BUETTI, DANIELE BUETTI, DANIELE 1955 Freiburg/Üechtland Titel: Dreams result in more dreams. Datierung: 2004. Technik: Leuchtkasten mit Diafilm (Illford Clearfilm) sowie Kabel und Stecker auf Maße: 40 x 30cm. 6,5Bezeichnung: Signiert verso auf Editionsaufkleber: Buetti. Hier weitere Angaben zum Werk. Griffelkunst-Vereinigung Hamburg e.V. (Hrsg.)Zustand: Der Leuchtkasten ist voll funktionstüchtig. WVZ. Griffelkunst, Bd. III, Nr. E 392, Abb . Erläuterungen zum Katalog Daniele Buetti Schweiz Fotografie Videokunst Digitale Kunst Zeitgenössische Kunst Objekte 2000er Abstrakt Multiple Mischtechnik Taum BUETTI, DANIELE BUETTI, DANIELE 1956 Fribourg Title: Dreams result in more dreams. Date: 2004. Technique: Light box with filmstrip (Illford Clearfilm) as well as cable and plug on Measurement: 40 x 30cm. 6,5Notation: Signed verso on edition label: Buetti. Here further information on the work. Griffelkunst-Vereinigung Hamburg e.V. (publisher)Condition: The light box is fully functional. Cat. rais. Griffelkunst, vol. III, no. E 392, ill . Explanations to the Catalogue Daniele Buetti Switzerland Photographs Video Art Digital Art Contemporary Art Sculptures 2000s Abstract Multiple Mixed media
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SOULAGES, PIERRE SOULAGES, PIERRE 1919 Rodez Titel: Eau forte VIII. Datierung: 1957. Technik: Farbaquatinta auf BFK RIVES (Wasserzeichen). Maße: 59 x 44 x 75,5 x 56cm. Bezeichnung: Signiert und nummeriertRahmen/Sockel: Passepartout. Zustand: Lichtrand. Recto minimal und verso leicht gebräunt. Bräunungs- und kleine Stockflecken. Untere Kante minimal unregelmäßig beschnitten. WVZ. Encrevé/Miessner/Pernoud, Nr. 8. Erläuterungen zum Katalog Pierre Soulages Frankreich Nouvelle École de Paris Tachismus Minimalismus Nachkriegskunst Grafik 1950er Abstrakt Druckgrafik Aquatinta SOULAGES, PIERRE SOULAGES, PIERRE 1919 Rodez Title: Eau forte VIII. Date: 1957. Technique: Colour aquatint on BFK RIVES (watermark). Measurement : 59 x 44 x 75,5 x 56cm. Notation: Signed and numberedFrame/Pedestal: Mat. Condition: Light-edge. Recto minimally and verso slightly discoloured. Discolouration and small foxing stains. Lower edge minimally irregularly trimmed. Enclosed: ichtrand. Recto minimal und verso leicht gebräunt. Bräunungs- und kleine Stockflecken. Untere Kante minimal unregelmäíg beschnitten Cat. rais. Encrevé/Miessner/Pernoud, no. 8. Explanations to the Catalogue Pierre Soulages Nouvelle École de Paris Tachism Minimalism Post-War Art Prints 1950s Abstract Print Aquatint
LEE, CATHERINE LEE, CATHERINE 1950 Texas Titel: Play Light. Datierung: 1990. Technik: Bronze, schwarz patiniert und weiß gefasst auf Maße: 206 x 155cm. 13Bezeichnung: Jedes Element ist nummeriert (1-3) Prov.: Unternehmenssammlung Deutschland. Erläuterungen zum Katalog Catherine Lee USA Zeitgenössische Kunst Objekte 1990er Abstrakt Skulptur Bronze LEE, CATHERINE LEE, CATHERINE 1950 Texas Title: Play Light. Date: 1990. Technique: Bronze, patinated black and painted white on Measurement: 206 x 155cm. 13Notation: Each element is numbered (1-3) Prov.: Corporate collection Germany. Explanations to the Catalogue Catherine Lee USA Contemporary Art Sculptures 1990s Abstract Sculpture Bronze
PIENE, OTTO PIENE, OTTO 1928 Laasphe/Westfalen - 2014 Berlin Titel: Ohne Titel. Aus: Mappenwerk ZERO. Datierung: 1966. Technik: Prägedruck und Zeichnung auf Velin. Maße: 55 x 65 x Bezeichnung: Signiert, datiert und bezeichnetRahmen/Sockel: Rahmen. Zustand: Leicht gebräunt. Minimale Bräunungsflecken. Ecken minimal bestoßen. Vereinzelte Griffspuren. Obere rechter Eckbereich sowie vereinzelt entlang der Kanten punktuelle Bestoßungen. Außerhalb der Auflage von 250 nummerierten Exemplaren. WVZ. Rottloff, Nr. 21. Erläuterungen zum Katalog Otto Piene Deutschland Zero Lichtkunst Nachkriegskunst Grafik 1960er Druckgrafik Prägedruck PIENE, OTTO PIENE, OTTO 1928 Laasphe/Westphalia - 2014 Berlin Title: Untitled. From: Portfolio ZERO. Date: 1966. Technique: Embossed printing and drawing on vellum. Measurement: 55 x 65 x Notation: . Signed, dated and inscribedFrame/Pedestal: Framed. Condition: Slightly discoloured. Minimal discolouration stains. Corners minimally bumped. Occasional fingerprints. Upper right corner area as well as occasionally along the edges punctual bumpings. Outside the edition of 250 numbered copies. Cat. rais. Rottloff, no. 21. Explanations to the Catalogue Otto Piene Germany ZERO Light Art Post-War Art Prints 1960s Print Embossing
KAUFMANN, RUPRECHT VON KAUFMANN, RUPRECHT VON 1974 München Titel: Saloth Sar/Baby. Untertitel: Leuchtkasten. Datierung: 2002. . Technik: Öl auf Holz sowie Acryl auf Röntgenbild, in Holzkasten mit Glühbirne (hinter Röntgenbild), Kabel und Stecker auf Maße: 41,5 x 69cm. Zustand: Der Leuchtkasten ist voll funktionstüchtig. Ausst.: Arnot Art Museum Elmira, New York 2003 (Aufkleber). Lit.: Katalog 6. Woldemar-Winkler-Preis, Gütersloh 2007, Abb. o.S. (Beigabe). Erläuterungen zum Katalog Ruprecht von Kaufmann Deutschland Figurative Kunst Zeitgenössische Kunst Objekte 2000er Kind / Kinder Objekt Mischtechnik Gliedmaße KAUFMANN, RUPRECHT VON KAUFMANN, RUPRECHT VON 1974 Munich Title: Saloth Sar/Baby. Subtitle: Light box. Date: 2002. . Technique: Oil on wood as well as acrylic on X-ray, in wood case with bulb (behind X-ray), cable and plug on Measurement: 41,5 x 69cm. Condition: The light box is fully functional. Exh.: Arnot Art Museum Elmira, New York 2003 (label). Lit.: Catalogue 6. Woldemar-Winkler-Preis, Gütersloh 2007, ill. w/o p. (supplement). Explanations to the Catalogue Ruprecht von Kaufmann Germany Figurative Art Contemporary Art Sculptures 2000s Child / Children Object Mixed media Extremities
Palagi, Pelagio (attr.) Bologna 1775 - Turin 1860 65 x 50 cm Capriccio mit antiker Architektur. Öl/Lwd. Die Bühnenbildartige Architektur mit akzentuierter hell-dunkel Wirkung zeigt Palagis Beschäftigung mit den Arbeiten von Ferdinando Galli da Bibiena (1656-1743) und Giovanni Battista Piranesi (1720-1778) und bei letzterem insbesondere mit dessen "Carceri", wobei auch die in Europa verbreitete Ägyptomanie Spuren im vorliegenden Gemälde hinterlassen hat. Davon zeugt auch eine Gruppe von Architekturzeichnungen des jungen Palagi aus dem letzten Jahrzehnt des 18. Jhdts., die heute im Palazzo dell'Archiginnasio di Bologna aufbewahrt werden, von denen sich zahlreichere Elemente hier wiederfinden. Veröffentlicht in: Luca Violo, Il crepuscolo della memoria. Brevi note ad un capriccio architettonico di Pelagio Palagi, S. 55-61 mit Abb. des vorliegenden Gemäldes auf S. 56/57 in: Spunti per conversare, vol.10, Galleria Nella Longari, Milano 2007, sowie auch Claudio Poppi (Hrsg.), Pelagio Palagi, Pittore, Milano 1996, Ausst.-Kat. Museo Civico Archeologico, Bologna, 6. Oktober - 8. Dezember 1996, S. 122ff., Kat.-Nrn. 1, 3-5 mit Abb. PALAGI, PELAGIO (attr., 1775-1860). Capriccio with ancient architecture. Oil/canvas. The set-like architecture with accentuated light-dark effect shows Palagi's preoccupation with the works of Ferdinando Galli da Bibiena (1656-1743) and Giovanni Battista Piranesi (1720-1778) and with the latter in particular with his "Carceri"; also traces of the in Europe then widespread Egyptomania are visible in the present painting. This is also evidenced by a group of architectural drawings by the young Palagi from the last decade of the 18th century, which are now held in the Palazzo dell'Archiginnasio di Bologna, of which numerous elements can be found here. Published in: Luca Violo, Il crepuscolo della memoria. Brevi note ad un capriccio architettonico di Pelagio Palagi, pp. 55-61 with ill. of the present painting on pp. 56/57 in: Spunti per conversare, vol.10, Galleria Nella Longari, Milano 2007. Cf. also Claudio Poppi (ed.), Pelagio Palagi, Pittore, Milano 1996, exhibition-catalogue Museo Civico Archeologico, Bologna, October 6 - December 8 1996, pp. 122-127, cat. nos. 1, 3-5 with fig.
Paar Regence Girandolen Frankreich, um 1720 H. 26 cm Bronze, vergoldet. Dreiflammig. Passiger, profilierter Fuß, geschraubt, gegliederter Schaft mit kanneliertem Dekor, entsprechender, abnehmbarer Leuchter-Aufsatz mit Vasenmotiven und Knospenknauf. Etwas berieben. Provenienz: Aus einer württembergischen Privatsammlung. A PAIR OF REGENCE GILT-BRONZE THREE LIGHT CANDELABRA with removable top, French, c. 1720. Minor wear.
Paar Girandolen mit geflügelten Putten Frankreich, 19. Jahrhundert H. 66 cm Bronze, vergoldet und patiniert. Fünfflammig. Leicht balusterförmiger, kannelierter und mit Akanthusblatt- und Palmblatt verzierter Säulenfuß mit quadratischer Plinthe, darüber ein geflügelter Amor, auf einer Kugel stehend. In der linken bzw. rechten Hand hält der den reich verzierten Leuchteraufsatz. L. ber., Alterssch. Zum Motiv des Leuchters mit dem geflügelten Amor in Siegerpose auf entsprechendem Sockel vgl. eine Entwurfszeichnung in der Bibliothèque Nationale de Paris, Cabinet d'Estampes Le 31, sowie einen Wandleuchter, Paris, um 1810 desselben Motivs. Lit. Ottomeyer/Pröschel, Vergoldete Bronzen, München, 1986, Band 1, Abb. 5.17.2. und 5.10.3. A PAIR OF EMPIRE GILT AND PATINATED BRONZE CANDELABRA, French, 19th century. Winged amor standing on a ball holding the five-light flambeau top in his left or in his right hand. Balustre shaped, flooted base with Acanthus and palm leaf pattern. Traces of age. Rel. Lit. Ottomeyer/Pröschel, Vergoldete Bronzen, Munich, 1986, Vol. 1, fig. 5.17.2., 5.10.3
Jack Butler Yeats RHA (1871-1957) The Rake Crossing Sligo Bridge Watercolour, 35.5 x 25.5cm (14 x 10'') Signed Provenance: With The Dawson Gallery, label Verso. Yeats specialized in depicting various characters of the West of Ireland in his early watercolours and oils. The Rake is one of these figures. The artist first sketched what he described as a 'rake', that is a stylish man of dissolute habits, in Galway in 1900, making a watercolour painting of the figure the following year. The work under consideration here, dates to 1908, and is also known as Sligo Bridge and shows another rake crossing the Garavogue river in the centre of Sligo, Yeats's hometown. Silhouetted against the streets and houses, the figure ambles along with his hands firmly in his pockets. Such a pose was associated with idleness and was considered by the Victorians as suggestive of defiance and even vulgarity and impudence. The dapper young man wears a neat muffler and a smart hat. He turns to gaze to his right, across the street, at some unseen but evidently, judging from his grinning expression, amusing sight. Orange and blue tones delineate the structure of the houses, the brickwork of the bridge and the shadows cast by the figure. These complimentary colours, pervasive throughout the composition, are subtle in tone. They diffuse the tension of the jaunty figure integrating him into his surroundings of open spaces and clear expansive light. Movement is conveyed in the striding legs of the man, the dancing gait of his feet and by his twisted torso. The torrential waves of the river that rise up in the background add to this sense of immediacy and veracity. Yeats gave The Rake to his friend, the Rev. Arnold Harvey who was rector at Lissadell, close to Sligo. The artist stayed with the cleric in the summer of 1908 and a sketchbook, now in the National Gallery of Ireland, records many of the incidents of the visit. The Rake is very likely based on an encounter experienced on this sojourn. Harvey and Yeats and his wife Cottie had met at Coole Park in the early 1900s when Harvey was employed by Lady Gregory as a tutor in classics to her son Robert. He was ordained as a Church of Ireland minister in 1903. He corresponded with Yeats and the two friends visited each other over the following years. The Rake is an amusing and empathetic image of a young manabout town and diverges from the disapproving portrayals of the Irish found in more conventional representations of the time. The work was exhibited in London and Dublin before being given to Harvey, who presumably shared Yeats's appreciation of the rake. Dr Róisín Kennedy, October 2020
Donald Teskey (b.1956) Coastal Report I - Erris, 2016 Acrylic on paper, 77 x 105cm (30¼ x 41¼'') Signed One of the leading Irish artists of his generation, Donald Teskey is so well known as a superbly tactile painter of coastal landscapes, concentrated on the sea, it can be hard to credit that he devoted a considerable part of his early career to drawing. More, his drawings were of the city. When he turned to painting, urban subject matter continued to dominate. But his work, whether drawing or painting, was always dynamic, always in thrall to the rush and flow of light, wind and air through the topography of street and alley, railway and canal, and through anomalous open spaces. In retrospect, we can see his rendering of areas of, say, Milltown or Dublin 8, as, literally, urban landscapes, with for example the industrial expanses of the Guinness complex around James's St interpreted as manmade cliffs and canyons. Of Palatine descent, Teskey was born in Rathkeale, and studied at Limerick School of Art and Design. Limerick city featured in his early, exceptionally accomplished drawings, but he had long been based in Dublin by the time he was seriously drawn back to the west. In the mid-1990s, he was invited to visit the Ballinglen Arts Foundation in Ballycastle on the north Mayo coast. A monumental, uncompromising terrain was at his doorstep. As he observed, his paintings were built on the armature of urban structure, and for a time he did paint the structural fabric of Ballycastle and its surroundings. Besides returning often to Mayo, he also stayed at Ballinskelligs in Co Kerry and on the West Cork coast. Gradually he moved beyond the coastal infrastructure of coastal villages, piers and harbours to address the sea itself. As he put it: It was a question of finding an organic structure that allows the paint to speak. He found that structure in the elemental clash of sea and shore. The moment when a wave hits rock crystallises a dynamic balance of matter and energy. This oil is an exceptionally pure expression of the artist's fascination with that moment of impact, when you are standing down on the rocks and the vast energy of the ocean breaches the steadfast boundary of the shore. He has said that he aims to capture exactly that moment in paint. Aidan Dunne, 2020
Walter Frederick Osborne RHA ROI (1859-1903) Loiterers (1888) Oil on panel, 35.5 x 25.4cm (14 x 10'') Signed and dated (18)'88 Exhibited: Royal Hibernian Academy, Dublin 1889, Catalogue No.220; Institute of Painters in Oil Colours, undated; 'The Irish Revival', Pyms Gallery, London May/June 1982, Catalogue No.2, colour illustration; 'Walter Osborne', National Gallery of Ireland, Dublin November/December 1983, Catalogue No.27, illustrated; 'Walter Osborne', Ulster Museum, Belfast January/February 1984, Catalogue No.27. Literature: Jeanne Sheehy, 'Walter Osborne', Ballycotton 1974, Catalogue No.220. In his painting Loiterers Walter Osborne shows an encounter between three people in a village street, with a pair of horses and a dog, and a hilly landscape behind lit by rosy evening sunlight. A realistic scene, the painting has a particular lyricism and warmth of colour. The boy in the foreground, holding a stick, sheepdog by his side, pauses to observe the man seated upon a white horse and a standing woman who are chatting. Each figure wears the plain clothing of English country people, the boy for instance, in a white smock. But each has distinctive head ware: the man a conical straw hat, the woman a bonnet, and the boy a deerstalker cap. In the background are thatched cottages and a small cart, while a basket and cloth has been left on the grassy verge on the right. The foreground is in shadow, but a strip of sunlight falls across the road, and beautiful sunlight also lights up the chimney stacks, tops of the roofs and hedge, and the hat of the mounted figure, while the hills behind and two clouds are illuminated by a warm, roseate light. The picture is dated 1888; in this period Osborne was working in Hampshire, Oxfordshire and Berkshire, often in the company of fellow-artists, such as Blandford Fletcher, and painting some of the finest pictures of his career. He painted in villages along the rivers Kennett and Thames, and he visited that part of the English countryside which lies to the north and south of the Berkshire Downs, (J. Sheehy, 1974, p.22). Loiterers may be set in Uffington or near Newbury. Osborne admired the rustic styles of village buildings, for example, the cottages with steep thatched roofs or stepped gables, small windows and red brick chimneys. The diagonal roofs to the right add a dynamic energy to the composition. In spite of its title, the people in the picture are not 'loitering' but relaxing, perhaps exchanging news after a day's work in the fields. In many pictures Osborne presented such people in the village street, stopping to talk, or simply observing the scene. He often used pencil studies from his sketchbooks, or juxtaposed figures from other pictures, to create interesting ensembles of local characters. For example, the figure of a boy in the foreground, viewed from behind and looking into the picture, becomes an archetypical image in several works. The woman, the boy in his smock, and the patient white and black plough horses also appear in a contemporary picture The Lock Gate, while a faithful sheepdog is present in several of Osborne paintings. The woman in the bonnet is also a familiar figure from many of Fletcher's Village scenes. The cottages and the landscape behind, the Downs and clouds, lit by beautiful evening light, are as much characters of the picture as the human figures. As Simon Jenkins writes : There is a gently rolling quality to the Berkshire chalk lands... The curves are more enfolding, the slopes more wooded... Yet they can still be wild and...mysterious. (England's 100 Best Views, 2019, p. 140.) If we look closely at Osborne's picture we see some surprising details: light paint is visible behind the boy, suggesting that his figure was added after the background was completed; and there are traces of pentimento on the grassy bank, where the figure of a seated woman may have been painted over. The picture is crisply executed yet Osborne's brushwork is lively, as for example in the 'blurred' treatment of the boy's smock, and the freely painted foreground and bank. Exquisite colouring is sprinkled throughout the picture, for example in the rosy clouds, the pale duck egg blue of the sky, and the touches of red in kerchiefs and chimney stacks. Loiterers is painted on a sturdy wood panel. Osborne made a lively ink drawing after the picture (sketchbook in NGI, cat. No. 19, 201, sheet 25), with a vignette of the boy and dog beside it, suggesting that he felt a special attachment to this painting. Acknowledgements: with grateful thanks to Anne Hodge, NGI, for assistance in research. Julian Campbell, September 2020.
The first Dalek Book published Souvenir Press 1964 in very good clean condition, light rippling to laminate on front cover Not price clipped. Dr Who annuals 1965 and 1966 are in nice clean condition, 1967 has wear to spine and ink inscription. Together with a Paint and Draw The Film of Dr Who and The Daleks 1965, published Souvenir Press 1965 in conjunction with Regal Films, a souvenir of the first Dalek film starring Peter Cushing. 65 Colouring pages, dot to dot etc. 5 pages have been neatly completed. (5)
Rupert and The Princess by Mary Tourtel, published by Sampson Low in 1925. The book has been professionally restored with the original cover but with new spine and title, colour matching the original. New end papers and 1 torn half page repaired with a laser copy (a very good restoration). Some light marks to bottom of some pages and last end page has a torn portion of its corner missing. Overall a nicely restored copy of a very scarce book.
Brian Clarke (British, born 1953)Blue Computergram, 1981 each numbered (on the overlap)oil and screenprint on canvas, in eight partsEach: 76 x 76 cm.29 15/16 in.Overall: 152 x 304 cm.59 13/16 x 119 11/16 in.Footnotes:Provenance Private Collection, UK (a gift from the artist)ExhibitedLondon, The Royal Institute of British Architects, Brian Clarke: New Paintings, Constructions and Prints, 1981London, Robert Fraser Gallery, Brian Clarke, circa 1985Karuizawa, Sezon Museum of Modern Art, Brian Clarke: Paintings, 1976 - 1986, 1987Osaka, Yao Seibu Exhibition Hall, Brian Clarke: Paintings, 1976 - 1986, 1987LiteratureMartin Harrison, Brian Clarke, London 1981, pp. 73–76 and illustrated pp. 154, 155–156, 159 & 205Deanna Petherbridge, 'Art on architecture' in The Architects' Journal, London 1981Robert Hewison, 'From centre to punk' in The Times Literary Supplement , London 1981.Brian Clarke: Stained Glass (Microcosm), Tokyo 1987; pp. 26 & 41, illustratedSainsbury Centre for Visual Arts, The Art of Light, Norwich 2018; p. 23 and illustrated pp. 265–266This 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
André Masson (French, 1896-1987)Visages dans la nuit des fleurs, 1959 signed André Masson (lower right); signed and dated André Masson 1959 (on the reverse)oil and sand on canvas40 x 79.8 cm.15 3/4 x 31 7/16 in.Footnotes:The authenticity of this work has kindly been confirmed by the Comité Masson.ProvenanceGalerie Louise Leiris, ParisPrivate Collection, EuropeSale: Kunsthaus Lempertz, Cologne, Moderne Kunst, 29 May 2003, lot 791Collection Armin Hundertmark, CologneSale: Artcurial, Paris, Art Moderne II, 8 June 2006, lot 175Acquired directly from the above by the present owner'[Masson] remained an unusual element, unclassifiable, a type of quiver which traversed through the entire painting... Masson's world is not a world of shapes, like that of the Cubists, but a world of forces.'- Daniel-Henry Kahnweiler(Typescript slipped into a letter from Daniel-Henry Kahnweiler to Curt Valentin, 10 December 1941, Paris, Archives Masson. Quoted in C. Morando, André Masson Biography 1896-1941, 2010, p. 39). André Masson was an artist who defied categorisation. His technical versatility, experimental spirit and lifelong preoccupation with metamorphosis engendered a long and storied career, spanning Cubism, Surrealism and Abstract Expressionism. By the age of 11, he was a student at the Académie Royale des Beaux-Arts et l'Ecole des Arts Décoratifs in Brussels. At 16, he was awarded the Grand Prix de l'Académie for painting, and commenced his training at the École Nationale Supérieure des Beaux-Arts in Paris. His experiments with automatic drawing – the process of freely moving materials without planning or conscious thought – attracted the attention of André Breton, Surrealism's principal theorist, in mid-1920s Paris. After he relocated to New York City in the early 1940s to escape the Nazi occupation of Paris, Masson's spontaneous and emotive approach to painting influenced Jackson Pollock's development of his quintessential action paintings. A hallucinatory vision of cosmic clusters and fantastical syllabary, Visages dans la nuit des fleurs, 1959, synthesises Masson's Surrealist roots and his later Abstract Expressionism. Using his characteristic colle ensable ('sandy glue') technique, Masson threw an admixture of sand and glue onto the stretched canvas, then formed his painterly composition around the resulting three-dimensional islands. Writing to his friend and art dealer Daniel-Henry Kahnweiler at this time, Masson exulted in this 'extreme spontaneity... having only rhythm and the fire of inspiration as my starting point.' (Letter from Masson to Kahnweiler, 15 July 1955, quoted in Donation Louise et Michel Leiris: Collection Kahnweiler-Leiris, exh. cat., Paris, 1984, p. 144). Incorporating natural phenomena into his work, in imagery and in technique, was a constant motive. During his time in the United States, Masson became fascinated with the indigenous Iroquois culture, for whom the natural world is sacred and the night sky is rich in stories and deities. In Visages dans la nuit des fleurs, abstracted, face-like symbols appear to dance across the celestial scenery like omnipotent beings. The ebb and flow of sandy rivulets forms a rhythmic backdrop, punctuated by short, staccato strokes resembling comets. The resulting effect is a transcendental crescendo, a frenzied ritual of light, colour and dance. Visages dans la nuit des fleurs was produced during Masson's 1950s période asiatique, within which he incorporated the philosophies and calligraphic forms of Zen Buddhism. Masson was first introduced to the school of thought by the Japanese writer Kino Matsuo in Paris in 1930. After studying the East Asian collections of the Museum of Modern Art and the Boston Museum of Fine Arts in the 1940s, he began experimenting with ideograms – characters encapsulating the idea of a thing, without indicating the sounds used to say it. In Visages dans la nuit des fleurs, Masson morphs these characters into a nebulous syllabary. As explained by Carolyn Lanchner, 'a great attraction of Zen for Masson was its emphasis on the immediate mystical experience as the way to ultimate truth... In practice, conjuring the void brought forth in his painting a spontaneous effusion of his own past art whose tides were stemmed or redirected by the formal concerns of the sophisticated European artist.' (Carolyn Lanchner, 'André Masson: Origins and Development,' in André Masson, exh. cat., New York, 1976, p. 186). The explosions of bold colour across a starry sky also allude to Masson's personal traumas, which ignited his long-running fixation with destiny and the ambiguity of the human condition. After suffering a grave chest wound as a French infantry soldier in World War I, Masson was confined to a series of hospitals and one psychiatric ward. Recalling the battle of Chemin des Dames in April of 1917, during which he was immobilised and left lying helpless throughout the tumult of battle, Masson recalled, 'The indescribable night of the battlefield, streaked in every direction by bright red and green rockets, striped by the wake and the flashes of the projectiles and rockets – all this fairytale-like enchantment was orchestrated by the explosions of shells which literally encircled me and sprinkled me with earth and shrapnel' (Masson, quoted in exh. cat., W. Rubin & C. Lanchner, André Masson, New York, 1976, p. 30).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
Sean Scully R.A. (Irish, born 1945)Doric Light Etching and aquatint printed in colours, 2010, on wove, signed, titled, dated and numbered 5/50 in pencil, printed by Burnet Editions, New York, with their blindstamp, with full margins, 406 x 381mm (16 x 15in)(SH)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
James Gillray (British, 1756-1815)Light Expelling Darkness, - Evaporation of Stygian Exhalations,-or- The Sun of the Constitution, rising superior to the Clouds of Opposition (BM 8644) Etching with hand-colouring, 1795, on wove, published by H. Humphrey, London, with trimmed margins, 355 x 463mm (14 x 18 1/4in)(SH)(unframed)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
The Macallan Lalique Genesis-72 year oldDistilled and bottled by The Macallan Distillers Ltd., Easter Elchies, Craigellachie.One of 600 decanters. In wooden presentation case within the original packaging accompanied by a crystal stopper and booklet. Engraved and transfer printed labelling. 70 cl. Single malt, 42% volume1 crystal decanterFootnotes:The Genesis decanter was released to celebrate the opening of The Macallan's newly-finished, award-winning distillery. One of only 600 bottles ever released, the exceptional 72-year-old spirit is housed in a Lalique crystal decanter, and a stunning wooden presentation case. Distilled in the 1940s and matured for a staggering 72 years, this spirit is one of the oldest expressions ever released by The Macallan. Nick Savage, Master distiller at the time, said: 'For its 72 years of maturation, the deceptively light colour hints that this is not an ordinary single malt. Reminiscent of a time gone by, it carries an exquisite balance of strong, sweet oak with the peaty spirit shaping its refined character'.World-renowned crystal makers Lalique have captured the essence of the distillery in the decanter, with numerous references throughout the design. The famous rolling lines of its roof are echoed in the rise and fall of the decanter's form, with the stopper reflecting the stunning, vaulted wooden ceiling. Each decanter is then encased in a bespoke presentation case designed by The Burgess studio, cabinet makers to Her Majesty The Queen, which also draws extensive inspiration from the architecture of the whisky's Speyside home. The Macallan Genesis 72-year-old is truly a celebration of collaboration between masters in the fields of whisky, crystal and architecture, and marks a new chapter in The Macallan story.Tasting notes:Colour:Golden amberNose:A delicate peat starts, leading to a soft, aged oak smoke. A body of refreshing citrus lemons and green apples, with a background of vanilla pods and raisins, with the smallest hint of ginger.Palate:Delicate peat smoke combines with a soft vanilla, and a surprising sweet oak smoke. A gentle wood spice combines with a delicate peat smoke, which gradually fades to leave a viscous mouth coating of citrus fruits and subtle green apples.Finish:Medium and fruity, with a sweet oaky mouth feel.For further information on this lot please visit Bonhams.com
Ehrental, M. von, Die Waffensammlung des Fürsten Salm-Reifferscheidt zu Schloss Dyck, Leipzig, 1906 Umfangreicher Katalog der bekannten Waffensammlung des Fürsten Salm-Reifferscheidt zu Schloss Dyck mit 675 Positionen auf 221 Seiten. Dazu Markentafeln und sechs Tafeln mit Abbildungen. Kartoniert. Nahezu neuwertig mit leichten Altersspuren, der Buchblock teils noch ungeschnitten. Selten! Zustand: II Ehrental, M. von, "The Salm-Reifferscheidt arms collection on Dyck Castle" (in German), Leipzig, 1906 A comprehensive catalogue of the famous arms collection of the Dukes of Salm-Reifferscheidt, containing 675 lots on 221 pages. 6 pages with images plus several pages with marks. Contemporary paperback. Almost new with light traces of use, the pages partially uncut. Rare! Condition: II
Kavalleriepistole New Land Pattern 1807, Tower, London, um 1810 Lauf im Kaliber 16,5 mm. Schloss mit bekröntem "GR", Aufschrift "TOWER" und Abnahme, Hahnsicherung (fest). Schäftung aus Nussbaumholz, Alters- und Gebrauchsspuren. Zeitgenössische Reparatur an der Ladestockaufnahme. Glatte Messinggarnitur, am Abzugsbügel Truppenstempel "11 L.D./A3 " (11. Light Dragoon). Angelenkter eiserner Ladestock. Mechanisch in Ordnung. Länge 38,5 cm. Zustand: II A New Land Pattern flintlock cavalry pistol, Tower, London, ca. 1810 Lauf im Kaliber 16,5 mm. Schloss mit bekröntem "GR", Aufschrift "TOWER" und Abnahme, Hahnsicherung (fest). Schäftung aus Nussbaumholz, Alters- und Gebrauchsspuren. Zeitgenössische Reparatur an der Ladestockaufnahme. Glatte Messinggarnitur, am Abzugsbügel Truppenstempel "11 L.D./A3 " (11. Light Dragoon). Angelenkter eiserner Ladestock. Mechanisch in Ordnung. Länge 38,5 cm. Condition: II
Ehrental, M. von, Die Waffensammlung des Fürsten Salm-Reifferscheidt zu Schloss Dyck, Leipzig, 1906 Umfangreicher Katalog der bekannten Waffensammlung des Fürsten Salm-Reifferscheidt zu Schloss Dyck mit 675 Positionen auf 221 Seiten. Dazu Markentafeln und sechs Tafeln mit Abbildungen. Kartoniert. Nahezu neuwertig mit leichten Altersspuren, der Buchblock teils noch ungeschnitten. Selten! Zustand: II Ehrental, M. von, "The Salm-Reifferscheidt arms collection on Dyck Castle" (in German), Leipzig, 1906 A comprehensive catalogue of the famous arms collection of the Dukes of Salm-Reifferscheidt, containing 675 lots on 221 pages. 6 pages with images plus several pages with marks. Contemporary paperback. Almost new with light traces of use, the pages partially uncut. Rare! Condition: II
Britains two sets 08957 Ceremonial Guard for State Elephants in one original box (Condition Excellent, box Very Good), two souvenir type plastic bejewelled Elephants with Kettledrums, Mahout and Occupants and five Britains repainted Madras Light Cavalry, very neatly finished in the embellished Britains style (Condition Excellent) (18)
Nostalgia set N297 Canadian Governor General's Bodyguard 1885 N310 Adelaide Rifles 1901, Trinidad Light Infantry 1897, N291 New South Wales Lancers1900, New South Wales Irish Rifles 1900 and N331 Woods Irregulars, Zulu War in original boxes with six additional figures (Condition Very Good, a few arms loose, boxes Good-Fair) (53)
Britains Charge of the Light Brigade sets 5197 with Russian Infantry and Artillery, 3109 8th Hussars, 3111 4th Light Dragoons, 3112 13th Light Dragoons, 3113 17th Lancers, 00168 Russian Infantry and 00263 Butcher Jack in seven original boxes and six outers (Condition Excellent, one sword broken, boxes and outers Excellent) (30)
Britains Toy Soldiers British Indian Army Cavalry sets 8835 Guides Cavalry 8839 27th Madras Light Cavalryman, 8840 2nd Bombay Lancer, 8843 Governor-General's Bodyguard, 8844 25th Frontier Force Cavalry and 8846 1st Central India Horse in six original boxes (Condition Excellent, boxes Excellent) (18)
Tradition Napoleonic Lancers five with Officer and Trumpeter, Trophy: three 17th Light Dragoons, Crimea, Royal Scots Grey, Waterloo and WW5 Sioux mounted figures in four original individual boxes and HM of GB Suffolk Hussars set 1 in original box with one French Infantryman by Tradition and three British by another maker (Condition Excellent, boxes Excellent) (21)
Britains Indian Army set 66, Duke of Connaught's Lancers with Trumpeter (Condition Very Good) 1955, with very neatly repainted sets 47, Skinner's Horse and 45, 3rd Madras Light Cavalry (Condition Very Good), a converted European Officer (arm missing) and a converted trooper on 'donkey horse' (Condition Good) (17)
William Hocker set 20, Governor General's Bodyguard in original box (E, box E) and Madras Light Cavalry at the halt, with Imperial, Australian Infantry (two helmet spikes missing) and, by another maker, an Indian Prince and a British Officer watching a Dancer, accompanied by a trio of Indian Musicians (Condition Excellent) (22)
A group of late nineteenth century Staffordshire spill vases groups, c. 1860-1870 together with a pair of 1920s dogs. They area all animal-themed. One of a dog rescuing a child, one of a leaping deer and one of a goat and two Royal children. 12 - 21 cm tall. (4)Condition: Restored chip to the vase top of the Royal children and a hairline in the base and light staining, two short, fine hairline in the top of the dog rescuing vase, overall crazing throughout and minor decoration loss.
An early nineteenth century commemorative blue and white transfer-printed Samuel Moore & Co. medium-sized bowl, c.1820. It is decorated with the Villa d'Este pattern depicting Queen Caroline and Bartolomeo Pergami on Lake Como. 17 cm wide. (1)Condition: In good overall condition. Light crazing and staining. Provenance: From the Arthur and Julia Roberts Collection.
A pair of early nineteenth century hand-painted Coalport plates, c. 1810-20. Each is decorated with well-painted flowers in vignettes on a blue ground. Both 23 cm wide. (2)Condition: One plate has a fine 10 cm hairline in the well of the plate, the other has light staining. Provenance: From a private collection.
Two early nineteenth century pearlware jugs, c.1810-20. The first is printed in black with shooting, chinoiserie and bull baiting scenes, all with added colours. The second is printed in grey/black with two rural scenes and has painted barbering tools and the initials A M to the front: 16 - 17 cm tall. (2)Condition: First jug: chip to rim, hairline in rim, wear to spout and crack in body. Second jug: light wear and crazing. Provenance: From the Jenkins Collection.
An early nineteenth century transfer-printed, painted and named and dated frog loving mug, c.1830-40. One side is printed with the Farmers' Arms and the other has written is gilding: Robert Litherland, Born February 1822. The inside has two frogs. 22 cm wide. (1)Condition: Overall light crazing and staining and two fine 2cm hairlines in the rim.Provenance: From the Jenkins Collection.
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