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Lot 327
Dekor in "Tango-Farben" aus hellblauem bzw. lavendelfarbenem, farblos überfangenem Opalglas und schwarzem Glas; "Ausführung 165" bzw. "170" mit gestreuten, einzelnen Ornamentmotiven sowie Perlreihen in schwarzer und weißer Emailmalerei. Entw. wohl Dagobert Peche, um 1914. H. 18,8 cm-20,5 cm.Provenienz: Aus dem Nachlass Dr. Zahn, Norddeutschland. Vorwiegend auf internationalen Auktionen, Messen und Glasbörsen in den 1980er bis 2000er Jahren zusammengetragen. Two Bohemian Loetz vases probably designed by Dagobert Peche. Light blue and lavender-coloured glass with black and white enamel decor.Böhmen/Tschechoslowakei. Klostermühle. Loetz Wwe. Um 1914-1920.
Lot 2716
(1867 Nolde - 1956 Seebüll)"Dorfstraße". OriginaltitelRadierung, Velin, 1908. Sign. u. dat.; Drucker-Sign. von Otto Felsing, Berlin. Unterhalb im Blattrand bez. "1. Zustand" u. betitelt. Wvz. Schiefler/Mosel/Urban 112 I (von II). Eins von nur 19 Exemplaren. Kraftvoller Abzug der seltenen Grafik mit tiefen Plattentönen. Alt auf Karton kaschiert, gleichmäßig leicht gebräunt, ger. Anschmutzungen im breiten Blattrand. Plattenmaß 26,2 cm x 21,5 cm; Blatt ca. 43,5 cm x 31,7 cm. Rahmen. Etching on wove paper, 1908. Hand-signed and dated by the artist, further hand-signed by the printer Otto Felsing, Berlin. One of a small edition of 19. Laid on cardboard, minor light toning over the whole sheet, minor stains to the wide margins.
Lot 328
Pokalform mit hohem, glockenförmigem Korpus und breitem Glockenfuß. Dekor "Ausführung 166" in sog. "Tango-Farben" aus hellblauem und weißem Opalglas, farblos überfangen sowie mit weißen, horizontalen Fäden und entsprechendem Rand, auf dem Korpus drei weiße Ovalauflagen. H. 17,5 cm.Provenienz: Aus dem Nachlass Dr. Zahn, Norddeutschland. Vorwiegend auf internationalen Auktionen, Messen und Glasbörsen in den 1980er bis 2000er Jahren zusammengetragen. A Bohemian Loetz light blue and white glass vase.Böhmen/Tschechoslowakei. Klostermühle. Loetz Wwe. Um 1916-1920.
Lot 895
und Blumendekor3- bzw. 6-flg.; Balusterförmiger, mehrfach gegliederter und unterhalb stark vorwölbender Korpus. Der bombierte untere Wandungsteil gitterwerkartig durchbrochen gearbeitet und gerahmt von gegenläufigen C-Bögen. Umlaufend reicher, reliefplastischer, seegrün staffierter Dekor aus Palmblättern, Blattvoluten und Rocaillen. In zwei Etagen drei bzw. sechs abnehmbare, geschweifte Leuchterarme, umzogen von plastisch aufgelegten Blumenranken mit großen Blüten, in vasenförmiger Tülle mit blattartiger Traufschale endend. Auf Schaft und Armen sitzende, musizierende Putten bzw. Kanarienvögel. Unterhalb hängende, tropfenförmige Blumenbuketts, üppig arrangiert aus frei modellierten, sommerlichen Blüten. Polychrome Malerei mit reicher Goldstaffage. Form-Entw. Johann Joachim Kaendler. Elektrifiziert. Minim. best.; Unw. rest.; Teilw. Schwertermarke. Ges-H. ca. 87 cm. D. ca. 70 cm. Vgl. Berling, Meissen Festschrift, Abb. 269, S. 101.A splendid six-light porcelain ceiling chandelier applied with tendrils of flowers, cupids and canaries modelled by J. J. Kaendler. Minor chipped. Insignificantly restored. Partly crossed swords mark.Meissen. 20. Jh.
Lot 1494
Helles Mahagoni, furniert. Gerader, querrechteckig angelegter Korpus, flankiert von eingestellten Vollsäulen mit ionischen Kapitellen auf gekanteten Füßen. In der gegliederten Front vier Schubladen unterschiedlicher Größe. Gering überstehende Deckplatte mit flachem Schinkelgiebel. H. 86 cm. 109 cm x 57 cm.A German light mahogany veneered Biedermeier chest of drawers.Berlin. 1. Hälfte 19. Jh.
Lot 2677
(1904 Figueras - 1989 ebenda)"The Triumph of the Toreador"/"Lillas Pastia's Tavern" (Originaltitel) aus dem "Carmen"-PortfolioFarblithographie/Velin, 1969/70. Sign. u. römisch nummeriert CCV/CXXV. Im Stein sign. u. dat. 1969. Hrsg. Shorewood Publishers, Inc., New York, 1970. Wvz. Michler-Löpsinger 1310. Ger. gebräunt, lichtrandig. Darstellung ca. 54 cm x 42,5 cm. Rahmen.Lithograph in colours on wove paper, 1969/70. Hand-signed and numbered CXV/CXXV in Roman numerals. Published by Shorewood Publishers, Inc., New York, 1970. Light toning.
Lot 2735
(1919 Kobe/Japan - 1996 ebenda. War ab 1952 ansässig in Paris)"Le vent vert". OriginaltitelFarblithographie/Arches-Velin, 1964. Sign., dat. u. nummeriert 26/300. Abstrakte Komposition Sugais, der 1959 und 1964 an der documenta in Kassel teilnahm. Leicht nachgedunkelt u. fleckig. Blatt 75 cm x 53 cm.Lithograph on Arches wove paper, 1964. Hand-signed, dated and numbered 26/300. Minor light toning and stains.
Lot 2693
(1870 Bersenbrück - 1944 Osnabrück)"Primula veris". OriginaltitelRadierung u. Aquatinta/Papier, 1909. R. u. sign.; Wvz. Hamm D19. Eines von ca. 275 sign. Exemplaren. Breitrandiges Exemplar. Gebräunt. Plattenmaß ca. 29 cm x 38,5 cm; Blatt ca. 43 cm x 50,5 cm. Rahmen.Etching and aquatint on paper, 1909. Hand-signed. Wide margins. Light toning.
Lot 304
A Mercedes-Benz S class S500L (W220 Series) 4,966 cc V8 petrol-engined luxury four-door saloon motor Car with automatic transmission, finished in metallic silver grey with black leather trim. Registration No. DDZ 780, first registered on the 8th April 1999. Currently showing 150,000 miles approx. At present untaxed and the M.O.T. expired on 25th January 2022. The V5C document is present. An extremely safe and luxurious, top of the range, long wheel base motor car from this renowned manufacturer and with a low annual mileage. Inspection of the M.O.T. history reveals a remarkable lack of advisories. A brand new and correct battery has been fitted, some cosmetic attention would be beneficial and the vehicle is sold as seen, being likely to require some work in readiness for an M.O.T. test. A "Rocket Ship" reputedly capable of "interstellar mileages", 302 b.h.p., 339 foot pounds of torque, 0-60 m.p.h. circa 6 (5.9) seconds, standing quarter mile 14.3 seconds (97 mph) and a top speed electronically limited to 155 m.p.h. but apparently capable of 25 m.p.g. per U.K. gallon on a run, what a machine. The "S" in S class stands for Special, these are the cars that Mercedes used for pioneering/cutting edge technology, how about LED brake lights - in 1999, 23 years ago? The memory facility on the driver's seat alone causes all sorts of motorised action including adjusting the seat distance, the cushion height front and rear, the rake, the lumbar support, the height of the headrest, the rake and distance of the steering wheel and even the adjustment of the rear view mirrors. The seats can also be heated or cooled. Look at the dashboard warning on one of the images "Tail Light R (right) Substitute Lamp On" - amazing. It goes on - HID/Xenon dipped beams, two spark plugs and three valves per cylinder, automatic cylinder shut-off - the V8 runs on only four cylinders when greater power is not required, apparently saving 13% in fuel, yet it is turbine smooth with no discernible vibration. Over £60,000 when new but being pre - 1/3/2001 the road tax is £295 rather than £630. These cars must be the investment tip for the future and what a superb place to be on a journey, you should try it! N.B. BUYERS PREMIUM ON THIS LOT 10% + V.A.T. (Total premium 12% but plus any specific on-line bidding fees).
Lot 305
A Land-Rover Defender 90 short wheel-base TD5 Diesel-engined hardtop in metallic grey/ gunmetal and with a sweet sounding 2,495 cc 5-cylinder engine with 5 speed manual transmission. Registration number CX06 LVZ, first registered on the 28th March, 2006. Currently showing only 138,043 miles. At present untaxed and the M.O.T. expired on the 22nd December, 2021. Opening side windows and roof rails are installed to the hard top which has a side-hinged door with a spare wheel carrier. A height adjustable rear hitch bracket is fitted with a combination jaw/ball hitch. At the front is a jaw-hitch, an electrically operated winch, a pair of LED spotlights and a powerful LED spotlight/flood-light bar. Internally there is a large locker installed between the front seats and a radio is also present. This desirable vehicle has a purposeful stance being fitted with 265/75 x 16 tyres and wheels. N.B. BUYERS PREMIUM ON THIS LOT 10% + V.A.T. (Total premium 12% but plus any specific on-line bidding fees). LATEST NEWS: This vehicle has now had a brand new battery fitted and has a full year's M.O.T. valid until the 28th November, 2023 with no advisories.
Lot 1
Magnificent cross with Christ alive, in copper with traces of gilding, chiselled and decorated with champlevé enamels. Limoges. France. Circa 1200. 16x10cm. The death of Christ culminates the cycle of the Passion. This figure depicts Christ, as corresponds to the Romanesque period, in which he appears glorious and triumphant before death, with his head held high, not bowed and with his eyes open, with an expression of serene pain and subject to the cross with four nails. His body is covered with a long cloth. In the upper part of the cross the hand of God appears and in the lower part the souls of purgatory. The cross preserves a large part of the enamel, in shades of lapis lazuli, yellow, light blue and green. The back iscovered with incised decoration of fleur de lis motifs and intertwined leaves. Reference bibliography: -"De Limoges a Silos". Catalogue from the exhibition Madrid - Bruselas - Santo Domigo de Silos, en Noviember 2001- April 2002. - F. Stohlman: "Gli Smalti del Museo Sacro Vaticano". Ciudad del Vaticano, 1939, p. 39, nº 538, pl XVIII; Paul Thoby: "Les Croix Limousines de la fin du XIIème au debut du XIVème". Paris, Picard, 1953. - L’Oeuvre de Limoges. Émaux limousins du Moyen Âge, catalogue d’exposition [Paris, Musée du Louvre, 23.10.1995-22.01.1996 ; New York, The Metropolitan Museum of Art, 4.03-16.06.1996], Paris, Éd. De la Réunion des musées nationaux, 1995. - GAUTHIER, Marie-Madeleine (dir.), Émaux méridionaux : catalogue international de l’Oeuvre de Limoges. Tome 2 : L’apogée 1190-1215, Paris, éditions du CTHS, 2011. Magníficent example of French Romanesque work in precious metals due to its state of preservation, the rarity of the cross, and the quality of the work in the treatment of the peculiar loin cloth.
Lot 44
"Praying Virgin Mary". Polychromed wooden relief. Granada School. First quarter of the 18th century. Measurements: 72 x 57 cm. This is a truly exceptional piece and not only because of the very high quality of its carving and polychrome, but also because of the rarity of seeing a bas-relief from the Spanish school in which the praying Virgin Mary is portrayed. It is probable that originally this relief, which is likely to owe its composition to the imitation of a painting or engraving –disciplines in which it is more common to depict the Virgin Mary in this guise– was conceived of as a pendant together with another relief that showed Christ. This is, however, only a supposition based on other known specimens of this typology, which are, moreover, very rare. The relief is carved in a bas-relief style reminiscent of the Italian technique of schiacciato or flattened relief according to which the illusion of depth and corporeality is achieved through minimal variation. This fact, together with the delicacy of the carving, denotes a very skilled sculptor. The Virgin Mary occupies most of the panel and appears on a completely gold background, a colour that alludes to divinity. She has been conceived as a bust extended to the waist, approximately. The composition is triangular due to the lines drawn by the edge of the cloak that is thrown over her head and which is polychromed with lavish and dense multicoloured plant decoration executed with a brush on the outside and with a bluish color with silver touches on the inside. Underneath, she wears a white garment, of which the ends of the sleeves can be seen, and a red tunic with a round neck and accordion folds. The folds of the cloak are soft, with little projection and a rounded profile, in such a way that they contribute to the compositional balance of the relief. The hands, arranged in prayer, are very elegant and have very elongated fingers with delicately joined fingertips. The right hand is particularly well resolved, in which the torsion of the wrist has been skilfully carved. The face, with a highly polished surface, has symmetrical features and a hairstyle reminiscent of the classical style. The sculptor has managed to individualize the locks that make up the hair with light touches of the gouge. Due to the grace and delicate beauty of her face, with small facial features (curved eyebrows, half-open eyes with heavy eyelids, a sharp nose and small, full lips), details that seem to anticipate the Rococo, it is clear that this is an outstanding sculpture from the Granada workshops of the first quarter of the 18th century, in which José de Mora (1642-1724), José Risueño (1665-1732) and Pedro Duque Cornejo (1679-1757) were the most influential characters. They lived in Granada for varying amounts of time between 1713-1719. This Virgin Mary is definitely not by Mora, but it could well be the work of one of the last two. We would like to thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.
Lot 16
AGOSTINO BONALUMI (1935-2013)Bianco 1967 signé, daté 67 et inscrit N.Y. au revers toile de forme et tempera vinylique signed, dated 67 and inscribed N.Y. on the reverseshaped canvas and vinyl tempera 127.5 x 176 x 30.5 cm. 50 3/16 x 69 5/16 x 12 in.Footnotes:Cette Å“uvre est enregistrée sous le n° 67-015 auprès de l'Archivio Bonalumi, Milan ; un certificat signé par l'artiste sera remis à l'acquéreur.ProvenanceGalleria Fumagalli, BergameAcquis auprès de celle-ci par le propriétaire actuel en 2006ExpositionNew York, Galleria Bonino, Agostino Bonalumi painting – constructions, 1967BibliographieWolbert Klaus, Agostino Bonalumi, Parme 2003, p. 152, illustré en noir et blanc Renato Barilli, Lia Durante, Agostino Bonalumi. Premio 'Artista dell'anno 2006', Milan 2006, p. 53, illustré en couleurs Fabrizio Bonalumi, Marco Meneguzzo, Agostino Bonalumi. Catalogo Ragionato, Milan 2015, Vol. II, p. 406, n° 332, illustré en noir et blancAgostino Bonalumi est né en 1935 à Vimercate, en Italie. Artiste autodidacte, il a étudié le design technique et la mécanique. Il a passé la majeure partie de sa vie en Italie, à l'exception d'une période d'étude et de travail en Afrique méditerranéenne et en 1967 aux Etats-Unis. Bonalumi est surtout connu pour ses toiles monochromes enduites de vinyle façonné.Alors qu'il visite l'atelier du peintre Enrico Baj, il rencontre Piero Manzoni et Enrico Castellani, avec lesquels il exposera à Rome, Lausanne et Milan en 1958. Leur questionnement autour de l'art et de leur époque les amène à repenser leur peinture vers une forme de peinture-objet : pittura-oggetto concept qui plut aussitôt à Bonalumi. Un an plus tard, Bonalumi et Castellani fondent la revue Azimuth et commencent à fréquenter l'atelier de Lucio Fontana. En effet au contact de Lucio Fontana, Bonalumi a étudié le concept d'espace et a réalisé ses premières Estroflessioni, consistant à étirer et à déformer les toiles à travers des structures et des cadres construits derrière elles créant ainsi l'illusion d'une force invisible poussant par dessous. Dans les années 1960, l'artiste introduit de nouveaux matériaux dans ces peintures construites tels que l'aluminium, et il a agrandi l'échelle de son travail, créant finalement des installations.Le travail de Bonalumi a été présentée dans de nombreuses grandes expositions individuelles et collectives, notamment aux Biennales de Venise et de São Paulo, et fait partie des collections de plusieurs musées, dont la Galleria Civica d'Arte Moderna e Contemporanea de Turin, la Galleria Nazionale d'Arte Moderna e Contemporanea de Rome, le Museu Coleçao Berardo de Lisbonne, la Peggy Guggenheim Collection de Venise et le Walker Art Center de Minneapolis. Des rétrospectives de l'Å“uvre de l'artiste ont été organisées à l'Institut Mathildenhöhe de Darmstadt, en Allemagne, en 2003, au Musée d'art moderne de Moscou en 2011 et au Palazzo Reale de Milan en 2018.Le public américain a pu découvrir, Bianco et le travail de Bonalumi lors de son exposition dédiée par la Galleria Bonino à New York en 1967. Cette Å“uvre de 1967 est extrêmement importante étant donné cette composition extraordinaire qui sont l'une des plus recherchées par les collectionneurs et que le marché n'a que trop peu l'occasion de pouvoir voir sur le marché. Grand Artiste de son vivant, Agostino Bonalumi, nous éblouit à nouveau avec ses extroflexions semi circulaires sur les trois angles et joue avec une plus petite estroflessione pointue dans l'angle supérieur gauche, défiant avec les limites de la toile qui lui sont imposées. Son habileté et cette vision si particulière de l'espace nous amène vers la contemplation et l'introspection. Légère, aérienne, puissante, ce pur pittura-oggetto présenté est l'exemple parfait de la capacité de l'artiste à jouer avec les trois dimensions qui enrobe le spectateur. Cet architecte de la toile met en scène ici la lumière tel un réflecteur sensoriel ; les volumes dans l'espace captent avec force l'Å“il du spectateur et lui donne une dimension physique et tactile.Agostino Bonalumi was born in 1935 in Vimercate, Italy. A self-taught artist, he studied technical drawing and mechanics. He spent most of his life in Italy, except for a period of study and work in Mediterranean Africa and 1967 in the USA. Bonalumi is best known for his monochrome canvases covered with shaped vinyl.While visiting the studio of the painter Enrico Baj, he met Piero Manzoni and Enrico Castellani, with whom he exhibited in Rome, Lausanne and Milan in 1958. Their questioning of art and of their current times led them to rethink about their painting as a form of object painting: pittura oggetto, a concept that immediately appealed to Bonalumi. A year later, Bonalumi and Castellani founded the magazine Azimuth and began to visit Lucio Fontana's studio. Inspired by Lucio Fontana, Bonalumi studied the concept of space and made his first Estroflessioni, which consisted of stretching and deforming canvases through structures and frames built behind them, thus creating the illusion of an invisible force pushing from below. In the 1960s, the artist introduced new materials into these constructed paintings, such as aluminium, and expanded the scale of his work, eventually creating installations.Bonalumi's work has been shown in numerous major solo and group exhibitions, including the Venice and São Paulo Biennales, and is included in the collections of several museums, including the Galleria Civica d'Arte Moderna e Contemporanea in Turin, the Galleria Nazionale d'Arte Moderna e Contemporanea in Rome, the Museu Coleçao Berardo in Lisbon, the Peggy Guggenheim Collection in Venice, and the Walker Art Center in Minneapolis. Retrospectives of the artist's work were held at the Mathildenhöhe Institute in Darmstadt, Germany, in 2003, the Museum of Modern Art in Moscow in 2011 and the Palazzo Reale in Milan in 2018.The American public first discovered Bianco and Bonalumi's work at his solo exhibition at Galleria Bonino in New York in 1967. This 1967 work is extremely important due to the extraordinary composition, one of the most sought after by collectors, and which rarely surfaces on the market. A great artist during his lifetime, Agostino Bonalumi dazzles us again with his semi-circular extroflexions on 3 angles, playing with a smaller sharp estroflessione in the upper left corner, defying limits imposed by the canvas. His skill and unique vision of space lead us to contemplation and introspection. Light, airy, powerful, this pure pittura-oggetto here on show is the perfect example of the artist's ability to play with the three dimensions that engulf the viewer. Here, this architect of the canvas stages the lighting as if it were a sensory reflector; the volumes of the space, giving it a physical and tactile dimension, forcefully capture the eye of the spectator.... 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 20
PETER JOSEPH (1929-2020)Pink Orange Colour with Brown 1986 signé, titré et daté Nov 86 au reversacrylique sur toilesigned, titled and dated Nov 86 on the reverseacrylic on canvas 159.7 x 181.5 cm.62 7/8 x 71 7/16 in.Footnotes:ProvenanceGalerie Gillespie-Laage-Salomon, Paris Acquis auprès de celle-ci par le propriétaire actuelLa peinture de Peter Joseph, avec une délectation retenue, s'appréhende, comme lorsque l'on se retrouve devant un paysage crépusculaire. Méditatif, son Å’uvre, à l'aura singulière, est empreint de précision autant que de dépouillement. S'il est connu pour ses toiles abstraites dans les années 1960, la polychromie survient dans sa pratique lorsqu'il se met à créer des tableaux bicolores, qui révèlent un rectangle dans un cadre serré à la nuance plus sombre, allant du beige au grisé. Dans une palette d'une grande élégance pigmentaire, ces formes simples et formellement symétriques comme des voiles viennent s'allonger sur la toile. Chaque tonalité de ces aplats révèle une luminosité dont la vibration permet à la seconde d'éclore, révélant le soin pictural de l'artiste, dont le geste est très sûr.La presse le compare aux grandes figures de l'expressionnisme abstrait américain, comme Barnett Newman et Mark Rothko. Ses Å“uvres figurent dans de nombreuses collections publiques telles que la Tate Gallery à Londres, le Stedelijk Museum d'Amsterdam, la Walker Art Gallery à Minneapolis, le Guggenheimde New York. Au moment de sa disparition, la Lisson Gallery (Londres, New York) écrit dans son communiqué : « Il émanait de ses Å“uvres une liberté, une fraîcheur et une vitalité remarquables ». Dans un geste matissien, ses études – collages de papier – sont un prélude essentiel à ses toiles qui lui permettent de ressentir le contrepoint entre l'espace et la présence désirés. Dans les Å“uvres Beige center et Dark Green center, respectivement créés en 1977 et 1981, l'artiste a choisi avec un soin infini le papier de coton qui siérait le mieux à la vibration chromatique, une fois la peinture éclose.Aimant chaque jour contempler les variations de la lumière depuis la fenêtre de son atelier de Stroud (Gloucester), le peintre, longtemps surnommé le poète de la palette, joue avec la subtilité de chacune des nuances qui, sous son pinceau, affleure. Le titre de la toile que nous proposons, Pink Orange colour with Brown, révèle à lui seul l'importance que revêt la couleur, contre la ligne, qui devient le sujet par excellence. Dans un velouté tendre, les deux aplats sont nappés en un geste fluide et modulé, libérant la toile de l'étreinte de la profondeur. De cet horizon de couleurs, la méditation peut, avec délicatesse, nous pénétrer. «Notre vision est saturée d'images éphémères, une peur cauchemardesque de l'infini (...). J'aime le travail, aussi différents soient-ils, du Tintoret, de Lorrain, de Véronèse, de Delacroix. Dans leurs Å“uvres, je peux trouver une liberté pour mon imagination, dans les étrangetés de la couleur qui sont imbriquées dans la lumière et l'obscurité » écrit Peter Joseph dans le catalogue de Die Sammlung Panza di Biumo, Bâle, en avril 1980.Entièrement dévolu à l'espace et au temps, son Å’uvre, à la saisonnalité chromatique, dévoile avec humilité des immensités pour que le cÅ“ur avec douceur s'égare, tout en concentrant le regard dans un espace architecturé. De cette harmonie naît cette lumière frémissante, si caractéristique de chacune de ses toiles.The paintings of Peter Joseph are works to be contemplated with muted delight, such as when finding oneself before a twilight landscape. His meditative work, from which emanates a unique aura, is imbued with both precision and simplicity.Although he is known for his abstract paintings in the 1960s, his artistic practice initially turned to polychrome works with his bicoloured paintings, rectangles narrowly framed by a darker shade, ranging from beige to grey. In a carefully considered colour palette, these simple, formally symmetrical shapes stretch across the canvas like sails. The tones of these surfaces unveil a vibrating luminosity to unleash the efflorescence of the second colour, revealing the masterful touch of the artist's brushstroke.The artist been compared in the press to great American figures of Abstract Expressionism, such as Barnett Newman and Mark Rothko. His works are present in numerous public collections such as the Tate Gallery in London, the Stedelijk Museum in Amsterdam, the Walker Art Gallery in Minneapolis and the Guggenheim in New York. Upon the artist's passing, the London and New York based Lisson Gallery wrote in the gallery press release: 'From his works emanated a remarkable freedom, freshness and vitality.' In the vein of Matisse, his paper collage studies constitute an essential prelude to his paintings, enabling him to get a sense of the desired contrast between space and presence. In the works Beige center and Dark Green center, created in 1977 and 1981 respectively, the artist chose with particular care the cotton paper that would best bring out his chromatic vibrations of efflorescent surfaces.Long known as the poet of the palette, the painter delights in contemplating the variations in light from his studio window in Stroud (Gloucester) and experimenting with subtle shade variations that flourish under his brushstroke.The painting on show is titled Pink Orange colour with Brown, revealing the importance of colour – the true subject of the work – to that of the line. It is through the tender velvety texture, the two plains of colour enrobed in a flowing and measured gesture, that the canvas is liberated from the clasp of pictorial profundity. Simply immersed in this horizon of colour, we can allow ourselves to be penetrated by a state of meditation. 'Saturated as we are by ephemeral images, that we have a nightmarish fear of the infinite (...). I love the works, varied though they may be, of Tintoretto, Lorrain, Veronese, Delacroix. In their works, in the strangeness of colour interwoven with light and darkness, my imagination finds its release', wrote Peter Joseph in the catalogue of Die Sammlung Panza di Biumo, Basel, in April 1980. Entirely vested in the dimensions of space and time, his fluctuating, chromatic work humbly reveals vast plains for the heart to wander unrestrainedly, simultaneous to our gaze focusing on the architectural space. This harmony gives rise to a scintillating light, that singular element present in each one of his paintings.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 4
CHU TEH-CHUN (1920-2014)Profondeurs veloutées 1991 signé, signé en chinois 朱德群 et daté 91 ; signé, signé en chinois 朱德群, titré et daté 91 au revershuile sur toilesigned, signed in Chinese 朱德群 and dated 91 ; signed, signed in Chinese 朱德群, titled and dated 91 on the reverse oil on canvas88.6 x 115.8 cm. 34 7/8 x 45 9/16 in.Footnotes:Cette Å“uvre est accompagnée d'un certificat d'authenticité de la Fondation CHU Teh-Chun (https://chu-teh-chun.org). ProvenanceGalerie du Luxembourg, LuxembourgCollection particulière, LuxembourgAcquis auprès de celle-ci par le propriétaire actuel BibliographiePierre-Jean Rémy, Chu Teh-Chun, Paris 2006, p. 185, illustré en couleursChu Teh-Chun naît à Baitu Zhen, district de Xiao, dans la province du Jiangsu en 1920 en Chine. Son père et son grand-père, médecins traditionnels, collectionnent les peintures chinoises, l'amenant sans nul doute très tôt vers cette vocation artistique via la calligraphie et la poésie classique chinoise. Encouragé par son père, il est inscrit puis reçu à l'académie des Beaux-Arts de Hangzhou, dont le directeur est le peintre Lin Fengmian qui restera un ami et mentor pour Chu.Après avoir suivi un enseignement de la peinture chinoise classique, il devient à seulement vingt et un ans professeur-assistant à l'académie des Beaux-Arts de Chongqing et s'applique désormais à peindre sous l'influence des grands peintres français avant de pouvoir venir définitivement en France en 1955. Ce pays le fera d'ailleurs entrer comme membre de l'académie des Beaux-Arts : l'artiste devient ainsi aussi immortel que son Å’uvre. Il y rencontre tout d'abord des artistes chinois exilés comme Pan Yuliang, Sanyu, le sculpteur Xiong Bingming et retrouve Zao Wou-Ki, son camarade d'école. L'année 1956 sera pour lui un tournant artistique majeur. Il abandonne l'aspect figuratif de son art pour l'abstrait et rencontre un écho intense à travers ses nombreuses expositions en Europe avant sa première consécration à la 10ème Biennale de Sao Paulo au Brésil où un stand lui est consacré pour représenter la Chine en 1969.La reconnaissance de son travail devient très vite internationale et Chu Teh-Chun est très souvent appelé à retourner en Asie dont il continuera de s'inspirer tout au long de sa carrière.La légende et la notoriété de ce peintre - également officier de l'Ordre National du Mérite -, ses encres, ses toiles et ses céramiques n'ont de cesse d'impressionner son public. D'une extrême poésie et d'une grande délicatesse, ses Å“uvres sont le cheminement d'une recherche perpétuelle de l'expression de son imagination et de ses émotions grâce une palette de couleurs toujours plus riche et nuancée. Il est l'artiste chinois qui a su le mieux intégrer et sublimer la tradition chinoise et l'art occidental.Profondeurs veloutées, peint en 1991, est probablement un des tableaux réalisés dans son nouvel atelier de Vitry dans lequel il peut travailler sereinement au son de la musique classique. On y perçoit l'omniprésence de la nature, indissociable de son Å“uvre. Il y fait pénétrer une lumière douce, mais indispensable à sa composition, avec justesse. Cette Å“uvre est le parfait exemple de l'excellence de Chu Teh-Chun, alliant la maîtrise de la calligraphie rythmée avec précision, l'organisation d'une image sur la toile et la richesse des couleurs au profit de la lumière.Chu Teh-Chun was born in Baitu Zhen, Xiao district, Jiangsu province in 1920 in China. His father and grandfather, both traditional doctors, collected Chinese paintings, which undoubtedly led him early on to this artistic vocation through calligraphy and classical Chinese poetry. Encouraged by his father, he was enrolled and accepted at the Hangzhou Academy of Fine Arts, whose director was the painter Lin Fengmian, who would remain a friend and mentor to Chu.After studying classical Chinese painting, he became an assistant professor at the Academy of Fine Arts in Chongqing at the young age of 21. At that time, he turned to the great French painters for inspiration until he could move permanently to France in 1955. His new country would even welcome him as a member of the Academy of Fine Arts: the artist thus becoming as immortal as his oeuvre. At first he met exiled Chinese artists such as Pan Yuliang, Sanyu, the sculptor Xiong Bingming, even reuniting with his old schoolmate Zao Wou-Ki. 1956 was a major artistic turning point for him. He abandoned figurative art for an abstract pictorial approach soon rewarded by numerous exhibition proposals throughout Europe, leading to consecration in 1969 at the 10th Biennial of Sao Paulo in Brazil where he was offered his own booth to represent China.Recognition for his work would soon spread on an international level, henceforth Chu Teh-Chun was often called upon to return to Asia which would remain a primordial source of inspiration throughout his career.The legend and notoriety of this painter—also an officer of the National Order of Merit— his inks, his paintings and his ceramics have never ceased to impress. Highly poetic and extremely refined, his works testify to his constant quest to express the depth of his creativity and his emotions using a rich, nuanced, ever expanding palette of colours. He is the Chinese artist who has best integrated and sublimated Chinese tradition and Western art.Profondeurs veloutées (velvet depths), painted in 1991, is probably one of the paintings produced in his new studio at Vitry where he could work serenely to the sound of classical music. There, Nature, inseparable from his work, is omnipresent: sifted by vegetation the soft lighting is essential to the accuracy of the artist's compositions. This work is a perfect example of Chu Teh-Chun's excellence, combining his mastery of the calligraphic cadence and flow, with the art of composing upon the canvas using a wealth of colours to reveal light.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 2784
Late Victorian silver stamp box, of plain rectangular form, the hinged cover engraved 'Stamps', opening to reveal a gilt interior, hallmarked Mappin Brothers, Chester 1900, L7.5cm, approximate weight 1.89 ozt (58.8 grams)Condition Report:General light wear commensurate with age and use, predominantly in the form of some surface scratches and nicks.Slight knock to underside. Some general light wear to gilding of interior.Makers mark with some slight wear to top, but generally hallmarks clear and legible.
Lot 1
A diamond brooch, A diamond brooch, the old cut diamond line within an openwork millegrain surround, estimated total diamond weight 0.95ct, principal diamond estimated 0.45ct, estimated colour I-J, estimated clarity SI, stamped 14k, length 4.7cm, gross weight 4.6g.Overall condition good to fairScratches and discolouration in keeping with occasional wearPin in working order, with safety claspDiamonds bright and well matched - inclusions visible under magnification, one outer diamond SI2-P1 with a light crystal inclusion under table facet
Lot 101
A citrine and diamond cluster ring, A citrine and diamond cluster ring, the briolette pear cut citrine with brilliant cut diamond surround and shoulders, estimated total diamond weight 0.45ct, stamped 750, ring size N1/2, gross weight 6.7g.Overall condition good to fairLight abrasion in keeping with occasional wearDiamonds bright and well matched
Lot 103
A sapphire and diamond cluster ring, A sapphire and diamond cluster ring, the rectangular shape yellow sapphire within a brilliant and baguette cut diamond surround, estimated total diamond weight 0.70ct, stamped PLAT, ring size N1/2, gross weight 5.3g. Overall condition goodLight scratches and abrasion in keeping with occaisonal wearDiamonds bright and well matchedSapphire with light inclusions visible with magnification, underneath crown facets
Lot 124
An opal single stone ring, An opal single stone ring, the oval opal cabochon atop the polished band, stamped 22ct, ring size O1/2, gross weight 8.9g.Overall condition good to fairA composite piece, opal setting added laterOpal with orange, blue, green play of colour on a dark backgroundSome light scratches and abrasion in keeping with general wear
Lot 128A
A synthetic sapphire and diamond three stone ring, A synthetic sapphire and diamond three stone ring, the cushion shape synthetic sapphire doublet with circular cut diamond sides, estimated total diamond weight 0.45ct, ring size U1/2, gross weight 7.5g.Overall condition good to fairSynthetic sapphire doublet- with visible curved colour zoning under table facet, light abrasion to facet edges, replacement stoneDiamonds well matched - with light inclusions visible under table facetUnmarked and untested
Lot 145
A Bottega Veneta handbag, A Bottega Veneta handbag, the maker's brown Intrecciato Nappa woven leather exterior with smooth leather straps, serial no. 10700107096ESP, dimensions 25 x 23.5 x 2cm. With maker's attached tag, compact mirror, dustbag, and shopping bag.25 x 23.5 x 2cmOverall condition goodLight scratches and scuffs in keeping with very occasional wear and handling
Lot 148
A Chanel double flap handbag, A Chanel double flap handbag, circa 1997 - 1999, the black quilted caviar leather exterior with silver-tone locking clasp and double chain shoulder strap, serial number 5841135, dimensions 23 x 14.5 x 6.8cm. With maker's dust bag and box.23 x 14.5 x 6.8cmOverall condition good to fairLight scratches and scuffs in keeping with occasional wearSome light tarnishing to hardwareInterior in good conditionPostage to a UK address £20
Lot 150
A Gucci leather hobo bag, A Gucci leather hobo bag, the red leather exterior with embossed logo, burgundy stitched detailing and gold-tone hardware, with black monogrammed canvas interior, serial no. 106669, 204990, dimensions 33 x 27 x 2cm. With maker's dustbag.33 x 27 x 2cmOverall condition good to fairLight scratches in keeping with occasional wearInterior in good conditionStrap detachable, one more pronounced scratch (1cm length) to end of strap
Lot 156
A Ralph Lauren canvas tote bag, A Ralph Lauren canvas tote bag, the cream canvas bag with blue stitched maker's logo and double handles, dimensions 35 x 23.5 x 17cm. With maker's shopping bag.Overall condition good to fairVery light discolouration and scuffs in keeping with occasional wearSome areas of discolouration to base, visible with close inspection
Lot 163
A 14ct gold Certina quartz wristwatch, A 14ct gold Certina quartz wristwatch, the signed circular dial with baton hour markers, outer minutes track and date aperture to 3, quartz movement within a case stamped 585, case diamete to the unassociated leather strap, case diameter 33mm.Overall condition good to fairWatch not working at time of cataloguing, Wilson 55 does not guarantee the working accuracy of any timepiece offered - likely needs a new batteryLight scratches in keeping with occasional wearPersonal inscription to case back
Lot 166
A Longines 'Flagship' chronograph automatic wristwatch, A Longines 'Flagship' chronograph automatic wristwatch, the circular signed dial with baton hour markers, outer minutes track, date aperture to 4 and three subsidiary dials, exhibition back displaying a cal. L.650.2 37 jewel movement, within a stainless steel case numbered 30981954, to the fancy link bracelet with deployment clasp, case diameter 39mm. With maker's box, international guarantee, booklets and spare link.Overall condition good to fairWatch working at time of cataloguing, Wilson 55 does not guarantee the working accuracy of any timepiece offeredSome tarnishing to hours, minutes and seconds hands, visible with the unaided eye - see imagesLight scratches in keeping with age and occasional wearClasp in working order
Lot 24
Three 19th century garnet brooches, Three 19th century garnet brooches, of varying design, one with glazed hair panel to reverse, lengths 1.7 to 2cm, gross weight 9.9g.Overall condition good to fairGarnet cluster - light abrasion to facet edges, visible with magnification only, pin with some possible soft solder marks to setting, in working order, metal unmarked, likely silver giltGarnet cabochon brooch - some abrasion to cabochon visible on close inspection, hairwork to reverse glazed panel intact, pin in working order, metal unmarked and untested, likely goldHairwork and garnet cluster - replacement pin, soft solder marks to reverse and visible from front, areas of localised discolouration to reverse, several garnets chipped, with nibbles to edge
Lot 25
A selection of jewellery, A selection of jewellery, to include an agate brooch, split pearl brooch, and a hinged locket, lengths 3.4 to 3.8cm, gross weight 24g.Overall condition good to fairAgate brooch - with safety chain, base metal pin, in working order, stamped 9ct, light scratches and abrasion to agateSplit pearl brooch - discolouration in keeping with age, pin in working order, glazed panel reverse vacant, unmarkedLocket - nicks and discolouration to ring surmount, glazed panel vacant, shuts to, unmarked - jewellers inscription reading '10ct'
Lot 27
Four early 20th century brooches, Four early 20th century brooches, to include two hunting horn brooches, a bar brooch, and an opal and split pearl brooch, lengths 3.5 to 6.2cm, gross weight 10.2g.Overall condition good to fairLarger hunting horn brooch - stamped 15ct, base metal pin, in working orderSmaller hunting horn brooch - stamped 9ct, later pin addition, base metal pin in working order, shallow dent visible with the unaided eye on close inspectionBar brooch - stamped 15ct&Plat, pin in working orderOpal brooch - stamped 9c, pin in working order, light abrasion visible only with magnification
Lot 36
A 9ct gold garnet bracelet, A 9ct gold garnet bracelet, the oval garnet cabochon line with fancy link spacers, length 19.5cm, gross weight 15.2g. Overall condition good to fairHallmarks to end link, partially indistinct, sponsor's marks EWALight abrasion to garnets in keeping with occasional wear, well matched
Lot 50
An 18ct gold enamel and diamond suite of jewellery by Leo De Vroomen, An 18ct gold enamel and diamond suite of jewellery by Leo De Vroomen, comprising a bracelet and pair of clip earrings, of floral design with brilliant cut diamond centre and blue enamel petals, estimated total diamond weight 1.40cts, signed De Vroomen, hallmarks for London, 1993, length of bracelet 18.2cm, length of earrings 1.9cm, gross weight 61.7g. With Boodles case. Overall condition good to fairLight scratches in keeping with occasional wearEarrings - clip fittings, one with a couple of dents to ball spacers, visible with magnification only, marks clearBracelet - jewellers inscription to clasp, clasp in working order, diamonds bright and well matched
Lot 51
A pair of 18ct gold aquamarine stud earrings, A pair of 18ct gold aquamarine stud earrings, the circular shape aquamarines in a collet setting, hallmarks for London, length 0.7cm, gross weight 2g. Retailed by David M Robinson, in retailer's case. Overall condition good to fairWith fixed post fittings for pierced earsSponsor's mark FoAquamarines a medium blue with good saturation, rain inclusions visible with magnificationLight abrasion in keeping with occasional wear
Lot 60
A pair of turquoise and diamond hoop earrings, A pair of turquoise and diamond hoop earrings, each designed as a single cut diamond and turquoise cabochon hinged hoop, estimated total diamond weight 3.50cts, stamped 925, length 2.9cm, gross weight 21.4g. Overall condition fair to goodOne diamond deficientWith fixed post fittings for pierced earsDiamonds - majority drawing colour face up, most with chips, SR fractures and inclusions visible with magnificationTurquoise with light abrasion, some possible replacements
Lot 63
A suite of 18ct gold sapphire and diamond jewellery, A suite of 18ct gold sapphire and diamond jewellery, comprising a necklace and pair of earrings, designed with an oval shape pink sapphire with brilliant cut diamond trefoil accent, length of earrings 0.9cm, length of pendant 1cm, length of chain 40cm, gross weight 5.7g.Overall condition good to fairScratches and abrasion in keeping with occasional wearDiamonds fairly well matchedEarrings - with fixed post fittings for pierced ears, hallmarks for London, sapphires with light scattered inclusions and internal fractures visible with magnificationPendant - unmarked, sapphire with light inclusions visible only with magnificationChain - hallmarks for Sheffield
Lot 64
A 'Diamonds by the Yard' necklace by Elsa Perretti for Tiffany & Co., A 'Diamonds by the Yard' necklace by Elsa Perretti for Tiffany & Co., the brilliant cut diamond collet with integral trace link chain, signed Perretti and Tiffany & Co., stamped 925, length 41.5cm, gross weight 1.6g.Overall condition good to fairLight scratches and would benefit from a clean but in good conditionClasp in working orderMarks clear - SILVER With maker's pouch and box
Lot 66
An 18ct gold 'Diamond Evil Eye Key Pendant' by Theo Fennell, An 18ct gold 'Diamond Evil Eye Key Pendant' by Theo Fennell, the pave set diamond key with blue topaz and black diamond eye detailing, signed Theo Fennell, hallmarks for London, length 3.8cm, gross weight 3.8g. Overall condition good to fairLight abrasion and discolouration in keeping with occasional wear N.B - retail price £995
Lot 72
An opal and diamond pendant, An opal and diamond pendant, the triangular opal with brilliant cut diamond line accent, estimated total diamond weight 0.20ct, stamped 750, length 3.8cm, gross weight 9.5g.Overall condition good to fairLight scratches and abrasion in keeping with occasional wearMarks clear
Lot 9
An 18ct gold diamond brooch, An 18ct gold diamond brooch, designed as a single cut diamond fish, estimated total diamond weight 0.30ct, length 3.2cm, gross weight 5.3g. Overall condition good to fairLight scratches and abrasion in keeping with occasional wearPin with crown standard mark, pin in working order Diamonds bright and well matched
Lot 91
A cultured pearl necklace, A cultured pearl necklace, the triple row of graduated cultured pearls with a single cut diamond and cultured pearl sliding clasp, estimated total diamond weight 0.15ct, stamped 585, length 43cm.Overall condition good to fairLight abrasion in keeping with general wearClasp in working orderJewellers inscription to claspMaker's mark JKa
Lot 2001
Early 20th century Continental enamel and diamond brooch, the pale blue guilloche enamel, with applied silver decoration set with old cut diamonds, mounted onto a gold pierced borderCondition Report:Approx 11.5gm, gold tested to approx 12ct, brooch = 40mm x 32mm, overall well presented stones present and appear to be secure in setting, two areas of enamel with some light damage at approx 1 o'clock and 3 o'clock
Lot 2056
18ct gold three stone square cut emerald and round brilliant cut diamond cross over ring, emerald approx 0.45 caratCondition Report:Approx 4.5gm, size L, tested 18ct, head depth = 12mm, well presented ring, diamonds bright and well matched, very slight bend to shank, emerald good colour with some light nibbles - visible under 10x loop
Lot 2165
Early 20th century 9ct rose gold open face, keyless Swiss lever pocket watch by J. W. Benson, London, white enamel dial with subsidiary seconds dial and Roman numerals, case by Dennison, Birmingham 1929Condition Report:Approx 89.45gm, movement currently functioning and clean, dial good (some decolouration in subsidereary seconds dial, inner dust cover pendant and bow also hallmarked 9ct, case diameter = 48mmsome teeth marks around opening and light scratches and small dent to case otherwise good condition, hands moving freely
Lot 2166
Military issue open face, 15 jewels lever pocket watch by Omega, No. 9991473, white enamel dial with Arabic numerals and subsidiary seconds dial, snap on back case with broad arrow and Military issue markings 'G.S.T.P. F027929'Condition Report:Movement overwound but clean, case some rubbing to numbers and light scratched, dial good, hands moving freely, cover with some rubbing/light scratches
Lot 2168
Breitling Superocean gentleman's stainless steel automatic chronograph wristwatch, Ref. A13340, blue dial with triple register recording hours, minutes and continuous seconds and date aperture, boxed with papers and additional linksCondition Report:Movement currently functioning, crown winds tight, dial good, push buttons functioning, well presented and overall in good condition with some light surface scratches to case and bracelet, case diameter = 42mm
Lot 2170
Tag Heuer 2000 gentleman's stainless steel automatic chronograph wristwatch, Ref. 169.306, black dial with triple register recording hours, minutes and continuous seconds and date aperture, boxed with papersCondition Report:Movement currently functioning, dial good, light hairline cracks to luminosity within hands, light surface scratches to case and bracelet otherwise well presented
Lot 2175
Omega ladies 9ct gold manual wind wristwatch, Cal 620, case hallmarked Birmingham 1964, on 9ct gold gold bracelet with spring loaded clasp, hallmarkedCondition Report:Approx 29.1gm (excluding movement), movement currently functioning, dial good, crown original, bracelet not original non magnetic except for light spring in clasp , clasp secure, case diameter = 19mm (excluding crown), light scratches to cover
Lot 146
VAN CLEEF & ARPELS: FANCY-COLOURED DIAMOND RINGThe old cushion-shaped diamond, weighing 8.43 carats, between baguette-cut shoulder diamonds, signed VCA, numbered 2.434 CS, maker's mark for Charles Profilet, French assay mark, ring size KFootnotes:Accompanied by a certificate from GIA stating that the cushion-shaped diamond is Fancy Light brownish greenish yellow colour, SI2 clarity. Report number 6223592347 dated 23rd August 2022.For further information on this lot please visit Bonhams.com
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