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Banksy (British, b. 1974) Group of four Banksy's books and ephemera comprising one Banksy's Bristol HOME SWEET HOME art book, one Banksy Wall and Piece art book, one Dismaland Bemusement Park brochure and one Dismaland Bemusement park map  Printed on paper Brochure measure approx. 34cm x 29cm Banksy (British, b.1974 ) is perhaps the most controversial street artist of the modern day. He is famous for his stencilled graffiti works, which appear in public spaces around the world. His use of stencilling developed from a need to complete a work quickly, namely to avoid being caught vandalizing by police. Banksy often uses multi-layered stencils to employ multiple colours, and he frequently incorporates permanent environmental fixtures, such as street signs and architectural elements, into his work. Marked by dark humour, satire, and political commentary, much of his street art has become viral on the Internet. His most notable early work was the result of a trip to Palestine and the West Bank, where he stencilled nine images on the Bethlehem Wall. Despite his stealth presence, Banksy has become a mainstream phenomenon. In 2010 Banksy directed Exit Through the Gift Shop, a chronicle of the underground world of street art, which was nominated for Best Documentary at the Oscars. In 2015, he opened Dismaland Bemusement Park, a temporary exhibition of an inverted, dystopian Disneyland. Although Banksy has continuously emphasized an aversion to the art world through his output, he also produces traditional works on canvas and prints as well as branded merchandise such as t-shirts. His cultural significance, widespread popularity, and, certainly, the mystery of his identity have all contributed to the desirability of his art. According to Sotheby’s Mei Moses, the average compound annual return for Banksy is 8.5%, with 76.5% of works increasing in value. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

After Banksy (British, b.1973) Walled Off Hotel "Palestine" poster and a "The Walled Off Hotel - The Worst View in The World" porcelain mug Poster measures approx. 57cm x 40cm, mug measures 12cm in diameter including the handle. If postage is required, any print within this sale will be posted rolled unless informed otherwise. Banksy (British, b.1973 ) is perhaps the most controversial street artist of the modern day. He is famous for his stencilled graffiti works, which appear in public spaces around the world. His use of stencilling developed from a need to complete a work quickly, namely to avoid being caught vandalizing by police. Banksy often uses multi-layered stencils to employ multiple colours, and he frequently incorporates permanent environmental fixtures, such as street signs and architectural elements, into his work. Marked by dark humour, satire, and political commentary, much of his street art has become viral on the Internet. His most notable early work was the result of a trip to Palestine and the West Bank, where he stencilled nine images on the Bethlehem Wall. Despite his stealth presence, Banksy has become a mainstream phenomenon. In 2010 Banksy directed Exit Through the Gift Shop, a chronicle of the underground world of street art, which was nominated for Best Documentary at the Oscars. In 2015, he opened Dismaland Bemusement Park, a temporary exhibition of an inverted, dystopian Disneyland. Although Banksy has continuously emphasized an aversion to the art world through his output, he also produces traditional works on canvas and prints as well as branded merchandise such as t-shirts. His cultural significance, widespread popularity, and, certainly, the mystery of his identity have all contributed to the desirability of his art. According to Sotheby’s Mei Moses, the average compound annual return for Banksy is 8.5%, with 76.5% of works increasing in value. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Lin Fengmian 林风眠 (1900 - 1991) Pair of Herons 双鹭 Oil on canvas Signed and mounted Measures approx. 60cm x 80cm  Lin Fengmian was a pioneer of modernism known for his brilliant hybridization of Chinese and European styles, subjects and methods. In his role as a prominent educator, Lin laid the foundation for Chinese modern art. Throughout his long and productive life, Lin absorbed a wide array of stylistic approaches into his paintings, and was one of the earliest Chinese artists to make a serious study of European modern art along with traditional ink paintings. By 1920 Lin was working as a signboard painter in Marseilles, sketching and studying French in his spare time. Lin’s work as a sign painter would help develop the steadiness and clarity of his later brushwork. Following six months of study at the School of Fine Arts in Dijon, Lin left for Paris where he studied at the École des Beaux Arts and the studio of Fernand Cormon (1845-1924). He had a highly eventful year in Germany, where he saw the works of German Expressionists and held a one-man exhibition, married his first wife, and exhibited 42 paintings in an Exhibition of Traditional and Modern Chinese Art. Soon after, with the untimely and sudden death of his wife and first-born child, the stunned Lin’s art and outlook were transformed. He remarried in 1925 and then returned to Beijing in 1926, committed to revitalizing Chinese art through education. After serving as the first principal of the National Beijing Fine Art School he founded the Hangzhou National College of Art where he taught Western style painting to students including Zao Wou-Ki, Chu Teh-Chun, and Wu Guanzhong. Lin Fengmian’s life was marked by numerous upheavals and tragedies including the destruction of may of his works during the Sino-Japanese War and Cultural Revolution. After leaving China in 1977 to reunite with family members Lin Fengmian ultimately settled in Hong Kong where he died in 1991 at the age of 90 years old. His work can be found in many museum collections including the Metropolitan Museum of New York, the Cernuschi Gallery of Asian Arts of Paris, and the Art Gallery of New South Wales. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Gwen Raverat (1885-1957), wood engraving on paper, Creation of Light (1912-), 6.2cm x 10.2cm, from the Modern Woodcutters suite. Printed from the blocks by Walter Bradley at the Morland Press and published by Herbert Furst at the Little Art Rooms, London in October 1920

Laser die-cut work.- Eliasson (Olafur) Your House, one of 225 copies, signed by the artist, 908 pp. illustrated by Olafur Eliasson using computer-aided laser die-cuts, original cloth, oblong folio (292 x 450 x 115 mm.), New York, Library Council of the Museum of Modern Art, 2006.*** Conceived by Olafur Eliasson as part of the Contemporary Editions series at the Museum of Modern Art, this book is one of the more exciting new achievements in book making in the 21st century. The subject is Eliasson’s house in Denmark rendered in a vertical cross section through an elaborate laser die-cut process of each page. The format of the book allows Eliasson the space to fully realise his idea on a scale of 85:1, so that each leaf corresponds to 2.2 centimeters of the actual house.Eliasson summarises the experience of viewing this book thus, “Reading a book is both a physical and a mental activity. It is like walking through a house, following the layout of the rooms with your body and mind: the movement from one room to another, or from one part of the book to another, constitutes an experiential narrative that is physical and conscious at the same time."Born of Icelandic extraction in Copenhagen, in 1967, Olafur Eliasson lives and works in Copenhagen and Berlin. His work has been exhibited in many international venues, including Tate Modern, London (2003), and the Menil Collection, Houston (2004). The San Francisco Museum of Modern Art organised a major retrospective of his work in 2007, which travelled to The Museum of Modern Art, New York, and P.S. 1 Contemporary Art Center, New York, in 2008.

Dickens (Charles) Sketches by "Boz": Illustrative of Every-Day Life and Every-Day People. The Second Series. Complete in One Volume, first edition, first issue without list of illustrations on p.viii, half-title, etched frontispiece, additional vignette title and 8 plates by Cruikshank, 20pp. publisher's advertisements at end, yellow-coated endpapers, some light offsetting, original blind-stamped rose pink speckled cloth, spine decorated in blind and lettered in gilt, covers slightly rubbed and soiled, spine sunned and ends bumped, upper joint slightly cracked but holding firm, leaves uncut, preserved in modern custom chemise and crimson morocco-backed slip-case, 8vo, John Macrone, 1837. *** This, Charles Dickens' first published book, proved popular with four issues of the First Series being swiftly printed; however, the publisher's profits were ten times greater than those of Dickens. Therefore, with the publication of the Pickwick Papers proving a great success and Oliver Twist starting to appear in Bentley's Miscellany, Dickens realised he could do better with an alternative publisher. Backed by Chapman & Hall, he negotiated outright purchase of the copyright of Sketches by "Boz" leading to the publication in 1837 of this Second Series.Provenance: bookplate of George Barr McCutcheon; American Art Association, "First Editions of the Renowned Collection of George Barr McCutcheon Sale", 21st April 1925, lot 28.

Blake (William).- Thornton (Robert John, editor) The Pastorals of Virgil, with a course of English Reading, adapted for Schools..., 2 vol., third edition (first Blake edition), numerous wood-engraved and engraved plates including 17 wood-engravings and 6 engravings by William Blake and 4 other designs by Blake engraved by others, folding lithographed maps, some very light spotting and offsetting (mostly to vol.1) but a good copy internally, contemporary sheep (not quite uniform), a little rubbed and scuffed, rebacked, spines ruled in gilt with blue morocco labels, corners repaired, preserved in modern sheep-backed marbled board drop-back box, spine ruled and titled in gilt, slightly rubbed, [Bentley 504], 8vo, J.M'Gowan for F.C.& J.Rivington [& others], 1821.*** Blake's wonderful and typically unconventional wood-engravings for the first Eclogue were the first and only he produced. Thornton rejected Blake's initial relief etchings and requested wood-engravings. He was obviously a little worried but was persuaded by John Linnell and others to include them, judging by his comment at the foot of the frontispiece, "they display less of art than genius, and are much admired by some eminent painters".These wood-engravings were hugely influential on contemporary artists, particularly Samuel Palmer, George Richmond, and Edward Calvert, and later artists such as Paul Nash and Graham Sutherland. Samuel Palmer wrote, after seeing them for the first time, "They are visions of little dells, and nooks and corners of Paradise; models of the exquisitest pitch of intense poetry...There is in all such a mystic and dreamy glimmer as penetrates and kindles the immortal soul...". 

* LEON MORROCCO RSA RGI (SCOTTISH b. 1942), SEATED FIGURE WITH CHILD pastel on paper, signed and dated '74mounted, framed and under glassimage size 34cm x 26cm, overall size 52cm x 42cm Note 1: The Royal Scottish Academy honoured Leon Morrocco by staging a major exhibition "Leon Morrocco: Long Road Home" (30th July - 28th August 2022). The RSA website reports: Timed to coincide with the artist’s 80th birthday (and the 2022 Edinburgh International Arts Festival) this major survey exhibition of one of our longest-standing Academicians celebrates the breadth of Leon’s prolific career. Although Leon was born in Edinburgh he has not lived in Scotland since 1979. This exhibition charts the ‘long road home’ to showing in the capital this summer.Note 2: Leon Morrocco RSA was born in Edinburgh in 1942. The son of Scottish-Italian artist Alberto Morrocco RSA OBE (1917-1998), Leon spent his childhood in Aberdeen and Dundee where his father taught at the art colleges. On family holidays to Italy Leon and his father would go out into the hills around Rome and Alberto would paint whilst Leon would draw. In 1959 Leon enrolled at Duncan of Jordanstone College of Art, Dundee, before continuing to the Slade School of Art, London (1960-61), and Edinburgh College of Art (1961-65). After art school, he was awarded the Andrew Grant Scholarship and an Italian Government Scholarship to the Accademia di Brera, Milan. Allowing him to travel around Greece, Turkey and Italy, these awards catalysed the itinerant lifestyle that would define his career.Elected an Associate of the Royal Scottish Academy at the unusually young age of 29, Leon was Lecturer in Drawing and Painting at Edinburgh College of Art from 1965 to 1968 before taking up a similar position at Glasgow School of Art from 1969 to 1979. Driven by a desire for travel and adventure, in 1979 he left Scotland to become the Head of Fine Art at the Chisholm Institute, Melbourne. Leon and his family would live in Australia for 12 years. Buoyed by gallery support, in 1984 he left academia and for the first time focused solely on his own practice. Following several successful exhibitions in Melbourne and Sydney, in 1991 Leon and his family returned to the UK, settling in North London. Leon Morrocco's work is held in numerous notable public, corporate and private collections, including the Scottish National Gallery of Modern Art, H.R.H Princess Margaret, Leeds Art Gallery, The Nuffield Foundation, and Queensland Art Gallery.

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), MONTASTRUC (FRANCE) oil on boardframed and under glassimage size 38cm x 38cm, overall size 57cm x 57cmNote: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).Condition is good overall, with no visible or known issues.

* PETER MCLAREN (SCOTTISH B.1964), STILL LIFE WITH POPPIES oil on board, signed and titled '91 versoframedimage size 64cm x 74cm, overall size 80cm x 90cm Exhibition label verso: Modern Masters, The Scottish Gallery 2013, EdinburghNote: Peter Mclaren was born in Edinburgh in 1964, he was schooled in Fife then studied at the Edinburgh College of Art. He won the John Kinross Scholarship, from the Royal Scottish Academy, which allowed him to study in Florence, and the Richard Ford Award, from the Royal Academy in London, to study the works in the Prado, Madrid. Early influences include the collection of Scottish Colourists and post war expressionist paintings from his home town of Kirkcaldy's Museum. As a student Mclaren travelled by bicycle to see collections in Amsterdam, Arnhem, Paris and London. Post-graduation, he won an Andrew Grant Scholarship which introduced him first hand to American art. Wyeth, Pollock, Lichtenstein and Warhol. In 1989 Mclaren won the inaugural British Airways Most Promising Artist Award. His work is held in many public and private collections.Condition of picture is good overall, with no visible or known issues.

* WILLIAM LITTLEJOHN RSA RSW RGI (SCOTTISH 1929 - 2006), FISH AND CHEST watercolour on paper, signed, titled and dated 1986 versomounted, framed and under glass image size 40cm x 60cm, overall size 62cm x 82cm Label verso: Lynne Stern Associates, London.Note: William Littlejohn as born in Arbroath in 1929 and went on to study Fine Art at Dundee College of Art, before becoming Lecturer in and later Head of Fine Art at Gray’s School of Art, Aberdeen. He retired in1991. In 1984 he was awarded a RSA Gillies Award to travel to Japan. William Littlejohn was elected as a member of the Royal Scottish Academy in 1973, the Royal Glasgow Institute in 1989 and the Royal Scottish Society of Painters in Watercolour in 1990. He had numerous one man exhibitions both in Scotland and England and his paintings are in many private and public collections including HM Queen Elizabeth II, The Scottish National Gallery of Modern Art, Royal Bank of Scotland and Edinburgh and Aberdeen Universities.

* CRAIG MULHOLLAND (SCOTTISH b. 1969), PIG'S HEAD STUDY oil on board, initialledunframedoverall size 92cm x 92cm Note: Craig Mulholland was born in Glasgow and studied Drawing and Painting at Glasgow School of Art. He lives and works in Glasgow and is currently Course Leader and Lecturer in Fine Art at The Glasgow School of Art. Mulholland’s work is included in a variety of public and private collections including: Scottish National Gallery Of Modern Art, Glasgow; The Royal Bank of Scotland; the Rudin Dewoody Collection; the Gregory Papadimitriou Collection and The Fleming Collection, London. He has been the recipient of a number of visual arts awards from the Scottish Arts Council and Creative Scotland, and exhibits regularly. Artistically, Mulholland is preoccupied with dialogues between emerging digital technologies and the clearer limits of more traditional painting and sculpture.

* BARBARA BALMER RSA RSW RGI (SCOTTISH 1929 - 2017), BASKET OF APPLES watercolour on paper, signed lower, titled label versoframed and under glassimage size 51cm x 43cm, overall size 47cm x 57cmHandwritten artist's label verso.Note: Barbara Balmer had a singular vision. Her pictures have a curious, if not surreal, edge. In her instantly recognisable style, she took the everyday and simplified it into shapes and patterns that she filled with subtle gradations of colour. Born in Birmingham, she moved to Scotland by way of a scholarship from Coventry School of Art that took her to Edinburgh College of Art (1949-1953). Her contemporaries are a roll call of familiar names of Scottish art: Elizabeth Blackadder, John Houston and Frances Walker to name a few. Balmer, however, eschewed the expressive brushwork and vibrant palette of the time and developed her own unique visual vocabulary. Throughout her long career, spanning more than five decades, she was twice selected to exhibit at the John Moores Exhibition in Liverpool, and had solo shows at the Richard Demarco Gallery and the Open Eye Gallery in Edinburgh, the Scottish Arts Council Touring Exhibitions and at the Fine Art Society in Edinburgh. Barbara taught at Gray’s School of Art in Aberdeen between 1970 and 1980 and held a retrospective exhibition at Aberdeen Art Gallery which travelled to Dundee, Lincoln and Coventry. Her work is included in many public and private collections including, The Royal Collection, The Scottish National Portrait Gallery (Portrait of Richard Demarco), The City Art Centre, Edinburgh, Leicester City Museum, Aberdeen and Stirling Universities, Aberdeen, Glasgow, Birmingham, Perth, Dundee and Lincoln Art Galleries. Seven of her paintings were used as dust jackets by Virago for the Modern Classics series and she was an elected member of the Royal Scottish Academy, the Royal Glasgow Institute and the Royal Scottish Society of Painters in Watercolour. In Barbara's obituary in The Herald, Richard Demarco wrote: "I hesitate to define her as an English, Scottish or indeed British artist. Her particular art must be viewed as belonging to the great and enduring tradition associated with the latest manifestations of European painting in this age of modern art".

* BANKSY (BRITISH b. 1974), EXHIBITION POSTERS FROM CUT & RUN exhibition posters on papereach framed and under glassimage size 58cm x 41cm each, overall size 63cm x 46cm eachQty: 2Note: The anonymous graffiti artist known as Banksy is perhaps the most controversial street artist of today. He is famous for his stenciled graffiti works, which appear in public spaces around the world. His use of stenciling developed from a need to complete a work quickly, namely to avoid being caught vandalizing by police. Between 15th June and 28th August 2023 at the Gallery of Modern Art in Glasgow he held his first show in 14 years: Cut & Run featuring stencils and more from his career on the street. “I’ve kept these stencils hidden away for years, mindful they could be used as evidence in a charge of criminal damage. But that moment seems to have passed, so now I’m exhibiting them in a gallery as works of art. I’m not sure which is the greater crime”

* BANKSY (BRITISH b. 1974), EXHIBITION POSTERS FROM CUT & RUN exhibition posters on papereach framed and under glassimage size 58cm x 41cm each, overall size 65cm x 47cm eachNote: The anonymous graffiti artist known as Banksy is perhaps the most controversial street artist of today. He is famous for his stenciled graffiti works, which appear in public spaces around the world. His use of stenciling developed from a need to complete a work quickly, namely to avoid being caught vandalizing by police. Between 15th June and 28th August 2023 at the Gallery of Modern Art in Glasgow he held his first show in 14 years: Cut & Run featuring stencils and more from his career on the street. “I’ve kept these stencils hidden away for years, mindful they could be used as evidence in a charge of criminal damage. But that moment seems to have passed, so now I’m exhibiting them in a gallery as works of art. I’m not sure which is the greater crime”

* COLIN FRASER (SCOTTISH b. 1956), BREAKING WAVES egg tempera on panel, signed, titled and dated 2000 label versoframed and under glassimage size 78cm x 108cm, overall size 107cm x 137cm Label verso: The Gatehouse Gallery, GlasgowComment: An outstanding and very large work by Colin Fraser and probably the largest example to be offered at auction.Note 1: By repute, the lady is the artist's wife. Colin Fraser's work rarely appears at auction but in 2021 Bonhams, London sold "Warm Light" (61 x 65cm egg tempera) by Fraser for £3000 (hammer) - lot 153, Modern British & Irish Art 28th April 2021 and in The Scottish Contemporary Art Auction of 10th November 2022 lot 61 "Early Morning Light" (a 67 x 46cm egg tempera) by Colin Fraser sold for £2200 (hammer).Note 2: Colin Fraser was born in Glasgow in 1956. He studied art in Brighton while in his twenties before moving to Lund in southern Sweden, where he lives with his wife and children. He exhibits regularly at the Royal Academy Summer Show, Catto Gallery and Petley Fine Art in London, Mira Godard Gallery in Canada as well as at galleries in New York and Glasgow. His work is held in numerous private and corporate collections throughout North America, the UK, Europe and Asia. Ever since his first exhibition in Brighton in 1978, Colin Fraser has worked almost exclusively in egg tempera, which has the benefit of being very long lasting, with examples over two thousand years old still in existence, and was the most widely used painting medium until the sixteenth century, when it was superseded by oils. However, it is also extraordinarily time-consuming. The painted surface must be built up layer by translucent layer, with the paint drying instantaneously and not amenable to manipulation afterwards, unlike oil paints. Although a notoriously difficult medium, it has become a firm favourite of Fraser’s, who says that the “restrictions have been paramount in helping me be more direct in my approach to the work, with the instant drying and transparency of the paint actively contributing to a higher level of spontaneity of execution”. Colin Fraser is particularly drawn to its vitality which reminds him “of the dynamism of the sun – never static, always changing”. “Observed light is usually what attracts me into the process of painting,” he says. “The surface of a work painted in tempera simply has a unique glow which cannot be imitated in other mediums”. Constructing each painting is an arduous process, each beginning with an idea or a chance observation followed by weeks of experimentation with arrangements and preparatory drawings. Many of his scenes are staged with strategic placement of chairs, diaphanous textiles and trays of fruit. He believes that the painter “chooses the content and the arrangement, and then it becomes a question of striving to achieve a particular mood”. The prestigious Catto Gallery (London) has staged highly succesful solo shows for Colin Fraser in 2015, 2017, 2019 & 2022.

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), CLYDE SHEDS oil on boardframed and under glassimage size 40cm x 57cm, overall size 58cm x 76cmNote: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).

* STEVEN CAMPBELL (SCOTTISH 1953 - 2007), BALLOONISTS COMING TO EARTH oil on paper, signed, titled and dated 1987 verso framed and under glass image size 50cm x 39cm, overall size 70cm x 60cm Note: Steven Campbell was born in Glasgow and originally worked as a maintenance engineer in a steelworks in Cambulsang before attending Glasgow School of Art and becoming one of the leading Scottish figurative painters of his generation. Campbell worked alongside the artists Ken Currie, Peter Howson and Adrian Wiszniewski, a group which later became known as the 'New Glasgow Boys'. While their artistic output was not homogenous they all shared an interest in figurative painting during the early 1980s which broke away from the conceptual and minimal trends in Modern art at the turn of the twentieth century. After graduating from Glasgow School of Art in 1982 Campbell won a Fulbright Scholarship to study at the Pratt Institute in the United States. Campbell worked from a studio in Brooklyn until 1986 and this period was key in establishing his status as an internationally renowned artist whilst raising awareness of Scottish contemporary art on a global scale. "Young Camper Discovering Grotto in The Ground" is a major work representative of this period. It appeared in a solo show held at the Barbara Toll Gallery in 1983. Within days of the show, the doyen of the New York art critics, John Russell, fully endorsed the painterly qualities of a young, unknown Scottish artist in his New York Times review. From here it was purchased by significant US contemporary art collectors, Boake and Marian Sells. Campbell had further solo exhibitions across the world in locations as far-reaching as Galerie Pierre Huiber in Geneva (1986) and Marlborough Fine Art in Tokyo (1990). His work is influenced by a diverse range of literary fiction from tales by the author P.G. Wodehouse to murder mysteries, resulting in his artworks appearing to be humorous and unsettling. Campbell was also influenced by children's book illustrations accounting for his use of a rich and vibrant palette which intensified after his U.S. period. Campbell's surreal compositions cannot be read as a conventional fictional narrative and his imaginary worlds intentionally challenge the viewer with their dreamlike quality leaving his artwork open to multiple interpretations.

* ROWLAND SUDDABY (BRITISH 1912 - 1972), GREEN AND RED watercolour on paper, titled label versomounted, framed and under glass image size 37cm x 50cm, overall size 64cm x 75cm Label verso: Louise Kosman Modern British Art, EdinburghProvenance: The artist's familyCondition of the picture is good overall, with no visible or known issues.

* ADRIAN WISZNIEWSKI RSA HonFRIAS HRSW (SCOTTISH b. 1958), HEIRESS watercolour and pen on paper, signed and dated 2006, titled label versomounted, framed and under glass image size 21cm x 14cm, overall size 39cm x 33cm Label verso: The Open Eye Gallery, EdinburghNote: Adrian Wiszniewski creates work characterised by a strong drawing element and fertile imagination. Populated with contemplative figures set in vividly coloured Arcadian landscapes, his paintings are rich with symbolic, political and philosophical depths. Adrian Wiszniewski (pronounced Vishnevski) was born in Glasgow in 1958 and studied architecture at The Mackintosh School of Architecture in Glasgow 1975–79; then trained at Glasgow School of Art, 1979–83. Wiszniewski is one of the leading members of the New Glasgow Boys responsible for the revival and resurgence of figurative painting under the tutelage of Sandy Moffat OBE; a group of artists that included Steven Campbell, Ken Currie and Peter Howson. His multiple awards include the Haldane Trust Award in 1982, the David Cargill Scholarship in 1983, the Mark Rothko Memorial Award in 1984, the I.C.C.F. Best Design Award New York in 1993 and the Lord Provost Gold Medal from City of Glasgow in 1999. His work can be found in many international public collections including The Gallery of Modern Art in New York, The Metropolitan Museum, New York, The Setagaya Museum, Tokyo, Japan, The Scottish National Gallery of Modern Art, Edinburgh, Tate Britain, London and The Victoria and Albert Museum, London. Wiszniewski has had numerous major solo exhibitions over many years including in London, Sydney, Edinburgh, Glasgow, Ghent and Tokyo.

* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003), SLOW BALLAD (BLUES NUMBER) oil on panel, signed, titled and dated 1978 label versoframed image size 45cm x 37cm, overall size 63cm x 56cm Artist's label verso.Note: Neil Dallas Brown was born in Elgin, Moray and studied at Dundee College of Art, Patrick Allan Fraser School of Art in Arbroath and the Royal Academy Schools. He won a travelling scholarship to the continent and a number of notable awards and prizes. In 1967 he visited New York with a Scottish Arts Council bursary; in 1970 took part in the Arts Council of Northern Ireland Open winning a major prize; and in 1981 won a bursary to the Scottish Arts Council studio in Amsterdam. From 1968-78 he was visiting lecturer at Dundee's Duncan of Jordanstone College of Art, then joined Glasgow School of Art where he taught for some 20 years. He lived in Fife until his death in 2003. Dallas Brown participated in dozens of group shows but also had a series of prestigious solo shows, notably at Compass Gallery in Glasgow, a series in the late 1960s at Piccadilly Gallery in London, a touring retrospective in 1975 from Stirling University, Perth Art Gallery 1987, Thackeray Gallery London in 1989 and Glasgow School of Art 1998. Birds and humans featured in Dallas Brown's pictures, which are tinged with mystery, menace and surrealism. He said ''Painting is love. Painting is an affectionate devotion''. More than 50 of Neil Dallas Brown's paintings are held in major public collections in the UK including at Glasgow Museums & Galleries, Fife Council, Hospitalfield (Arbroath), The Glasgow School of Art, Edinburgh City Collection, Nottingham Art Gallery, The Walker Art Gallery (Liverpool), Aberdeen Museums & Galleries, Dundee Museums & Galleries, The Fleming Collection (London), Paisley Museums & Galleries and The Scottish National Gallery of Modern Art.

* KEN CURRIE (SCOTTISH b. 1960), THE JEW AND OTHER STORIES mixed media (charcoal, pastel, oil pastel and beeswax) on paper, signed, titled and dated 1993 versomounted, framed and under glassimage size 31cm x 23cm, overall size 57cm x 47cm Exhibition label verso: Raab Boukamel Gallery, London Note 1: A similar sized painting from this series titled “Fatherland” was in the collection of David Bowie and was sold in the Bowie sale in November 2016 (Sotheby's, London) for £35,000 (hammer).Note 2: Ken Currie is renowned for his unsettling portrayal of the human figure. The artist's rich, luminous paintings depict mysterious rites, rituals, and quasi-medical practices, offering a meditation on violence in its many guises. Currie studied at the Glasgow School of Art from 1978-1983 and rose to attention within a generation of painters known as the "New Glasgow Boys" in the 1980s. In 1987, Currie completed a powerful series of large scale History paintings for the People’s Palace in Glasgow, commemorating the massacre of the Calton Weavers. Through the 90's deeply affected by humanitarian events in Eastern Europe Currie's works evolved, his focus shifting to confront ideas of mortality and corruption, both physical and moral. Over the last 10 years Currie's work has addressed the horrors of the contemporary world, without shying away from their brutality or grotesque nature. In 2009 Currie was commissioned to paint the theoretical scientist Peter Higgs following his receipt of the Nobel Prize, the painting now hangs at The University of Edinburgh. Ken Currie has exhibited widely internationally, including a 2013 solo exhibition at the Scottish National Portrait Gallery which also commissioned his painting Three Oncologists. Currie's work is held in many major public collections including Tate, London; Scottish National Gallery of Modern Art, Edinburgh; New York Public Library; Imperial War Museum, London; Campbelltown Arts Centre, New South Wales; Yale Center for British Art, New Haven; Gulbenkian Foundation, Lisbon; and the British Council, London.Condition of the picture is good overall with no visible or known issues.

An Art Deco style single stone modern brilliant cut diamond ring, set in yellow gold (no hallmark), size K, approx. 4.6g.

Patrick Hennessy RHA (1915 - 1980) Harry Robertson Craig on DunLaoghaire Pier, 1953 Oil on canvas 39 x 49cm (15¼ x  19¼") SignedProvenance: Collection of Pamela and George Fegan, purchased directly from the artist, thence by descent to the present owners.Exhibited: Dublin, Irish Museum of Modern Art, Patrick Hennessy: De Profundis, March/July 2016Literature: Patrick Hennessy: De Profundis, IMMA 2016, illustrated p. 124.

Patrick Hennessy RHA (1915 - 1980) Rebuilding of Monte Cassino (1951) Oil on canvas 64 x 76cm (25¼ x 30”) SignedProvenance: Collection of Pamela and George Fegan, purchased directly from the artist, thence by descent to the present owners.Exhibited: Dublin, Royal Hibernian Academy, 1952, cat.no. 126 as ‘Rebuilding Cassino’; Dublin, Irish Museum of Modern Art, Patrick Hennessy: De Profundis, March/July 2016Literature: Patrick Hennessy: De Profundis, IMMA 2016, illustrated p. 43.Monte Cassino is a rocky hill about 130 kilometres southeast of Rome, and at an elevation of 520 m it commands a panoramic view of the surrounding hills and valleys. Site of the Roman town of Casinum, it is known for its abbey, the first house of the Benedictine Order, having been established around 529AD.After centuries of sackings by invaders, abandonment and rebuilding, the 11th and 12th centuries were the abbey's golden age, but this sadly was short-lived. In 1799, Monte Cassino was sacked again by French troops during the French Revolutionary Wars and was then dissolved by the Italian government in 1866, the building becoming a national monument with the monks as custodians of its treasures.During the later stages of World War II, it was the site of the Battle of Monte Cassino. On 15 February 1944 the abbey was nearly destroyed in a series of heavy, American-led air raids. The abbey was considered a key observation post and it was thought by the allies that it was occupied by the Germans. However, during the bombing no German troops were present in the abbey. Following the bombing the ruins of the monastery were occupied by the German 1st Parachute Division, due to the ruins providing excellent defensive cover. The Abbey was rebuilt after the war with the President of the Italian Republic Luigi Einaudi committing considerable resources to the rebuilding.By the early 1950’s Patrick Hennessy was enjoying considerable success and saw his painting De Profundis selected to tour North America as part of an exhibition of Contemporary Irish Painting. A retrospective exhibition of his work from the period 1941-51 mounted by the Dublin Painters further confirmed his growing reputation and by this time he was in a position to travel extensively in Europe.Paintings by Hennessy exhibited at the RHA annual exhibitions in 1952 and ‘53, including the Rebuilding of Monte Cassino suggest that he was travelling around Italy with titles referencing (Monte) Cassino, Rome and Venice. The present work which dates to 1951 depicts a view of the abbey under a dappled blue sky, shrouded in scaffolding and displays the artist’s passion for stone, with partially destroyed masonry and brickwork in the foreground reminding the viewer of the impact of the allied bombing raid from only seven years earlier.

Elias Sime (Ethiopian, born 1968)Migueb 1, Min Neber (What is it), 2004 bears a James Cohan Gallery Label (verso)textile and yarn stitch74.5 x 96.5cm (29 5/16 x 38in).Footnotes:ProvenanceA private collection.ExhibitedNew York, James Cohan Gallery, Elias Sime: Selected Early Works, (18 - 26 March 2022).With his first major solo European show, Eregata እርጋታ, ending just last month at the Arnolfini gallery, and opening at Hastings Contemporary Gallery running from the 16th March to 8th September 2024, Elias Sime's position on the contemporary art market landscape is intrinsically vital and prominent in this current moment. The retrospective exhibition of Sime's output over the past six years will conclude in the Kunstpalast in Düsseldorf in 2025. The present work is an earlier example of Sime's work against the retrospective of his more recent work in the Eregata እርጋታ exhibition. While the artist currently holds a more concentrated view on electronically associated materials, Migueb 1, Min Neber (What is it) displays the origins of his experimental work with more traditional textile materials. The principles of the artist are realised in this present work, merging traditional techniques of weaving with contemplative abstraction, this concept of contemporary work with historic underpinnings remains a core theme to the artist's work to the present day. Bolstering a traditional narrative though these lyrical compositions, Sime's passion for history comes through in all of his works often travelling with the anthropologist Meskerem Assegued through rural villages in Ethiopia to research ancient rituals still in practice. In the same year as the work's creation, Sime represented Ethiopia at the 2004 Dak'Art Biennale of Contemporary African Art in Dakar.Beyond the gallery walls, Sime's contribution to arts and education in Ethiopia has been of immeasurable impact. Co-founding the Zoma Museum based in Addis Ababa in 2019, Sime also contributed to the architectural execution of the building, making it relative to the history of his country and cultural continuity. Resilient to modern brutalist forms of architecture, the materiality of the museum ranges from mud, cement, wood and straw, fluid with the environmental consciousness that is so highly relevant today. In the same year, Sime received an African Art Award from the Smithsonian National Museum of African Art, and he was shortlisted for the Hugo Boss Prize 2020. His work has been shown at the Metropolitan Museum of Art in New York, and the Studio Museum in Harlem, and remains in permanent collections at the MET, Alfond Collection of Contemporary Art, Orlando; Chrysler Museum of Art, Norfolk; Detroit Institute of Arts, Detroit, Michigan; Pérez Art Museum Miami, Miami, Florida; and the Utah Museum of Fine Arts, Salt Lake City, Utah, among others. After his major commission for The Milk of Dreams at the Venice Biennale in 2022, Sime has been selected as an official Collateral Event for the Biennale in 2024. Undoubtedly an exciting year for the artist, Sime has further been selected to partake in a group show that will be held at Salisbury Cathedral in April of this year.For further information on this lot please visit Bonhams.com

Demas Nwoko (Nigerian, born 1935)Terracotta Figure terracotta 46 x 21 x 14cm (18 1/8 x 8 1/4 x 5 1/2in).Footnotes:ProvenanceAcquired direcly from the artist;The collection of Jean Kennedy;A private collection.LiteratureJean Kennedy, New Currents, Ancient Rivers: Contemporary African Artists in a Generation of Change, (Washington: Smithsonian Institution Press), p. 55. (illustrated).Ulli Beier, Contemporary Art in Africa, (London: Frederick A Praeger, 1968), p. 43. (illustrated).With a core focus on the human condition, Nwoko is explorative in his mediums and expressive in his depiction of figurative works. An artist that informs his work with his heritage as well as present day societal experiences and conveyed with architectural, aesthetic and historical understandings, the present work is a remarkably rare and synthesised example of the artist's theoretical and physical forms of expression. As the first contemporary Nigerian artist to produce highly artistically expressive baked clay works, the present lot holds a monumental role in the history of contemporary African Art.According to the inscription accompanying the illustration of the present work in Kennedy's book New Currents, Ancient Rivers, Terracotta Figure was completed between the years 1967 and 1968. However, a very similar work is labelled in The Zaria Art Society, A New Consciousness as 'Senegalese Woman' completed in 1965. More conspicuously a female figure, the latter rendition seems to be more gender specific, whilst the present lot possesses a more seemingly androgynous and ambiguous character alluding to a character of a more metaphysical nature.Designing and building his own studios enabled him to have a 'facility for pursuing painting, carving, and casting, and making terra-cotta sculptures'. (Jean Kennedy, New Currents, Ancient Rivers: Contemporary African Artists in a Generation of Change, (Washington: Smithsonian Institution Press), p. 55.). Redirecting his focus from painting to wooden sculpture from 1963, Nwoko would then move on to working with clays in 1964. This was the same clay used in the production of traditional pottery of Southern Nigeria. Terracotta too began to be a medium that Nwoko incorporated into his artistic production given its historical use in depicting figures of Nok and Ife inspiration. The process of creating terracotta sculptures such as the present lot is an intrinsically detailed process and one that Nwoko himself had to devise and ultimately concluded in constructing a blend of a necessary high temperature pottery kiln and the open firing of pottery traditionally used in Nigeria. The result was a teak lined and brick truncated cone below the earth which was then enclosed within a brick igloo, enabling isolation and control of the temperature. A wall of teak logs was further constructed down the centre of the cone to be ignited, and the various sculptures arranged in the centre of the cone at varying levels would then be gradually baked following this combustion.Informed by the Nok terracotta heads from 300 BC, the present work is informed by the the ancient sculptural work of his heritage, that being the works of Ile-Ife. 'Nwoko's artistic response to the Nok classical form can be best described as formal extrapolation, in the sense that he worked with stock elements, extending their possibilities, adding new ones.' (Chika Okeke-Agulu, 'Nationalism and the Rhetoric of Modernism in Nigeria: The Art of Uche Okeke and Demas Nwoko, 1960-1968', Vol. 39, No. 1, African Arts, (UCA James S. Coleman African Studies Centre, 2006), p. 34.) In keeping with the Natural Synthesis methodology formulated under the Zaria Art Society that Nwoko was a part of during his years as a student, the present work displays a modern translation inspired by the heritage of the artist. 'Nok formal tropes such as large, outsized heads; tubular, as if nonvertebral, body parts; and perforated pupils.' (Chika Okeke-Agulu, 'Nationalism and the Rhetoric of Modernism in Nigeria: The Art of Uche Okeke and Demas Nwoko, 1960-1968', Vol. 39, No. 1, African Arts, (UCA James S. Coleman African Studies Centre, 2006), p. 34.)Indeed, incorporating heritage, culture and society is a consistent thematic use executed by Nwoko in his work. This principle has been instilled in the artist's practice since his formal education and participation in the pivotal Zaria Art Society during his time studying at the Nigerian College of Arts, Science and Technology from 1959-1961. The groups significance lies in its insistence on developing a new art based on Nigerian and African traditional aesthetics, forms and processes, but with a modernist sensibility similar to that of the European avant-garde. This idea, theorised by his friend, Professor Uche-Okeke, as Natural Synthesis defined Nwoko's work as a painter, teacher, theatre director, designer, architect, and here as a sculptor.BibliographyPaul Chike Dike & Pat Oyelola, The Zaria Art Society, A New Consciousness, (Lagos: Publication of the National Gallery of Art, 1998), pp. 103- 10.Chika Okeke-Agulu, 'Nationalism and the Rhetoric of Modernism in Nigeria: The Art of Uche Okeke and Demas Nwoko, 1960-1968', Vol. 39, No. 1, African Arts, (UCA James S. Coleman African Studies Centre, 2006)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

El Anatsui (Ghanaian, born 1944)Grandma's Cloth Series, 1993 signed and dated 'EL/ 93' (lower left of panel 13); titled 'Grandma's/ cloth Series' (verso of panel 1); each panel numbered 1-14 left to right, in chronological order (verso)incised, scorched and acrylic paint on wood panel76 x 130 x 2cm (29 15/16 x 51 3/16 x 13/16in).(in 14 pieces)Footnotes:ProvenanceAcquired directly from the artist, 1993;A private collection.El Anatsui's wide body of work exemplifies an incorporation of traditional forms of art creation across Africa with contemporary motifs. Aiming to redress African history as it was understood, as it had mainly been communicated by European interpretations following colonisation, El researched linguistics and writing systems of his African heritage to inform works such as the present lot. This was an effort to reclaim his heritage identity.Created within the same year as his other Grandma's Cloth works, with the series spanning from the late 1980s to the early 1990s, El Anatsui uses wooden planks and incorporates uli and nsibidi symbols, etched into the wood. Indeed, the process of etching, incising and scorching was performed with modern tools such as blow torches and power saws, contrasting the everyday age-old material. Conceptually, the aggressive nature of moulding the wood is representative of the Western colonisation which fragmented Africa.Inspired by the vivacious graphics, historical significance, and identity that traditional Ghanaian Kente cloth imbues, the artist would eventually go on to expand the medium of his works to scrap pieces of metal, mimicking the action of weaving resonating with the creative process of Kente Cloth. From process to the end result, El Anatsui's work is heavily weighted in symbolism.For further information on this lot please visit Bonhams.com

Sydney Alex Kumalo (South African, 1935-1988)St Francis of Assisi signed and numbered 'K VII | X' (beneath the figure's tunic)bronze on wooden base 70 x 27.5 x 22.5cm (27 9/16 x 10 13/16 x 8 7/8in). (including base)Footnotes:ProvenanceEgon Guenther Gallery, purchased 3rd November 1966;By descent;A private collection.ExhibitedJohannesburg, Egon Guenther Gallery, An Exhibition of Sculpture and Drawings by Sydney Kumalo, (8 May 1962). (edition i/x).LiteratureGavin Watkins and Charles Skinner, The Sculptures of Sydney Kumalo and Ezrom Legae, A Catalogue Raisonné, (South Africa: Strauss & Co, 2023), SK13, p. 143.H. Toerien & G. Duby, ed. Our Art, vol.3, (Pretoria), p. 66. (illustrated).Elizabeth Rankin, 'Sydney Kumalo', ed. E. Burroughs & K. Nel, Re/discovery and Memory: The works of Kumalo, Legae, Nitegeka & Villa,(Cape Town: ABC Press & Norval Foundation, 2018), p. 131. (different edition of the same work illustrated). S. Sack, The Neglected Tradition: Towards a New History of South African Art (1930-1988), (Johannesburg Art Gallery, 1988), p. 51. (different edition of the same work illustrated), (edition 6/10).Born in 1935 and raised in the old suburb of Johannesburg known as Sophiatown, Sydney Kumalo grew up with and became absorbed into a community that would be destroyed by the apartheid, catalysing a generation of some of South Africa's most passionate, driven, and famous artists. Being Zulu in this community meant that Kumalo grew up surrounded people of different political beliefs and cultures, developing a grounding of cohesive societal understanding that would reflect in his later works of art. Kumalo was only seventeen when he began studying at the Polly Street Art Centre in Johannesburg under the guidance of Cecil Skotnes and Edoardo Villa, before becoming a teacher there himself in 1964. Kumalo would go on to exhibit alongside the two aforementioned artists (also prominent figures in today's market) in collaborative shows. Given his background Kumalo would establish himself as a prominent figure in modern African Art who overcame challenging adversity given his position as a Black creative during apartheid, emphasising his importance. Guenther Gallery cast two terrazzos and the first bronze (edition i/x) of this sculpture for the May 1962 exhibition, An Exhibition of Sculpture and Drawings by Sydney Kumalo. Further casts were created on a basis of supply and demand; the present rendition was cast in November 1966. Evidently a popular cast, Egon Guenther Gallery sold all future editions of St Francis of Assisi from 1966 to 1971. Elizabeth Rankin notes that Carlo Gamberini of the foundry remembered 'how Kumalo used to come to the foundry to oversee the finishing of the bronze casts, and also to work on the waxes of his sculptures, often using a saw blade to introduce surface texture.' This practise can be seen on the present work, with hairline etchings of texture most notable to the head, shoulders, and back of the work. This technique would further animate the figures the artist produced and displayed the artist's continuous passionate development of his works. Figures expressing spiritual emotion is a theme that is consistent within his oeuvre. With regards to his wider body of work, Kumalo's renditions of strong semi-abstracted figures, whether they be animals or humans, are somewhat characteristic of traditional African sculptures. As Jean Kennedy notes on the artist's technique: 'The solidity and central axis of his forms convey strength, the interpretation of which ranges from protest to endurance.' (Jean Kennedy, New Currents, Ancient Rivers; Contemporary African Artists in a Generation of Change, (Washington: Smithsonian Institution Press, 1992), p. 175.). In this instance, the image of St Francis of Assisi brings to the surface notions of peace which the figure is associated with. Differing from classical descriptive reproductions of the Saint, for instance often portrayed bearing stigmata in Old Master depictions of the Saint, Kumalo portrays the essence of Assisi, focusing on compositional form rather than the imitation of Christ which older western portraits tend to have leaned towards. While most associations of an animal interaction with the Saint are more famously through the legend of Francis and the Wolf of Gubbio, doves themselves are symbols of peace and therefore contribute to the humility of the figure. St. Francis is one of Kumalo's best known works. Conceived in 1962, the sculpture depicts the Christian saint renowned for his acts of compassion. It was described by Watter in Our Art 3 contemporary critic thus:'The mask-like head radiates spiritual serenity, yet the neck is rigid with strain. The wide-legged stance asserts confidence but the arms are pathetically thin. This is a representation of a man rent by spiritual conflict, caught in his frail human body. Movement is concentrated at two points: on the saint's left hand that cuddles a dove protectively against his chest, and on the strong thrust of the right arm reaching heavenwards in a gesture that combines blessing with threat. This double significance reinforces the tension caused by the amalgam of Christian content with forms redolent of African ritual. The soft pot-belly is opposed to hard purpose. The ludicrous little legs provide a stylised base for a gesture that challenges the universe. In Sydney Kumalo's St. Francis a man is portrayed who has galvanised himself through the strength of selfless compassion and so overcomes the limitations set by his fallible human body.'Since the creation of this work, Sydney Kumalo represented South Africa at the Venice Biennale in 1966, and in 1967 participated in the Sao Paulo Biennale. Kumalo received a number of awards throughout his career; he was invited to the Artist of Fame and Promise Exhibition in 1960 further winning the award for most promising up and coming artist. In 1967 won a bronze medal from the Transvaal Academy and a travel bursary from the US-SALEP (the United States/ South African Leadership Exchange Programme) enabling him to travel to the US in 1967. It seems appropriate, given the religious motivation behind much of the artist's work such as the present lot, that Kumalo also received commissions from religious institutions, such as a mural in the Catholic Church in Kroonstad that was completed in 1957. Therefore, we see Kumalo's career extending beyond these art circle bounds and into physical and pivotal societal structures.We are grateful to Gavin Watkins for his assistance with the above footnote.BibliographyGavin Watkins and Charles Skinner, The Sculptures of Sydney Kumalo and Ezrom Legae, A Catalogue Raisonné, (South Africa: Strauss & Co, 2023), pp. 142-145.H.Toerien & G.Duby, ed. Our Art, vol.3, (Pretoria), pp. 66-68.Jean Kennedy, New Currents, Ancient Rivers; Contemporary African Artists in a Generation of Change, (Washington: Smithsonian Institution Press, 1992), p. 175.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

Alexander 'Skunder' Boghossian (Ethiopian, 1937-2003)Untitled signed and dated 'SKUNDER 62' (lower left)oil on board54.6 x 45.7cm (21 1/2 x 18in).(framed)Footnotes:Painted in 1962, the present work was created during a significant decade in Alexander 'Skunder' Boghossian's artistic development. The painting was created the year before Skunder embarked upon his most celebrated body of work: the Nourishers series (1963-1964). Comprised of twelve large-scale paintings, the series is widely understood to be the apex of Skunder's synthesisation of African and European iconography in his development of an Ethiopian modernism.Through swirling cosmic imagery and amorphous primordial forms, Skunder established a visual language which he described as an 'Afro-Metaphysics'. As Chika Okeke-Agulu suggests, the artist's intention in these works 'was to draw on the power of religion and myth to invoke and signify a new beginning for independent Africa' (Okeke-Agulu, 2013: p. 12). The present work stands as a formative example of these themes in the artist's painterly practice which he continued to explore in the Nourishers series. Skunder was born in Addis Ababa in 1937. He remained in Ethiopia until the age of seventeen when he won second prize in the Abstract Art category at the National Art Exhibition. Held to mark the Jubilee Anniversary Celebration of Emperor Haile Selassie, the exhibition resulted in Skunder being awarded a scholarship to study abroad. He embraced the opportunity and undertook training at Saint Martin's School of Art, the Central School of Art and Design, and the Slade School of Fine Art in London, before travelling to Paris. Here, he attended the École Supérieure des Beaux Arts (1955-56) and the Académie de la Grande Chaumière (1957-63).The move to Paris placed the young artist at the heart of a dynamic community of artists, philosophers, and activists from across the African diaspora. Together, these individuals interrogated the nature of an empowered Black identity in light of contemporary postcolonial politics. Skunder was particularly inspired by the pioneering activists he encountered during this period including Aimé Césaire, one of the key founders of the Négritude movement. Négritude offered the Ethiopian artist a conceptual framework within which to formulate a new avant-garde aesthetic - one that deconstructed the boundaries of Western modernism to champion a Pan-African visual iconography.Created while Skunder was a student at the Académie de la Grande Chaumière, the present work exemplifies the artist's impetus towards experimentation as it fuses African iconography with techniques and materials drawn from European modernism. Biomorphic forms and mask-like heads populate the canvas. Thick black lines crisscross the surfaces of these earth-tone forms. The resultant patterns evoke the lines incised into the Konso funerary sculpture of southwestern Ethiopia or woven into Bobo hemp and wooden masks from West Africa. These elements are juxtaposed with a green geometric background which recalls the formal Cubist experimentation of Paul Klee (1879-1940) - an acknowledged influence on Skunder's practice. While the present work references both African and European modernist tropes, it also reveals the key influence of diasporic artists operating in Paris in the 1960s on Skunder's practice. He recalls that, in this period, '[w]e were all coming together to listen to our stories and to find a commonality in ourselves and in our struggles' (quoted in Cassel, 1993: p. 66). He took particular inspiration from the unique sculptural forms crafted by the Ivorian sculptor Christian Lattier (1925-1978). Emigrating to France in 1935, Lattier reimagined traditional West African weaving techniques within his own practice. He interlaced strong hemp fibres around a central wire frame to create expressive masks, animals, and abstracted biomorphic forms. The elegant curvature of the masks, with their rounded eyes and open mouths, is echoed by the two heads illustrated by Skunder towards the upper left corner of the present work, illuminating the diverse influences that inform the artist's painterly practice. The body of work created by Skunder in the early 1960s asserted his position at the forefront of the international art world. The significance of his oeuvre was swiftly recognised by high-profile art institutions. The Musée d'Art Moderne, Paris, and the Museum of Modern Art, New York, both acquired early works by the artist in 1963 and 1965, respectively.Skunder's work continues to be widely celebrated today. His paintings are held in prominent collections worldwide and have been included in major international exhibitions including, most recently, the ground-breaking show, Surrealism Beyond Borders, when it was staged at The Metropolitan Museum of Art, New York (October 11, 2021–January 20, 2022). BibliographyChika Okeke-Agulu, 'Contemporary African Artists and the Pan-African Imaginary', in Diaspora Dialogue: Art of Kwabena Ampofo-Anti, Alexander 'Skunder' Boghossian, and Victor Ekpuk, exh. cat., University of Maryland University College, USA, February 12–May 12, 2013.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

SALVADOR DALÍ (1904-1989)Études pour le tableau Visage Paranoïaque (recto-verso) signé et daté 'Autentique Salvador Dali le 29 décembre 1974' (en bas à droite) ; signé et daté 'Autentique Salvador Dali le 29 décembre 1974' (au revers)crayon sur page de carnet de croquisExécuté circa 1935signed and dated 'Autentique Salvador Dali le 29 décembre 1974' (lower right) ; signé et daté 'Autentique Salvador Dali le 29 décembre 1974 (on reverse)pencil on paper, sketchbook sheetExecuted circa 193527 x 21 cm.10 5/8 x 8 1/4 in.Footnotes:L'authenticité de cette œuvre a été confirmée par Monsieur Nicolas Descharnes.ProvenanceCollection Paul Eluard.Collection Georges Hugnet, Paris, 1941.Vente, Christie's, Londres, 5 juillet 1974, lot 392.Collection particulière, Paris.Acquis auprès de celle-ci par le propriétaire actuel.ExpositionsNew York, Museum of Modern Art, Fantastic Art dada Surrealism, 1936. New York, Guggenheim Museum, Surrealism : two private eyes, 1999.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

[Alken (Henry)] Doing the Thing, and the Thing Done, in a series of Sporting Plates, first issue, 8 hand-coloured aquatints, watermarked 1817, marginal spotting, bifolium of publisher's advertisements loosely inserted, original printed wrappers bound-in, modern half-morocco, gilt, [Bobins IV, 1371; Mellon/Snelgrove, p.11; Schwerdt I, p.13 cited under title, Doing It Somehow with 6 plates; Siltzer, p.69; Tooley 24 also calling for 6 plates], oblong 4to, 1818. *** While contemporary advertisements record only plates 3-8 in the primary issue published on 2 March 1818, Tooley notes that plates 1 and 2 of the present set, dated 5 April 1818, were frequently bound alongside the original six. Their integrity as a set of eight prints is confirmed by the original watercolours housed in the Yale Center for British Art, where the full eight are present.

[Pettenkoffer (August) & Josef Anton Strassgschwandtner]. Die k. k. Österreich‘sche Armée nach der neuesten Adjustirung, lithograph title and 36 hand-coloured lithographs, heightened with gum arabic, scattered spotting, one or two faint abrasion marks, modern cloth, slight rubbing to corners and extremities, slight chipping to spine, [Bobins II, 381; Colas 2337; De Ridder 60; Hale p.705; Lipperheide Qc 21 (illustrated); Vinet 2172], folio, Vienna, Verlag der Kunsthandlung Alois Leykum, [n.d. but c.1854]. *** Complete with the rare lithograph title. Karl August von Pettenkofen became a student at the Viennese Akademie der bildenden Kunste in 1834. A decade later he joined the military and served in the Dragon Regiment of Louis I of Bavaria. During this time the artist found inspiration in the uniforms of the Austrian army and dedicated the following two decades to producing watercolours and lithographs of military garb. Anton Strassgschwandtner equally was a student of the Viennese Art Academy (1843-5). In a similar fashion to his collaborator, his main artistic focus was depicting military and hunting scenes.

Patrick Heron (British, 1920-1999)2 December 1998 gouache and pencil on paper20.5 x 30.5cm (8 1/16 x 12in).Footnotes:ProvenanceWith Waddington Galleries, LondonWith Julian Lax, London, where acquired by the present owner, 3 December 2001Private Collection, U.K.ExhibitedLondon, Julian Lax, St Ives: Eighty Years of Modernism, 22 November-18 December 2001, no. 43Saleroom notices:Please note the title of this work should read: 2 DECEMBER : 1998. The present lot was also exhibited in the solo exhibition: London, Waddington Galleries, Patrick Heron: Last Gouaches, 2-26 June 1999, no. 13 The Patrick Heron Trust is in the process of researching the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any works by Patrick Heron, so that these can be included in this comprehensive catalogue. Please write to the Patrick Heron Trust, c/o Modern British and Irish Art, Bonhams, 101 New Bond Street, Mayfair, 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

Eric Henri Kennington R.A. (British, 1888-1960)Ruined Buildings signed 'E.H. KENNINGTON.' (lower right)pencil, gouache and chalk on paper46 x 58cm (18 1/8 x 22 13/16in).Footnotes:The present lot appears to be one of a series of landscape works executed by Kennington whilst working as an Official War Artist in World War One. Kennington's career as a War Artist began in the latter half of the war, after the artist received an honourable medical discharge in June 1915 due to a wound in the left foot. Initially, Kennington was affiliated with the Department of Information, and under their employment returned to France as an artist in 1917. It was in this period that Kennington began to execute his landscapes and 'hut-scapes', which depict the abandoned buildings and ruined countryside in Ribecourt, Havrincourt and Bourlon. These works, primarily executed in pastel, were in the words of the artist, a documentation of the 'oddity and sadness and compete novelty' of the decimated landscape in France during the conflict (J. Black, Eric Kennington and William Rothenstein and the Landscape of the Western Front, 1917-1919, in S. McDougall ed., William Rothenstein and His Circle, Ben Uri Gallery, London, 2016). Many of these drawings, of which more than fifty were produced, were shown at the Leicester Galleries in an exhibition titled The British Soldier', which took place in June and July 1918, and at a show at The Alpine Club in July 1920. Although critical attention during and after the war from fellow artists such as Orpen and art critics such as Frank Rutter, focused only on the artist's mastery as a portraitist, these haunting, unpopulated landscapes, which, in the words of Jonathan Black, give 'the impression of having only just been vacated by combatants whose fate was unknown', are as powerful in their illustration of the cost of war as his best known portrait works, such as Gassed and Wounded (J. Black, Eric Kennington and William Rothenstein and the Landscape of the Western Front, 1917-1919, in S. McDougall ed., William Rothenstein and His Circle, Ben Uri Gallery, London, 2016). As outlined by Emma Notfors, one of Kennington's primary aims as an Official War Artist was 'communicating the dire conditions' faced by soldiers on the Western Front (E. Notfors, An Outside View: Illustrations to the 1926 Subscribers' Edition of The Seven Pillars of Wisdom, in Textual Cultures, vol. 10, no. 2, 2016, p. 12). Works such as the present lot, in addition to similar examples held in the Imperial War Museum collection including A Camouflaged Tent, A Shattered House and A Tree-Stump, form a vital part of Kennington's documentation of the reality of life as a British Tommy. Unlike many of the artists who were commissioned to depict the conflict, Kennington worked on or near the front-lines, and was of a similar age and service experience to the soldiers serving in combat positions. For this reason, Kennington was well acquainted with the realities of war, and throughout his career constantly strove to depict the true nature of the conflicts he documented, frequently at the expense of his own professional development. Often executed in-situ, and in less than forty-five minutes, these landscape works epitomise Kennington's focus on direct observation and objective documentation of life on the frontlines, a focus that was at odds with the overtly patriotic tone propounded by the Ministry of Information in this period.Formally, Ruined Buildings is a striking example of Kennington's mastery of the pastel, which remained one of the artist's primary mediums throughout his lifetime. In one of the only comprehensive studies of the artist's landscape works, Eric Kennington and William Rothenstein and the Landscape of the Western Front, 1917-1919, Jonathan Black describes how the pastel drawings suggest 'the forensic precision of Dürer's intense studies of the natural world combined with the lyrical Romanticism and mania for detail of the early Pre-Raphaelites' (J. Black, Eric Kennington and William Rothenstein and the Landscape of the Western Front, 1917-1919, in S. McDougall ed., William Rothenstein and His Circle, Ben Uri Gallery, London, 2016). The present lot showcases this meticulous attention to detail in its rendering of the semi-destroyed architectural structure, which dissolves into a landscape suggested by expressive swathes of colour. World War One heralded a change in Kennington's artistic style, which in 1914 was decidedly traditionalist (J. Black, Reading Behind the Lines: War Artists, War Poets, Reading and Letter Writing, 1917-1919, in E.G.C. King and S. Towheed ed., Reading and the First World War: Readers, Texts, Archives, Palgrave Macmillan, Basingstoke, 2015, p. 171). Kennington first rose to critical attention with his pre-War painting Costermongers (La Cuisine Ambulante), which was purchased by William Nicholson. The experience of working as an Official War Artist led Kennington to be more adventurous with medium and composition post-war, a change which can be seen when comparing this 1914 work with the ambitious reverse glass painting The Kensingtons at Laventie. Ruined Buildings, as a more casual study produced during the conflict, provides a unique insight into this artistic development. There is no doubt that Eric Kennington is best remembered as a portraitist. Laura Brandon's Art and War and Joanna Bourke's comprehensive survey of the field, War and Art: A Visual History of Modern Conflict, both include references to Kennington as a painter of portraits, with no reference to his proliferation of landscape studies (L. Brandon, Art & War, I.B. Tauris & Co Ltd, London, 2012, p. 43; M. Bohm-Duchen, The Two World Wars, in J. Bourke ed., War and Art: A Visual History of Modern Conflict, Reaktion Books, London, 2017, p. 112). Brandon goes so far as to use Kennington as a foil to Paul Nash, characterising Nash's focus on the landscape of war as a departure from tradition in comparison to the work of Kennington. Both authors overlook the artist's numerous depictions of the effect of war on the natural world, a preoccupation which prefigures the turn towards de-populated landscapes in 21st century war art. Often overlooked due to their small size and humble medium, pieces such as Ruined Buildings remain a reminder not just of the destruction of war, but of how, in spite of this, the natural world continues to flourish.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

Peter Lanyon (British, 1918-1964)Untitled (Farmhouse) oil on panel32 x 39.5cm (12 5/8 x 15 9/16in).Painted circa 1936with a further oil on panel, Untitled (Bare Trees), painted in 1939, on the reverse, by the same handFootnotes:ProvenanceJonathan LanyonSale; Sotheby's, London, 14 September 2005, lot 53 (as Landscape with Cottages)Private Collection, U.K.LiteratureT. Treves, Peter Lanyon, Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, Modern Art Press, London, 2018, p. 89, no. 17, illustrated (Untitled (Farmhouse)) and p. 131, no. 133, illustrated (Untitled (Bare Trees)).A note in Peter Lanyon, Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works describes how although the cataloguer has not been able to locate the specific buildings, 'they almost certainly were, and perhaps still are, in Penwith' (T. Treves, Peter Lanyon, Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, Modern Art Press, London, 2018, p. 89).We are grateful to Martin Lanyon 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

The Retrospective Exhibition of Shoji Hamada, The National Museum of Modern Art, Tokyo, 1977; James A. Michener. The Hokusai Sketch-Books, Selections From The Manga. (2)The Hamada catalogue is a little dog-eared

Twelve books relating to China and Contemporary Chinese Art. Including The Great Ming Dynasty, Wang Lifeng; Chinese Artists, Texts and Interviews: Modern Chinese Artists, Michael Sullivan; The Real Thing, contemorary art from China; Ma Liuming, Chinese Contemporary; Alors, la Chine?, Centre Pompidou; breakout Chinese art outside China, Melissa Chiu; Red Gate Stars, Red Gate Gallery; Old Shanghai Nanjing Road; China Art Book, Dumont; China Contemporary; and Lui Bolin Solo Exhibition. (12)

MIXED, complete, inc. Wills, The King's Art Treasures (large), Wild Flowers, Wonders Of The Past; Three Castles Lighthouses, Wix Kensitas Flags British Empire (silks), Kensitas Builders Of Empire, Woods, Domino, Castella etc., in modern album, G to VG, 614*

A Royal Doulton modern design flame art vase by Fred Moore a d Charles Noke. Signed base no damage or restoration height 16cm.

Murano modern design art glass a vase and dish. Hight 30cm.

Marc Chagall (Russian/French, 1887-1985). Etching and aquatint from the series "Ce lui qui dit les choses sans rien dire (One who says things without saying anything)" published with poet Louis Aragon, 1975-76. Signed in pencil along the lower right. Published by Maeght Editeur, Paris. Printed on the front of a folded sheet, in which the poem "L'Apocalypse Selon Marc" is printed along the interior.Provenance: Private Connecticut Collection, 1991; Private Minnesota Collection.Reference: Cramer 99.Lot Essay:Chagall's paintings are characterized by their lyrical compositions, vibrant colors, and whimsical imagery drawn from his memories of his Jewish upbringing, Russian folklore, and the rural landscapes of his youth. His works often feature floating figures, airborne animals, and dreamy landscapes, imbuing his art with a sense of otherworldly beauty and magic.Throughout his prolific career, Chagall's art remained deeply personal yet universally resonant, transcending cultural and geographical boundaries. His groundbreaking use of color and form influenced generations of artists, while his ability to evoke emotion and evoke a sense of wonder captivated audiences worldwide. In addition to painting, Chagall also explored other mediums such as stained glass, ceramics, and tapestries, leaving a lasting impact on the fields of applied and decorative arts.Chagall's enduring legacy as a master of modern art is marked by his unwavering commitment to creativity, imagination, and the power of love and hope in the face of adversity. His ability to capture the human experience in all its complexity and beauty continues to inspire and enchant, reminding us of the transcendent power of art to illuminate the human spirit and transcend the limitations of time and space. Through his visionary artistry and his profound exploration of the mysteries of existence, Marc Chagall remains a towering figure in the pantheon of great artists.Sight; height: 18 1/2 in x width: 14 in. Framed; height: 27 1/4 in x width: 22 3/4 in x depth: 1 1/2 in.Condition:The colors are bold and bright. There are no tears, creases, or restorations. There is an undulation to the sheet throughout. Along the verso there are two areas of skimming/residual framer's tape. The work has been removed from its hinges and is currently unframed. The paper backing of the frame has been cut along three edges (not pictured). Frame with plexiglass.

Don Freedman (American, b. 1937). Mid-century Modern woven wool fiber art wall hanging or tapestry.Length: 44 in x width: 29 1/2 in.Condition:No major tears or stains. Small loose threads throughout. Loose weaving on the left side of the lower most point. There may be a missing tassle along the lowest point of the textile. The original hanging cord is broken and has been reinforced with an additional cord.

Marc Chagall (Russian/French, 1887-1985). Etching and aquatint from the series "Ce lui qui dit les choses sans rien dire (One who says things without saying anything)" published with poet Louis Aragon, 1975-76. Signed in pencil along the lower right. Published by Maeght Editeur, Paris.Provenance: Private Connecticut Collection, 1991; Private Minnesota Collection.Reference: Cramer 99.Lot Essay:Chagall's paintings are characterized by their lyrical compositions, vibrant colors, and whimsical imagery drawn from his memories of his Jewish upbringing, Russian folklore, and the rural landscapes of his youth. His works often feature floating figures, airborne animals, and dreamy landscapes, imbuing his art with a sense of otherworldly beauty and magic.Throughout his prolific career, Chagall's art remained deeply personal yet universally resonant, transcending cultural and geographical boundaries. His groundbreaking use of color and form influenced generations of artists, while his ability to evoke emotion and evoke a sense of wonder captivated audiences worldwide. In addition to painting, Chagall also explored other mediums such as stained glass, ceramics, and tapestries, leaving a lasting impact on the fields of applied and decorative arts.Chagall's enduring legacy as a master of modern art is marked by his unwavering commitment to creativity, imagination, and the power of love and hope in the face of adversity. His ability to capture the human experience in all its complexity and beauty continues to inspire and enchant, reminding us of the transcendent power of art to illuminate the human spirit and transcend the limitations of time and space. Through his visionary artistry and his profound exploration of the mysteries of existence, Marc Chagall remains a towering figure in the pantheon of great artists.Sight; height: 18 1/2 in x width: 14 in. Framed; height: 27 1/4 in x width: 22 3/4 in x depth: 1 1/2 in.Condition:The colors appear bold and bright. There are no visible tears or restorations. Light wear to the edges. The work is floated in frame. Framed under plexiglass; light wear to the frame. Not inspected out of frame.

Jasper Johns (American, b. 1930). Offset lithograph with paints and paintbrush titled "Target" depicting a 'blank' target. Signed in print along the lower left; the second line in the artist section has been left to allow the purchaser to paint the target themselves and sign their own name. Also included is the catalog "Technics and Creativity" published by Gemini G.E.L., Los Angeles, in conjunction with the Museum of Modern Art, New York, 1970-71. Contained in a white plastic shell case.(Case) Height: 10 1/2 in x width: 9 in x depth: 1 1/4 in.Condition:The print appears to be in good condition with no tears, creases, or losses. All pieces are attached. Some undulation and very light wear to the catalog. Wear including areas of soiling to the case.

A BRUSSELS HISTORICAL TAPESTRY FROM THE LIFE OF ALEXANDER THE GREAT LATE 17TH CENTURY Alexander the Great astride Bucephalus, trampling his enemies, with foreground of water's edge, soldiers on the riverbanks in the middle distance with war elephants to the left, with a hilltop citadel in the distance, within elaborate architectural border with ribbons, floral swags and winged cherubic figures and central cartouche to each edge, small unidentified weaver's mark to lower left side guard border approximately 345 x 524cm The most important and probably influential series of scenes from the life of Alexander was originally designed by Charles le Brun between 1660 and 1673 for Louis XIV, and initially woven by the King's weavers at the Royal Tapestry of Les Gobelins. The Alexander series was the first major new tapestry commission of Louis XIV's reign, and the tapestries were designed to flatter the king by comparing his virtues and achievements to those of Alexander the Great. The success of the designs led to other versions being produced by weavers such as the Aubusson factories, Judocus de Vos, and the Felletin weavers in the region of Le Marche. The use of Alexander as a suitable subject matter pre-dates le Brun's designs however and by the end of the 17th century onwards, factories took to producing their own versions, interpolating elements from earlier designs with le Brun's iconography to produce new scenes from his life. It would seem that this tapestry is one such example of this type. It draws on elements from various sources which depict one of two significant successful battles in his life; either the Battle of Granicus in 334BC, or the Battle of Gaugamela in 331BC. The first is suggested by the river setting, the second by the war elephants and the broader landscape- both details recorded in Plutarch's Life of Alexander. It is probable that the weaver's design is drawn, in part, from a set executed by the workshop of Karel van Mander the Younger (1579-1623) in the early 17th century. One such panel is held in the Art Institute of Chicago collection and depicts "The Crossing of the Granicus" (1911.439). It is possible that the fortified buildings on the mountain in the distance and Alexander's horses pose are directly influenced by this panel. In overall style and with distinctive cherub pillar supports flanking swags to the main borders, it is perhaps from the workshop that produced the Flemish 17th century tapestry attributed to the Van Maelsack Atelier Bruxelles and which depicted Alexander the Great astride Bucephalus, sold Bonham's London, Fine Decorative Arts, 1200-1900, 18 December 2020, lot 29. Interestingly it also carried a similar atelier symbol to the left hand guard. Condition Report: There is evidence of cuts and mis-joins to sections of main border- this together with the abrupt ending of spear to the sky has raised discussion as to whether this may originally have been slightly larger in size overall.Fading and discolouration throughout but retaining some of the more fragile paler colours. Looks to have been through various stages of remedial repair and restorations- some more modern and refined than others. Some of the repair colours have denatured at a different rate from the main piece. Later backing for better overall hanging stability and conservation. Some loose threads and open gaps which may benefit from further small repairs. Some creasing and fold marks. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer

A Frank Lloyd Wright alphabet rubber stamp set from the Museum of Modern Art, New York.

A Museum of Modern Art, New York advertising poster, The Kiss, after Gustav Klimt, 85cm x 74cm.

Masterpieces of Indian Textiles, Rustam J. Mehta. Textiles and Ornaments of India, The Museum of Modern Art, New York; The Cotton Weavers of Bengal, Debendra Bijoy Mitra; The Master Weavers, The Festival of India in Britain, Royal college of Art Autumn 1982; The Arts & Crafts of Kerala, Dr Stella Kramrisch; Francesca Galloway, Asian Textiles, Indian Miniatures & Works of Art 2000; Museums of India, National Handicrafts and Handlooms Museum, New Delhi, Jyotindra Jain and Aarti Aggarwala; and Monks and Merchants, Silk Road Treasures from Northwest China, Annette L. Juliano and Judith A. Lerner. (8)

LARGE QUANTITY OF ANTIQUE, VINTAGE & MODERN BOOKS, including historical travel and art, contained within nine boxes Provenance: private collection Merseyside

A FACETTED FROSTED ART GLASS TABLE LAMP AND ANOTHER BLACK METAL TABLE LAMP (2)Modern The ovoid lamp with brown/orange interior and hexagonal facets, with purple shade 66cm high overall; Together with a modern black metal stacked ring table lamp, 61cm high including cream shade

° ° Oppenheimer, Michael - The Monuments of Italy: a regional survey of art, architecture and archaeology from classical to modern times. 6 vols. num. photo. plates and sketch maps; lettered cloth with red spine labels, 4to. reprinted, 2002

° ° Dickson, Richard Watson (‘’McDonald, Alexander’’) - A Complete Dictionary of Practical Gardening: comprehending all the Modern Improvements in Art, 2 vols, 4to, calf, with 60 hand-coloured engraved plates, by F. Sansom, after Sydenham Edwards, lacking plates of garden equipment and buildings, R. Taylor and Co. for George Kearsley, London, 1807 Estimate

"75 Years of DC Comics - The Art of Modern Mythmaking", von Paul Levitz. Deutschsprachige Ausgabe. Taschen Verlag, Köln. Original verpackt. 47x 32,5x 9 cm.

Art reference books on Painters & Paintings: Bindings Landon, C. P.: Vies et Oeuvres des Peinture les Plus Celebres, de Toutes les Ecoles; Recueil Classique, 25 Volumes bound in 8 Ruskin, John: Modern Painters, 5 Volumes + Index Volume Vaillat, Leandre & Dell, Robert: Maitres du XVIII Siecle, Cent Portraits de Fammes, limited edition, No 317 of 500 copies. (7)

David Hockney, born in 1937 in Bradford, England, is a renowned British artist whose work spans various mediums, including painting, drawing, photography, and collage. He is considered one of the most influential artists of the 20th and 21st centuries, known for his vibrant use of color, innovative techniques, and exploration of space and perspective.Hockney rose to prominence in the 1960s as a leading figure in the Pop Art movement. He gained recognition for his iconic swimming pool paintings, which captured the California lifestyle and reflected his fascination with the interplay of water, light, and space. These works, characterized by their bold colors and clean lines, established Hockney as a master of depicting the modern urban environment.Beyond his exploration of the swimming pool motif, Hockney's diverse body of work encompasses a wide range of subjects and styles. He has painted landscapes, portraits, still lifes, and abstract compositions, continually experimenting with new techniques and approaches. Hockney's ability to capture the essence of his subjects and convey a sense of joy and vitality is a defining characteristic of his art.In addition to his paintings, Hockney has been at the forefront of using technology in art, particularly in his exploration of photography and digital media. He embraced the use of Polaroid cameras, creating innovative photo collages known as "joiners" that captured a scene from multiple perspectives. Later in his career, Hockney embraced iPad drawing, creating intricate and vibrant digital artworks that pushed the boundaries of traditional artistic practices.Hockney's contributions to the art world have been widely recognized and celebrated. He has been the subject of numerous major retrospectives and exhibitions around the world. In 2011, he was appointed a member of the Order of Merit, one of the highest honors bestowed on individuals who have made exceptional contributions in the fields of arts, science, literature, or other areas.David Hockney's artistic legacy is marked by his immense talent, versatility, and innovative spirit. His work continues to inspire and captivate audiences with its vibrant colors, meticulous craftsmanship, and unique perspectives. Hockney's ability to capture the beauty and essence of the world around him, combined with his constant exploration of new techniques and technologies, firmly places him among the most significant artists of our time.Measures 21 x 21.

Philip Guston (1913–1980) was an influential American painter and one of the leading figures in the abstract expressionist movement. Born in Montreal, Canada, Guston moved to Los Angeles with his family at a young age. He played a significant role in the development of modern American art, transitioning from an early career as a muralist and social realist painter to becoming a prominent abstract expressionist and later a neo-expressionist.Guston's early works, influenced by Mexican muralists like Diego Rivera, reflected social and political themes. However, in the 1950s, he shifted towards abstraction, becoming associated with the New York School and the abstract expressionist movement. During this period, he created paintings characterized by gestural brushwork and expressive abstraction.In the late 1960s, Guston underwent a radical stylistic change, abandoning pure abstraction and returning to figuration. His new works featured simplified, cartoon-like imagery, often depicting everyday objects, hooded figures, and personal symbols. This shift in style was met with controversy and criticism but also marked a significant contribution to the development of neo-expressionism.Some notable works by Philip Guston include "The Tormentors" and "Painting, Smoking, Eating." His later works, often referred to as his "late period," have gained increased recognition and appreciation in the years following his death.Philip Guston's willingness to evolve and experiment with different styles has left a lasting impact on the art world. His exploration of both abstraction and figuration, along with his deeply personal and often introspective subject matter, has made him a central figure in 20th-century American art.Measures 21.6 x 28.8.

Christopher Wool is an American contemporary artist known for his abstract paintings, particularly his large-scale works that often feature text-based compositions. Here are some key points about Christopher Wool:1. **Birth and Education:** Christopher Wool was born on March 16, 1955, in Chicago, Illinois, USA. He studied at Sarah Lawrence College in Yonkers, New York, and later at the New York Studio School.2. **Early Career:** Wool emerged as an artist in the 1980s in New York City. His early works included pieces influenced by street art and graffiti culture, showcasing a raw and urban aesthetic.3. **Text-Based Paintings:** Wool gained significant recognition for his text-based paintings, which often feature stenciled or spray-painted letters on white or neutral backgrounds. The words are fragmented, repeated, or obscured, creating a visual rhythm and ambiguity.4. **Exploration of Language:** Wool's text-based works explore the deconstruction and reconstruction of language, challenging traditional notions of communication and meaning. His paintings often provoke contemplation on the nature of language and its visual representation.5. **Abstraction and Process:** While known for his text-based pieces, Wool's body of work also includes abstract paintings that emphasize the process of creation. He employs various techniques such as layering, erasure, and the use of unconventional tools to create textured and dynamic surfaces.6. **Influence of Urban Environment:** Wool's early exposure to the urban environment of New York City, with its graffiti, street art, and industrial surroundings, has had a lasting impact on his artistic sensibilities.7. **Printmaking:** In addition to painting, Christopher Wool has engaged in printmaking, creating editions that complement his exploration of text and abstraction.8. **Recognition and Exhibitions:** Wool's works have been featured in numerous solo and group exhibitions, both in the United States and internationally. His art has been displayed in prestigious institutions, including the Museum of Modern Art (MoMA) in New York.9. **Market Success:** Christopher Wool's artworks have achieved significant success in the art market, with some of his pieces fetching high prices at auctions.10. **Retrospective:** In 2013-2014, the Solomon R. Guggenheim Museum in New York organized a major retrospective exhibition of Christopher Wool's work. The retrospective showcased his evolution as an artist and the various themes explored throughout his career.11. **Continued Innovation:** Throughout his career, Christopher Wool has continued to experiment with different techniques and materials, pushing the boundaries of contemporary art.Christopher Wool's contributions to contemporary art have left a lasting impact, particularly in the realm of text-based abstraction. His ability to balance the conceptual with the visual has made him a significant figure in the art world.Measures 24 x 36.

Robert Motherwell (1915–1991) was an American abstract expressionist painter, printmaker, and editor. He played a significant role in the development of abstract expressionism, a post-World War II art movement that emphasized spontaneous, gestural expression. Here are some key points about Robert Motherwell:1. **Early Life and Education:** Robert Motherwell was born on January 24, 1915, in Aberdeen, Washington. He studied at Stanford University, where he initially pursued a degree in philosophy. Later, he shifted his focus to art and earned a Bachelor of Arts in 1937.2. **Academic Background:** Motherwell pursued graduate studies in philosophy at Harvard University and later studied art at the California School of Fine Arts in San Francisco.3. **Introduction to Surrealism:** During a trip to Europe in the 1930s, Motherwell became exposed to Surrealist art and met several prominent artists associated with the movement, including Roberto Matta and André Breton. This exposure had a profound impact on his artistic development.4. **Abstract Expressionism:** In the 1940s, Motherwell became a key figure in the abstract expressionist movement, along with artists like Jackson Pollock, Willem de Kooning, and Mark Rothko. He was associated with the New York School, a group of avant-garde artists based in New York City.5. **Elegy to the Spanish Republic Series:** One of Motherwell's most significant and enduring bodies of work is the "Elegy to the Spanish Republic" series, which he began in 1948. This series, consisting of over 100 paintings, prints, and collages, was inspired by the Spanish Civil War.6. **Collage and Mixed Media:** Motherwell was known for incorporating collage elements into his paintings, often using torn paper, newspaper clippings, and other materials. This technique added depth and texture to his works.7. **Writings and Publications:** In addition to his artistic practice, Motherwell was actively engaged in writing about art and aesthetics. He edited the documents of the Surrealist movement and wrote essays on art theory.8. **Teaching Career:** Motherwell had a notable career as an educator. He taught at several institutions, including Black Mountain College and Hunter College. His influence on younger artists was significant.9. **Exhibitions and Recognition:** Motherwell's works were featured in numerous solo and group exhibitions throughout his career. He received several awards and honors for his contributions to modern art.10. **Legacy:** Robert Motherwell's impact on abstract expressionism and the broader art world is considered profound. His dedication to exploring the emotional and intellectual dimensions of art has left a lasting legacy.11. **Death:** Robert Motherwell passed away on July 16, 1991, in Provincetown, Massachusetts.Robert Motherwell's work is characterized by its intellectual depth, use of symbolism, and exploration of the human experience. His contributions to abstract expressionism continue to be studied and celebrated.Measures 18 x 24.Linen backed.

Wilhelmina Barns-Graham (1912–2004) was a Scottish abstract painter associated with the St Ives School, a group of artists based in the Cornish town of St Ives in the United Kingdom. Born in St Andrews, Scotland, Barns-Graham studied at the Edinburgh College of Art and later at the Chelsea School of Art in London.Barns-Graham's early works were influenced by European modernism and abstraction. She was associated with the Scottish Colourists and later became a prominent member of the St Ives School. Her paintings often featured vibrant colors, dynamic compositions, and a strong sense of rhythm.Throughout her career, Wilhelmina Barns-Graham explored various styles, including abstract landscapes and geometric abstraction. Her work reflected a deep connection to nature and the surrounding landscapes of Cornwall, where she lived and worked.Barns-Graham was a key figure in the post-war British art scene and participated in numerous exhibitions both in the UK and internationally. In addition to her painting, she was also known for her printmaking and drawing.The Wilhelmina Barns-Graham Trust, established after her death, continues to promote her legacy and support research and education in the field of modern and abstract art. Wilhelmina Barns-Graham's contributions to abstract art, her engagement with the St Ives artistic community, and her impact on the Scottish art scene have secured her a place in the history of 20th-century British art.Measures 21.2 x 31.4.