signed and dated '05, numbered from an edition of 150 in pencil, published by Pictures On Walls; sheet: 50 x 70cmARR sheet: 50 x 70cm Provenance: This work is accompanied by a Pest Control Certificate of Authenticity In good condition No knocks or tears to the sheet There are some light creases horizontally across the centre of the sheet, visible recto and verso Light handling mark to the lower left of the sheets white border and some minor wear to the upper edge of the sheet, visible upon close inspection Very minor marking to the upper left hand section of the sheet, visible upon close inspection This work has been stored flat and has not been framed. Provenance: This work is accompanied by a Pest Control Certificate of Authenticity
Lot 172
Martin Whatson (Norwegian 1984-), 'Velociped Mini'. 2014, stencil, spray paint, and marker on canvas, signed and dated recto, signed and numbered from an edition of 15 verso; canvas: 30 x 30cmARR canvas: 30 x 30cm In very good/artists condition No rips or tears to the canvas No signs of paint loss or restoration Potential light markings to the edges of the canvas, visible upon close inspection.
Lot 228
Stik (British 1979-), ‘Standing Figure (Book) (Orange)’, 2015, offset lithograph in colours on wove paper, signed in black ink, accompanied by a copy of the Stik Book; sheet: 76 x 24cmARR sheet: 76 x 24cm In very good condition No visible knocks or tears to the sheet Very minor wear to the upper corners of the sheet, visible upon close inspection One minor handling crease to lower section, visible in raking light Three horizontal folds to the sheet, as originally issues This work has been stored folded and has not been framed.
Lot 219
Paul Insect (British 1970-), 'Demios Your Guiding Light (Variant)', 2016, screenprint in colours on Arches 88, signed, dated, and numbered from an edition of 5 APs in pencil, the regular variant edition was 20, published by Allouche; sheet: 75.5 x 54.5cmARR sheet: 75.5 x 54.5cm In very good condition No knocks or tears to the sheet There is one light handling crease to the right hand edge of the sheet verso and some slight curvature to the horizontal edges of the sheet Very minor wear to the lower edge and very minor markings verso, visible upon very close inspection This work has been stored flat and has not been framed.
Lot 100a
Bridget Riley (British 1931-), 'Intervals 3', 2021, a complete set of three screenprints in colours on wove paper, all signed, titled, dated, and numbered from an edition of 75 in pencil, published by the Artist; sheets: 55.2 x 38.1cm each (3)ARR sheets: 55.2 x 38.1cm each (3) In very good condition No knocks, tears or creases to the sheets There is an extremely light marking to the upper left hand section of the left hand sheet (as pictured), visible upon close inspection These works have been stored flat and have not been framed.
Lot 92
Tracey Emin (British 1963-), 'Dark Womb', 2010, soft ground etching on wove paper, signed, titled, dated, and numbered from an edition of 50 in pencil, published by the Royal Academy; sheet: 40.5 x 45.5cmARR sheet: 40.5 x 45.5cm In Very good Condition No knocks or tears to the sheet Soft crease to the bottom left corner, only visible in raking light This work has been stored flat and never been framed In Very Good Condition
Lot 66
Nick Smith (British), 'Haring Dog (Red)', 2019, giclee print in colours with screenprint varnish in 330gsm Somerset Satin paper, signed, dated, and numbered from an edition of 66 in pencil, published by Rhodes Contemporary Art; sheet: 54 x 61cmARR sheet: 54 x 61cm In Good Condition No knocks or tears to the sheet 1 light handling crease to the right hand boarder, away from the printed image and visible in raking light This work is currently stored flat and has never been framed In Good Condition
Lot 206
Kaws (American 1974-) 'What Party (Five Works)', 2020, a complete set of five cast vinyl figures, stamped to the underside of the feet, produced by Medicom Toy, Tokyo; 28.7 x 12.9 x 9.3cm each (5)28.7 x 12.9 x 9.3cm each (5)All figures in very good condition No knocks, chips or cracks Light markings/discolouration to the ears of the white figure, visible upon close inspectionAll stored inside original boxes Some minor wear to boxes.
Lot 104
Connor Brothers (British Duo), 'Tell Me Beautiful Untrue Things', 2016, giclee, screenprint, acrylic, and oil on wove paper, signed, dated, and inscribed AP; sheet: 112 x 66cmARR sheet: 112 x 66cm In very good condition/artists condition No knocks, tears or creases to the sheet Slight waving to the sheet can be seen verso in raking light Minor indendations can be seen across the sheet recto, this is most likely due to the acrylic & oil elements of the work and is not considered damage Minor markings verso, most likely from time of production Stored flat, not framed
Lot 147
Banksy (British 1974-), 'Grannies', 2006, screenprint in colours on wove paper, signed and numbered from an edition of 150 in pencil, published by Pictures On Walls; sheet: 56 x 76cmARR sheet: 56 x 76cm Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity In very good condition No knocks or tears to the sheet Minor crease to the upper right hand corner of the sheet, visible upon close inspection There are some light handling creases to the sheet, to the upper left hand corner and to the right hand edge There are some markings to the sheet verso, these are not visible recto Deckled edges in good condition This work has been stored flat and is not framed.Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity
Lot 26
Damien Hirst (British 1965-), 'The Last Supper', 2005, offset lithograph in colours on smooth wove paper, signed in white pencil, from an open edition, published by Paul Stolper and Other Criteria; sheet: 152 x 200cmARR sheet: 152 x 200cm In good condition No visible tears to the sheet There are some light handling creases across the sheet and some minor markings verso, visible upon close inspection Some minor wear to the edges and corners of the sheet This work has been stored rolled and has not been framed.
Lot 218a
Mr Brainwash (French 1966-), 'Bombshells - Brigitte Bardot', 2019, two colour screenprint on archival art paper, signed and numbered from an edition of 50 in silver ink, dated and bearing the Artists' Thumb Print verso; sheet: 76.5 x 57cm (framed)ARR sheet: 76.5 x 57cm (framed) In very good condition No visible knocks, tears or creases Deckled edges in good condition Very light marking to the lower left hand edge of the sheet, visible upon close inspection This work has been framed in a black frame and float mounted, leaving all corners and edges of the sheet visible This work has not been examined outside of the frame.
Lot 213
Kaws (American 1974-), 'Separated', 2020, a complete set of three cast vinyl figures, stamped to the undersides of all three figures; 19cm tall each (3)19cm tall each (3)In very good condition No visible knocks, chips or cracks to the sculpturesSome light markings shown, visible upon close inspection There are some markings/minor paint loss to the base/underside of each sculpture.
Lot 144
Banksy (British 1974-), ‘Flag (Silver)’, 2006, screenprint on silver cheomalux paper, numbered from an edition of 1000 in black pen verso, published by Pictures On Walls; sheet: 50 x 70cmARR sheet: 50 x 70cm Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity. In very good condition No knocks or tears to the sheet Some very light handling creases to the sheet visible in raking light, potentially due to the nature of material There is some minor wear to the upper right and both lower corners of the sheet, visible upon close inspection Some minor 'speckles' to black background, likely to have been from the time of production This work has been examined inside and outside of the frame.Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity.
Lot 7
John Craxton R.A. (British, 1922-2009)Goatherd and Goat signed and dated 'Craxton 1950' (lower right)oil on canvas127 x 104 cm. (50 x 40 in.)Footnotes:ProvenanceThe Artist, by whom gifted as a wedding present to the parents of the current owners in 1961, thence by family descentPrivate Collection, U.K.ExhibitedChichester, Pallant House Gallery, John Craxton: A Modern Odyssey, 26 March-21 April 2024LiteratureIan Collins, John Craxton: A Modern Odyssey, Pallant House Gallery, Chichester, 2023, p.82, fig.76 (col.ill.)In May 1946 – the first spring after World War Two – John Craxton flew away to Greece. At 23, the London-born nomad found his subject in Aegean life, light and landscapes. That passion would last until his death aged 87.By 1950 the artist was in his stride: exploring the ancient Greek world of the Eastern Mediterranean; exchanging a semi-Cubist approach in conveying jagged and rugged topography for a singular style taking in everything from mythology and archaeology to Byzantine mosaics. Despite many famous friends, Craxton depicted ordinary people – soldiers, sailors and herder families living close to nature as in Homeric times. If they all possessed a heroic aspect, they also appeared on the point of laughter. In quicksilver drawings and paintings taking ever longer, subject and artist seemed to share a secret joke as well as an all too evident joy in being alive.Always short of money, Craxton accepted free materials to produce a large painting for a 1951 Festival of Britain exhibition while briefly back in London. Cash prizes were a further lure. While pretending to be toiling in England, he then absconded back to Greece and his current home port of Poros. Drawing on a recent tour of Crete, when he had nearly been shot by a drunken gunman firing wildly while entering a house on a donkey to celebrate a shepherd's wedding, a hedonistic artist began the work which would become Four Figures in a Mountain Landscape (Bristol Museum & Art Gallery). He also completed Goatherd and Goat as the principal study and a stand-alone painting.Four Figures in a Mountain Landscape is an evocation of sun and shadow. Herders, two in light and two in darkness, lead a flock of goats from shelter in a mountain cave for milking at sunrise. Goatherd and Goat depicts the key foreground figure in the dazzle of dawn.Cast in the black garb of rural Cretan manhood, and with a traditional scarf lending a piratical look, the figure clasps a billy goat's horn in an image still to be seen across the untamed Mediterranean. But here an everyday encounter meets ancient and mythic themes. Much as Craxton loved goats – admiring their resilience in tough scenery they nibble into desert – there is also a link to the wild bull capture of antiquity and the bull leapers' fresco at the Minoan Palace of Knossos. Predictably, a happy victim of 'procraxtonation' he missed the Festival of Britain deadline – but for once with a good excuse beyond the pleasures of a social life in the sun. He was asked to design the décor for Frederick Ashton's 1951 Daphnis and Chloe ballet starring Margot Fonteyn, which launched a whole new personal and professional adventure. In 2011 David Attenborough found Four Figures in a Mountain Landscape in a Bristol City Art Gallery basement during a television documentary. Goatherd and Goat was unseen until the last leg of John Craxton's 2022-2024 centenary tour, taking in Athens, Chania, Istanbul and Chichester. We are grateful to Ian Collins for compiling this catalogue entry and to Richard Riley for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 33
Henry Moore O.M., C.H. (British, 1898-1986)Animal Head signed and numbered 'Moore 9/10' (on the base)bronze with a green patina53 cm. (20 7/8 in.) highConceived in 1956Footnotes:ProvenancePrivate Collection, Paris, where acquired by the present ownerExhibitedLondon, Marlborough Fine Art, Henry Moore, 85th Birthday Exhibition, 15 June-13 August 1983, cat.no.20 (another cast)LiteratureHerbert Read, Henry Moore: A Study of his Life and Work, Thames and Hudson, London, 1965, p.226, cat.no.211 (ill.b&w)John Hedgecoe and Henry Moore, Henry Spencer Moore, Thomas Nelson and Sons, London, 1968, p.265 (ill.b&w)Alan Bowness (ed.), Henry Moore: Complete Sculpture Volume 3, 1955-1964, Lund Humphries, London, 1986, p.25, cat.no.396 (ill.b&w)Alan G. Wilkinson, Henry Moore Remembered, Key Porter Books, Toronto, 1988, p.166, cat.no.116John Hedgecoe, A Monumental Vision: The Sculpture of Henry Moore, Collins & Brown, London, 1998, p.220, cat.no.362 (ill.b&w)David Mitchinson (ed.), Celebrating Moore: Works from the Collection of The Henry Moore Foundation, Lund Humphries, London, 2006, p.250, cat.no.178 (col.ill.)As Reinhard Rudolph asserts, Henry Moore's sculptural principles dictated a three-dimensionality (David Mitchinson (ed.), Celebrating Moore: Works from the Collection of The Henry Moore Foundation, Lund Humphries, London, 2006). Paramount to each conception was a front, a back and two sides. This concept seems familiar enough; after all, the fundamental difference between sculpture and painting or drawing is surely the occupation of genuine space, rather than the illusion of it. But for Moore, spatial depth wasn't enough – he wanted to place his work wholly in the real world, where the viewer could walk around it and take in all angles and perspectives. Rudolph cites three exceptions to this creed: Three Forms Relief, Wall Relief (see the following lot), and the present work, Animal Head, all executed in 1955. Quite what prompted this rather dramatic departure from precedent at this particular time is unclear, but the result for Animal Head is a decisive direction, an active move towards the viewer that is unachievable in more four-sided works. It has been suggested that Moore was inspired by the gargoyles that jut out from the cathedrals of Paris' Île de la Cité, the spell-binding Sainte-Chapelle and, of course, the Notre Dame. Animal Head certainly evokes these symbols of the Gothic movement to an extent, but it has a uniqueness and crypticity that opaques any attempt to isolate a single inspiration. This air of mystery, brought about in part by the asymmetry of the work, seems to evolve as you cross from left to right. From the left-hand profile, the head feels distinctly pre-historic, with the angular protrusion of the cheekbone and the shape of the snout evoking a distant, now-extinct beast. Moore engaged with history passionately, as is hinted at by the previous lot, and a nod towards creatures of the past thus seems in character. But as you move to the smoother right-hand profile, the head feels more equine. The mystery starts to dissipate, giving way to the familiarity of a horse leaning over a stable door, mouth gently open as if to receive food from a doting owner. The hollow eyehole that runs through the bronze adds to the fluctuating atmosphere as you round the piece. The light coming through from the other side, creating a mystical, timeless feel in profile, is eclipsed by the dark of the tunnel as you slowly move round, bringing the Animal Head to life vividly. An interesting comparison is drawn to Moore's work of 1980, Horse's Head, some twenty-five years after the present work. While less titularly cryptic, and thus with less of an air of mystery, Horse's Head arguably has less of the distinctive, familiar feel that Animal Head captures from the right-hand profile. It is this dynamic between the familiarity from some angles and the mystery from others that intrigues so tantalisingly in Animal Head. This is energised by a dynamism and decisiveness emerging from a single point of origin, an unseen rear, that is so rare in Moore's sculpture.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 6
Keith Vaughan (British, 1912-1977)Three Figures and Cane Chair titled and dated '3 Figures & Cane Chair 1956' (on an artist's label attached to the backboard)gouache, pen and ink27 x 32 cm. (10 5/8 x 12 5/8 in.)Footnotes:ProvenanceWith The Redfern Gallery, London, 11 November 1966, where acquired byPeter VitiDuring the 1950s Vaughan's international reputation had grown. Seven gouaches had been included in an exhibition in Buenos Aires in 1950, the Brooklyn Museum showed others in 1953 and Durlacher Brothers of New York exhibited further gouaches in 1952, 1955 and 1957. By now, he had established himself as one of Britain's foremost handlers of the medium of gouache. Three Figures and Cane Chair is typical of Vaughan's somewhat ominous and portentous subject matter around this time. Small groupings of male nude figures, alternately bathed in bright light and shrouded in mysterious shadow, had been a favourite concern since he completed his major work First Assembly of Figures in 1952. Here, three figures in a domestic interior play out a mysterious ritual. It is an emotionally and sexually charged scene, not least because of its unexplained nature and the varying degrees of light and deep shadow on the two background figures. Here and there, on the furniture and parts of the figures, blank paper supplies areas of light tone, while skilful and sensitive use of drybrush drawing and opaque layers of gouache define the anatomical forms. It is interesting to note that Vaughan was the victim of an attempted blackmail the year he painted Three Figures and Cane Chair. Living as a gay man during the 1940s and 1950s, he harboured an underlying fear of discovery or public scandal. The memory of the incident haunted him for years and, perhaps, the anxiety and emotional disturbance he experienced may be felt in the erotic tension of the present work.We are grateful to Gerard Hastings for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 24
Dame Barbara Hepworth (British, 1903-1975)Maquette for Walk-In signed and numbered 'Barbara Hepworth 12/12' (on the base)bronze with a green and part-polished patina24.7 cm. (9 3/4 in.) highConceived in 1970 and cast by Morris Singer in 1971BH 514Footnotes:ProvenanceWith Gimpel Fils, London, February 1972, where acquired by the present ownerPrivate Collection, South AfricaExhibitedWest Bretton, Yorkshire Sculpture Park, Barbara Hepworth: Centenary, 17 May-14 September 2003 (unnumbered, another cast)Wakefield, The Hepworth Wakefield, Barbara Hepworth: Art and Life, 21 May 2021-27 February 2022 (unnumbered, another cast); this exhibition travelled to Edinburgh, National Galleries Scotland, 9 April 2022-2 October 2022, St Ives, Tate, 26 November 2022-1 May 2023 Literature Sophie Bowness (ed.), Barbara Hepworth, The Plasters: The Gift to Wakefield, Lund Humphries in association with The Hepworth Wakefield, Farnham, 2011, pp.57 & 154The last two decades of Hepworth's life were marked by ill health and heartbreak. The death of her eldest son Paul and the ending of her second marriage to the artist Ben Nicholson, were exacerbated by a diagnosis of tongue cancer, a broken leg, and an increasingly aging body. And yet, in spite of all this she continued to develop her work in more and more innovative ways, incorporating new methods and materials. She went as far as to say in 1970 (the year that the present work Maquette for Walk-In was conceived) in an interview with her son-in-law Alan Bowness that 'even breaking my leg in 1967 was a good thing because it made me extend my arms as far as I could', shedding light on the sculptor's urge to create and innovate in the face of hardship (in 'Alan Bowness: Conversations with Barbara Hepworth', included in The Complete Sculpture of Barbara Hepworth, 1960-69, Alan Bowness (ed.), Lund Humphries, London, 1971, p.14).Hepworth first began working with bronze in 1956. After initially believing that the material was at odds with her practice, and her search for 'truth in material', she soon became enamoured with the possibilities that bronze provided. As a carver first and foremost, the discovery of a way in which to bring together carving and casting in her work saw a distinct shift in her practice. Not only was she able to explore a more monumental scale, but it also meant that she was able to increase her output in response to demand for her work, through the production of multiples. But working in bronze meant collaborating with foundries. Over the course of her career, Hepworth worked with four different foundries to produce her sculptures, but it was Morris Singer who she would choose to work exclusively with from 1963 until her death in 1975. She established a very close working relationship with the foundry and its manager, Eric Gibbard, which became fundamental to the success of her bronzes and the casting process.The art historian and close friend of Hepworth, Abraham Hammacher, noted of the artist's later works, particularly those conceived in the last seven years of her life, that it was 'the tension in the form; the structures; the verticality which remained dominant...; the vigour in the stacking of elements; the ever-varying, constantly renewed experience of piercing volume, with the piercing itself more than anything the hallmark of her spatial sense and sensations; the resumption of group compositions after a long interval; the dual character of her surfaces, firstly as the enclosing element of three-dimensional spatial forms and secondly as 'surface as such', accentuated in some manner (linear inscription, 'scratches', low relief, colour)'. (Abraham Marie Hammacher, Barbara Hepworth, Thames and Hudson, London, 1998, pp.195-6) The present work, Maquette for Walk-In, was conceived in 1970 after the monumental sculpture Three Obliques (Walk-In), arguably one of Hepworth's most impressive works in bronze. The sculpture is made up of three pierced and interconnecting monoliths, reminiscent of the standing stone monuments that Hepworth was familiar with, such as Avebury and Stonehenge, as well as those closer to home in Cornwall, perhaps Mên-an-Tol (meaning 'holed stone' in Cornish), located to the south of St Ives. Of her later sculptures, Hepworth observed that she envisaged them as 'objects which rise out of the land or the sea, mysteriously' (in 'Alan Bowness: Conversations with Barbara Hepworth', included in The Complete Sculpture of Barbara Hepworth, 1960-69, Alan Bowness (ed.), Lund Humphries, London, 1971, p.14). The circular piercing in each block contributes to the expansion of space within the work, revealing new perspectives, and inviting the viewer to participate directly with the sculpture. Hepworth increasingly found in her work that it was impossible to have one without the other; to think of the landscape without also thinking 'about the human figure and human spirit inhabiting the landscape. For me, the whole art of sculpture is the fusion of these two elements' (Barbara Hepworth in her essay 'A Sculptor's Landscape', included in Barbara Hepworth: Drawing from a Sculptor's Landscape, Cory, Adams and Mackay, London, 1966, p.10). Even the title of this work implies an invitation to the viewer to 'walk-in' to the work, to experience its totality, which whilst literally true of the monumental cast of the work, also rings true for the maquette. Moving around the sculpture, moving closer and further away, the viewer is afforded glimpses of the work in new configurations and observations. As the decades progressed, Hepworth became more explicit about the way in which she sought to encourage physical engagement between the viewer and the sculpture. She noted in 1968, that 'there's no fixed point for a sculpture, there's no fixed point at which you can see it, there's no fixed point of light in which you can experience it, because it's ever-changing and it's a sensation which cannot be replaced by words or colour or anything else at all, and your view of approaching a sculpture is totally different from a view where you walk backwards' (Barbara Hepworth in conversation with Edwin Mullins, included in Barbara Hepworth: Writings and Conversations, Sophie Bowness (ed.), Tate Publishing, London, 2015, p.213). And yet, Hepworth often used colour to emphasise the contract between spaces, interior and exterior, and to highlight the texture of the form as is visible here. The blue-green patina of the wide, expansive surfaces of Maquette for Walk-In is complimented by the caramel-golds of the polished edges, which peek through the pierced forms as the viewer moves around the sculpture, taking it in from every angle, as the artist suggests. Indeed, the benefit of her table-top works as opposed to the monumental 'walk-through' sculptures, is that these allow the viewer to take in the work all at once, to experience the form in its totality.We are grateful to Dr Sophie Bowness for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 72
Laurence Stephen Lowry R.A. (British, 1887-1976)Sailing boats signed and dated 'L.S. LOWRY 1922' (lower right)oil on canvas29.5 x 34.5 cm. (11 5/8 x 13 1/2 in.)Footnotes:ProvenanceThe Artist, by whom gifted to Frank Jopling Fletcher, thence by descent to the present ownerPrivate Collection, U.K.One of the earliest surviving drawings by L.S. Lowry, executed at fifteen years of age and listed as No.1 in Mervyn Levy's The Drawings of L.S. Lowry, is titled Yachts (1902) and was executed at Lytham St. Anne's, where the Lowry family often spent their summer holidays. Lowry was deeply connected to the sea, and it remained a constant throughout his career with images of pleasure boats, tankers or just open water interspersed amongst and providing contrast to the urban landscapes of his native Manchester. The sea was a calming force and provided an opportunity for reflection amidst an otherwise hectic world and as the years went on it became nostalgic and offered a degree of familiarity which Lowry craved. In a taped recording with Gerald B Cotton, Lowry talked with passion about his experience of the sea and of his time with a herring fleet seventy-five miles out into the North Sea off Peterhead and Fraserburgh, his parents waiting for him on the shore. He saw amongst the currents and waves the same struggle which occupied the people among whom he lived and worked, the 'Battle of Life' as it were, and was intoxicated by it. In his text on the artist, T.G. Rosenthal writes 'it is not mere speculation to say that the sea, wherever he found it, gave him ample opportunity to work with his beloved, and so ingeniously exploited, white paint. More than the industrials, and more than his earth-bound landscapes the views of the sea had one overpowering component which existed on a much smaller – and frequently mostly hidden – aspect, namely an uninterrupted horizon where the preponderant white sky met the edge of the sea.' (T.G. Rosenthal, L.S. Lowry, The Art and the Artist, Unicorn Press, Norwich, 2010, p.208). Sailing boats dates to 1922 making it an intriguingly early Lowry seascape and one which would have appealed to his mother who favoured these depictions of the Lancashire coast. The painting bears a debt to the artist's influential tutor, Adolphe Valette, who pioneered Impressionism in Manchester and encouraged his students to explore the variation of light and colour in their work as can be seen here amongst thick and visible brushstrokes. The inclusion of a figure in the boat located at the foreground of the present work is reminiscent of Valette's images of boats on the Manchester Ship Canal, which themselves were inspired by Monet's studies of the River Thames. L.S. Lowry met Frank Jopling Fletcher at art college, and they remained lifelong friends. Lowry later painted his portrait, which is now a part of the Salford Museum and Art Gallery collection.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 59
Christopher Richard Wynne Nevinson A.R.A. (British, 1889-1946)The Mill-Pond signed 'C.R.W. NEVINSON' (lower right)oil on canvas71.1 x 91.4 cm. (28 x 36 in.)Painted circa 1919Footnotes:ProvenanceRobert Younger, Baron Blanesburgh, G.B.E., P.C. (1861-1946), by 1920Acquired by the family of the present owner in the 1970s and thence by descentPrivate Collection, U.K.ExhibitedLondon, The Leicester Galleries, New Works by C.R.W Nevinson, October-November 1919, cat.no.20Manchester, City of Manchester Art Gallery, Nevinson, July-August 1920, cat.no.2London, The Leicester Galleries, Memorial Exhibition of Pictures by C.R.W. Nevinson, A.R.A., May-June 1947, cat.no.18LiteratureMalcolm C. Salaman, 'The Art of C.R.W. Nevinson', The Studio, Vol.78, No.321, December 1919, pp.95-101'C.R.W. Nevinson's Work at the Leicester Galleries', The Ploughshare, November 1919, cat.no.20 (ill.b&w)Christopher Richard Wynne Nevinson, 'Reminiscences', The Studio, Vol.124, No.597, December 1942, p.197 (ill.)David Peters Corbett, The Modernity of English Art, 1914-30, Manchester University Press, Manchester, 1997, pl.33 (ill.,b&w)In the aftermath of the First World War, C.R.W. Nevinson wrote that 'the immediate need of the art of today is a Cézanne, a reactionary, to lead art back to the academic traditions of the old masters, and save contemporary art from abstraction' (Malcom C. Salaman, The Art of C.R.W. Nevinson, The Studio, December 1919). This is a major departure from Nevinson's pre-war attitude. In 1914 he had emphatically sided with modernity in a Futurist manifesto co-authored with Marinetti, the leader of a movement that defined itself by the desire for an unrelenting break from the past. But in the context of the present work, first shown in 1919 in Nevinson's 'Peace Exhibition', the quote is enlightening from a number of perspectives. The Mill-Pond is certainly Cézanne-esque. The slanting brushwork instantly recalls the French master, shimmering in patches juxtaposed by colour and angle. When compared to Cézanne's Lac d'Annecy (1896, The Courtauld), one sees the similarity in palette, and the style of the trees as they line the right bank of the pond, creating a stage-curtain framing the scene at an angle typical of Cézanne's unorthodox eye for space. More prominent in both works, though, are the flat-coloured houses viewed from across the pond, their reflections dancing back across the water surface towards the easel, emboldened by pronounced black outlines leading the way. The smaller, closer scale of The Mill-Pond allows Nevinson to explore in greater detail certain features that enhance the textural variety of the work, such as the duller, matt lily-pads contrasted serenely against the glistening water surface, and the grassy reeds leaning against the brushwork of the sky.The stylistic range of Nevinson's 'Peace Exhibition' was noted by critics at the time, seen by some as a sign of indecisiveness, and The Mill-Pond is undoubtedly in contrast with some of his more radical works. A century on, however, many would agree wholeheartedly with his refusal 'to use the same technical method to express such contradictory forms as a rock and a woman' (David Peters Corbett, The Modernity of English Art, 1914-30, Manchester University Press, Manchester, 1997, p. 151). As mentioned, this pragmatism was not on show during the early 1910s, at the height of his Futurist engagement. But the Great War would gradually bring a powerful wave of nostalgia over the British imagination for a time (largely fantasised) before Modernism had facilitated the horrors of those four years, and this inevitably brought into question the more dogmatic Futurist ideas. In light of this, the opening quote fits rather more neatly than it may at first seem. Returning to a closer inspiration from the source meant stripping back a few layers of radical Modernism, inching closer to the initial break from Academic traditions, albeit in reverse. As Nevinson took a contemplative step back for some of the works on display at the 'Peace Exhibition', he allowed a more direct influence from Cézanne to come through. In doing so, he captured the calm rurality for which many at the time longed, preserving for us a unique point in our collective emotional state, one at least temporarily untouched by the dizzying drive towards modernity.We are grateful to Christopher Martin for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
Lot 2
Keith Vaughan (British, 1912-1977)Portrait of a Boy signed and dated 'Keith Vaughan 1937-42.' (lower right)gouache and charcoal on card43.4 x 35.3 cm. (17 x 13 7/8 in.)Footnotes:ProvenanceWith Thos. Agnew & Sons, LondonSale; Sotheby's, London, 30 September 1998, lot 192, where acquired by the family of the present ownerPrivate Collection, U.K.Only a handful of Vaughan's paintings survive from the 1930s, including portraits such as the present work. Several represent young men seated or standing (see Portrait Head, 1935; Portrait of Dick Vaughan, circa 1935 and Seated Figure in an Armchair, circa 1937). In each, the adolescent sitters gently turn their heads to the right and are conceived volumetrically with delicate light and shade. The absence of background details or distracting settings, compels us to focus attention on the sitters' features and facial expression.The model for Portrait of a Boy could be one of a number of people that posed for Vaughan at that time including his brother, Harold Colebrook (his partner at the time) or various friends who were cajoled into posing for him. He conveys a melancholic mood as though quietly considering his place in the world while reflecting on something inexpressible, unspoken and deeply felt. His introspective demeanour equally echoes Vaughan's own insecurities towards the end of the 1930s. While working for Lintas Advertising Agency as a layout man, he was unable to pursue his ambition to become a full-time painter. His crippling shyness and perceived lack of talent, coupled with pressing project schedules, meant he had to endure a humdrum existence between the design studio and his mother's flat in Hampstead. Trusted colleagues such as the Australian painter John Passmore, introduced Vaughan to the work of Picasso while he was at Lintas. The sensitive handling of the forms, pink colouring and thoughtful character of the boy, no doubt, owe a debt to Picasso's Rose Period paintings.We are grateful to Gerard Hastings for compiling this catalogue entry.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 22
Denis Mitchell (British, 1912-1993)Boswens signed with initials, numbered and dated 'DAM/63/2' (at the base of the bronze); further signed with initials, titled, numbered and dated again 'BOSWENS/1963/No 2/DAM' (on the underside of the slate base)bronze with a polished patina on a slate base52.7 cm. (20 3/4 in.) high (including the base)Footnotes:ProvenanceThe Artist, November 1966, from whom acquired byT.W. (Fello) Atkinson, thence by descent to the present ownerPrivate Collection, U.K.ExhibitedNew York, Bianchini Gallery, 1963 (details untraced, another cast)London, Waddington Galleries, 1963 (details untraced, another cast)London, A.I.A. Gallery, 1963 (details untraced, this cast)St Ives, Penwith Galleries, Mixed Summer Exhibition 1963 (details untraced, this cast)London, Marjorie Parr, Denis Mitchell, 6 February-1 March 1969, cat.no.7 (another cast)Bristol, Arnolfini Gallery, Denis Mitchell, 25 March-26 April 1967, cat.no.9 (another cast)Leeds, Queen Square Gallery, Small Sculpture, 13 September-7 October 1967, cat.no.17 (another cast)Bath, Festival Gallery, Denis Mitchell Sculptures, April 1978, cat.no.15 (another cast)London, Flowers East, Denis Mitchell, 1993, cat.no.2 (another cast)Dublin, Bridge Gallery, Denis Mitchell and Friends, January 1997 (unnumbered, another cast)St Ives, Penwith Gallery, The Rock and the Light, 12 October-8 November 1996, cat.no.3 (another cast)We are grateful to the Artist's Estate for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 11
Tristram Hillier R.A. (British, 1905-1983)Fin de Saison signed 'Hillier.' (lower right); titled and partially dated 'FIN DE SAISON/193-' (on the stretcher)oil on canvas60.4 x 81.1 cm. (23 3/4 x 31 7/8 in.)Painted in 1939Footnotes:ProvenanceWith Arthur Tooth & Sons, London, 1940With The Redfern Gallery, London, October 1941, where acquired by Mrs Edgar MocattaSale; Christie's, Paris, 1 December 2006, lot 97, where acquired by the present ownerPrivate Collection, U.K.LiteratureTristram Hillier, Leda and the Goose, Longmans, London, 1954, p.160Fin de Saison belongs to a concise series of ten known thirty-two-inch canvases painted by Hillier in 1938-40. These works represent the most ambitious pictures to arise from an important turning point in Hillier's oeuvre, which arguably pinpoint the moment that he arrives at his mature artistic style, and poignantly mark the waning days of peacetime life.Hillier's best-known compositions prior to this date had been those of the early 1930s selected by Herbert Read for inclusion in his Art Now and Unit One exhibitions. Here Hillier had favoured desolate strange and decaying maritime subjects arranged in stylised dynamic compositions in which jutting forms are strewn across nonspecific beaches. Hillier then deepened his engagement with Surrealism for a series of four paintings entitled Objects on the Beach in which anchor forms are morphed into spikey biomorphic entities which dwell in desolate coastal wildernesses.Such works had found an eager audience, selling well through London galleries, and Hillier planned to stage a large one man-show with his new dealers Arthur Tooth & Sons in the summer of 1940. For this exhibition (which was ultimately postponed) Hillier set about painting with vigour and refinement in his approach. In the resultant pictures the surrealist air and maritime focus of his early works remained present, and to these he introduced a layer of half suggested narratives, accompanied by a greater degree of realism. Two additional themes are keenly perceptible in Hillier's work of this period; the affection for his immediate surroundings of the Seine-Maritime region of France and an allegorical vein which referenced the impending conflict in central Europe. In fact, as the artist recalls, the latter of these dictated the former: 'Few doubted, by this time, that war with Germany was sooner or later inevitable, and Normandy, it seemed to me, securely protected behind the invincible Maginot Line that was nearing completion, would be as safe a place as any in which to settle. The light, the landscape, and, above all, the harbours and beaches of the coast, offered endless material for my work' (Tristram Hillier, Leda and the Goose, Longmans, London, 1954, p.155).In early 1939, with great assistance from his father-in-law, Hillier had purchased a grand house with a good studio space named L'Ormerie at Criquetot-l'Esneval. The nearby beach resort of Étretat with its rich artistic heritage proved a draw for Hillier, and its famous arched cliffs feature in several of his works of this period including the present composition. Writing after the war he recalled: 'Étretat has attracted many artists, for it was there that Courbet painted, among other canvases, that great picture 'La Vague'; the cliffs were made famous by Monet; Sisley also worked there, and in our own time Braque, Dufy and Henri-Matisse. Unlike the majority of places frequented by painters, however, it had never become popular in the vulgar sense, at any rate until the advent of the last war, and retained a peculiarly intimate charm. The beach with its drying nets and jet black fishing boats etched against the luminous Norman sky, and throwing deep translucent shadows upon the shingle, excited me enormously and formed the subject for what I consider some of the best paintings I have ever made' (ibid, p.156).Consistent with all European artists of his age, WWII was to have a defining impact on Hillier both personally and professionally. In 1939 he was yet to know the full horrors that humanity would unleash upon itself, but as both his writing and paintings reflect, he was keenly attuned to the direction of travel. Of his paintings that address this matter directly, it is the present work in which his mood is most sharply projected. Hillier himself later recalled the moment of its inception:'On a fateful Sunday morning we listened to the voice of Chamberlain telling us over the radio that we were at war, and a pall of gloom spread over the country affecting, it seemed to me, even Nature herself, for Autumn fell early that year and the dying leaves were a sad and fitting accompaniment to departing guests, the emptying beaches of the coast, and the sense of impending doom. I felt desperately forlorn and painted a picture entitled Fin de Saison' which epitomized my mood. It was indeed the end of a season of folly, indulgence and false values, but I knew it to be the end too, for better or for worse, of an epoch and, for myself and my generation, of youth' (ibid, p.160).The Estate of Tristram Hillier is preparing a forthcoming catalogue raisonné of the Artist's paintings and would like to hear from owners of the artist's works. Please write to The Estate of Tristram Hillier, c/o Modern British and Irish Art, Bonhams, 101 New Bond St, London, W1S 1SR or email britart@bonhams.comThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 599
dating: Early 19th Century provenance: London, Round, smoothbore, turn-off, 11 mm cal barrels with section becoming smaller towards the nozzle, the base of one barrel marked '1' and with the marks 'V' and 'P' under crown. Box-lock type frames engraved with floral motifs and signed 'THOMAS' and 'LONDON', upper hammer with safety lock. Trigger guard engraved with flower and trigger guard. Wooden butts. In a wooden case lined in light brown velvet and provided with tools. With key. length 17.5 cm.
Lot 675
dating: Early 19th Century provenance: Kingdom fo Italy (Napoleonic), Straight, single-and third- edged blade, with fuller up to the beginning of the false edge, with remains of light-blue finishing at the forte, featuring small engraving depicting racemes with remains of gilding. Brass, Empire-style hilt with remains if silver-plating. A flaming grenade on the shell-guard. The guard decorated with architectural motifs (probably a small reparation in the curved part). The pommel featuring a five-pointed crown on one side in relied, and another star on the opposite side. Knurled ebony handle. Without scabbard. length 94,3 cm.
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