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Hudson Oval Coffee Table Champagne Add A Splash Of Scandi Style To Your Home With The Hudson Oval Coffee Table From Gallery Direct The Effortless Cool Of Its Clean Design Is Complemented By Beautiful And Practical Detailing, Such As Tempered Glass And An Champagne Finish Two Oval Surfaces Deliver The Perfect Ornate Coffee Table For Easy And Elegant Entertaining The Neutral Tones Of This Piece Also Offer Opportunities To Showcase Art, Colour And Modern Life Sophisticated, Contemporary And Versatile, This Piece Has Been Designed For Lovers Of Fine Featured Furniture 112cm Wide, 61cm Deep And 51cm High (SR237) Ex Showroom Display

Hudson Furniture Knight Acacia Table Acacia table with cast bronze base and walnut top with straight edge L2200 X W910mm H 762 mm In 2004, Barlas Baylar founded Hudson Furniture Gallery, a concept design showroom in New York Always inspired by the art, design and architecture of the art deco era nature, Baylar has delved into studies of modern classics to inform his unique design sensibilities. Each Hudson design is hand-sculpted in a one of a kind provenance, intended to be shared by generations to come, with many hours invested in each dedicated design, prior to its leaving the atelier and reaching the showroom.

USA. Bronze Detroit's 250th Anniversary medal by Rene P Chambellan and struck by the Medallic Art Co of New York. OBV canoe with Detroit's founder Antoine De lamothe Cadillac at the helm with three native Americans awaiting his arrival on the shore / REV view of modern city encircled by text "Detroit's 250th Birthday Festival. Past, Present, Future". D70mm 

A signet, turned ivory handle, engraved silver stamp with coat of arms - per pale: I Amaral (of Domingos Joanes), Joanes or Miranda; II Godins or Peixoto (modern); helmet, mantling and crest "Rampant horse", Portuguese, 18th C., some craquelé on the ivory, unmarked silver, pursuant to Decreto-Lei no. 120/2017, of 15 September - art. 2, no. 2, subparagraph c)., Dim. - 11 cm

Circa 300-100 BC, Hellenistic PeriodA finely rendered Greek Hellenistic single gold earring, formed from a coiled circular wire hoop, which tapers towards one end and features a goat head terminal on the other. The goat's head is modelled from a thin sheet of gold and features naturalistically rendered facial and anatomical features including defined horns to the top of the head. The tapering end encloses the earring by hooking through a loop attached to the animals’ chin. This fine earring testifies the refinement of gold working in Ancient Greece during the Hellenistic period. Behind the head a large emerald bead and large granular bead encircled by two clasps of filigrees.For related examples see:F. H. Marshall, Catalogue of the Jewellery. Greek, Etruscan, and Roman, in the Departments of Antiquities, British Museum, 1911, pl. XXXI.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: L:30mm / W:29mm; 7.5g Provenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Circa 1550-1070 BC, New KingdomA golden amulet in the shape of a tilapia fish. Fish pendants were worn as jewellery and were braided into the hair. A particularly famous story involving a fish pendant comes from the Westcar Papyrus, in which a female rower drops her fish pendant into the water and grieves until a magician splits the lake in half with magic to retrieve the item - a tale that highlights the precious nature of these pieces. The tilapia was a favourite in Egyptian art, and as an animal, it was revered for the way in which the females protect their young. By swallowing their own eggs in order to protect them until they were ready to hatch, these mother fish mimicked the goddess Nut swallowing the sun each evening before birthing it each dawn, and thus the tilapia became a symbol of regeneration.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: L:32mm / W:15mm; 4g Provenance: Property of a London Gentleman; formerly in a private UK collection formed in the the 1990s.

Circa 100-300 ADA fine Ancient Roman gold ring featuring a tapered, round band. The central feature is a nicolo intaglio set neatly in a gold bezel. Engraved in the glass stone is the scene of two roosters pulling a mouse on a chariot.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D: 16.92mm / US: 6 1/2 / UK: N; 20.94g Provenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Circa 900-1000 ADA gold ring with oval shaped bezel, a thick band which tapers from the shoulder around the hoop. A finelly modelled example with weight. A solid piece of Viking jewellery.For Viking rings of similar period and style see:Cf. Proceedings of the Suffolk Institute of Archaeology and History, Vol.XXXVI, part I, 1985, p.46.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D: 16mm / US: 5 3/8 / UK: K 1/2; 11.2g Provenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Circa 600 ADA gold ring with bezel in the form of a round and domed building, possibly a church, with series of arches to the side with granulated decoration to the edge of each, with bead of gold at spring point; edge of dome with granulated bead and large bead of gold to the top.For similar see:Metropolitan Museum of Fine Art L.2015.72.7. Cf. Hadjadj, R. Bagues Merovingiennes - Gaul du Nord, Paris, 2007, item 393 (Grez-Doiceau").The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D: 16.9mm / US: 6 1/2 / UK: N; 6.5g Provenance: Property of a London Gentleman; formerly in a private UK collection formed in the the 1990s.

Circa 320 BC A huge and beautiful red figure Apulian amphora. On one side is a seated, a flowering plant in an Ionic naiskos, a small temple often applied as a motif in ancient funerary art. On the reverse the "Lady of Fashion". The female head is illustrated facing left and adorned with a radiate stephane, ribbon sakkos, necklace and earrings. There are large palmettes on the sides and the back is covered with innumerable wreaths. The style of the profile female head on the reverse is close to those of the Painter of the Potenza Plates, a painter associated with the Stoke-on-Trent and Kantharos Groups. See pl. CVI,2 in Trendall and Cambitoglou, Second Supplement to the Red-figured Vases of Apulia. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:610mm / W:240mm; 5.45kg Provenance: Property of a central London Gallery; formerly in a South English estate collection; acquired in the 1990s from Andre de Munter, Brussels, Belgium; previously in an old European collection.

Circa 600 ADA gold ring with a large tapering band, leading onto a bulbous shaped bezel. The bezel houses a trumpet which leads onto a centre garnet, surrounded by eight gold finger like granules, beside this are two conical shaped flat garnet gemstones or possibly glass, surrounded by boarder of filigee decoration. The band has a layer which continues around the band and over the bezel on both sides.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D: 19.5mm / US: 9 5/8 / UK: T; 8.8g Provenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Circa 300 BC A wheel-thrown vase with handles.This ritual krater was also used for drinking wine mixed with water at symposia. Composed of a great egg-shaped body tapered on a circular base like a flared foot that is set off from the body by a groove. Completed with two handles on the sides placed between the shoulder and the mouth. The two big handles are in the form of volutes with gorgoneia volutes adorning the handles faces moulded in relief, the details painted with white and red. The obverse is decorated with a flowering plant inside of a naiskos, on the reverse the "Lady of Fashion". The female head is illustrated facing left and adorned with a radiate stephane, ribbon sakkos, necklace and earrings. The vase is also decorated with several registers of meanders typical of ancient Greek art, repeated geometric motifs and laurel leaves. There are large palmettes on the sides and the back is covered with innumerable wreaths. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:680mm / W:375mm; 7.8kg Provenance: Property of a central London Gallery; formerly in a South English estate collection; acquired in the 1990s from Andre de Munter, Brussels, Belgium; previously in an old European collection.

Circa 100-300 ADA sophisticated gold necklace with a loop in loop strand, rope-like in appearance, openwork beads connected with spacers, the chain shows particularly fine workmanship. Due to its fine workmanship, it is believed to be made by an atelier in Rome.As in many other ancient societies and cultures, jewellery was an important and influential social marker and used to demonstrate wealth and power, which flourish during the Imperial period (27 BC - 1453 AD). The ancient Romans considered jewellery to be an essential accessory, of which it first followed trends set by the Etruscans using gold and glass beads. Following the progression of the Roman Empire, Roman jewellery became more and more elaborately detailed in designs influenced from difficult cultural styles such as Greece, Egypt, North Africa and the Orient, a variation of materials were used, such as the use of precious and semi-precious gemstones. This necklace displays the loop in loop attachment system which produces a distinctive type of jewellery, popular in many ancient cultures which was first seen as far back as the Early Bronze Age. The ancient Romans were renown for their complex designs of which they could accomplish due to their extensive trade network of imports which provided access to exotic materials. Whilst wealthy men were known to collect fine art such as silver wares and sculptures, wearing one or several rings was typically enough. However, Roman men also wore bracelets, collars with pendants and torcs. Although most of the remaining ancient Roman jewellery resembles Greek and Etruscan designs, new forms were developed and borrowed from other cultures. A great deal of Roman jewellery was still made by Greek artisans, or important from Egypt. There was a lot of pressure in terms of fashion, to adjust to the style accepted at the time.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: L:205mm; 29.5g Provenance: Property of a London Gentleman; formerly in a private UK collection formed in the the 1990s.

Circa 200 BC, Hellenistic PeriodA gold terminal pendant with lions-head decorated with an open mouth and suspension loop with gold necklace. The details of the ferocious lion head are chased with stippling on the nose, whiskers and mane. The lolling tongue and the teeth are separately made.For a similar example from Kourion, now in The Metropolitan Museum of Art, see no. 187 in D. Williams and J. Ogden, Greek Gold.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: L:33mm / W:19mm; 1.85g Provenance: Property of a London Gentleman; formerly in a private UK collection formed in the the 1990s.

Circa 500 BCA finely rendered Phoenician gold disc-shaped pendant, hammered from thin gold, three channels of decoration run alongside the edge of the pendant, alongside a row of large granular balls, beside a group of filigree. A suspension loop decorated in filigree.Jewellery manufacturing in Phoenicia was present from the Canaanite period, more than handicrafts, it is an art that was related to a rich Levantine artistic tradition. The treasures found at Byblos and Ugarit, dating III° and II° millennia have included pectorals and gold medallions, worked in “repoussé” or “cloisonné”, and inspired from Egyptian styles. Decorative motifs and patterns of these centuries, were common during the first millennium, in Phoenician period.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: L:30mm / W:23mm; 2.3g Provenance: Property of a London Gentleman; formerly in a private UK collection formed in the the 1990s.

Circa 700-500 BCA hollow cast statuette of a priest formed of sheet gold with an elaborately decorated long robe decorated with bands of intricate incised decoration with billeted trim and conical shaped hat, his hair protruding, his eyes almond-shaped, small nose and mouth with mild smile. The priest holds his hands to his chest in a motion of prayer or worship.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: L:92mm / W:28mm; 15.2g Provenance: Private London collection of Ancient Art; previously with a London art dealer; acquired from a Japanese collection (1970-2010).

Circa 300-100 BC, Hellenistic PeriodA finely rendered Greek Hellenistic gold disc-shaped brooch/pendant, hammered from thin gold, with a cabochon garnet inset to the centre, with an inner gold centre. Radiating outwards from the garnet are delicate gold wires forming the shape of a sun star. The brooch outer borders are framed by incised decoration, while the reverse remains smooth and unworked.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: L:73mm / W:72mm; 31.4g Provenance: Private London collection of Ancient Art; previously with a London art dealer; acquired from a Japanese collection (1970-2010).

Circa 600 ADThe arms with rounded-off terminals, tapering in towards the centre, with a large raised cup-like setting with emerald, on the opposite side a garnet, alongside four colettes of pearls, with a gold attachment loop above.For a solid silver example with a glass setting and for a smaller solid gold example:Cf. Exhibition Catalogue, Die Welt von Byzanz - Europas Östliches Erbe, (Munich 2004), nos. 518 & 519, p.310-311. Also for the type, cf. Gonosová & Kondoleon, Art of Late Rome and Byzantium, (Virginia Museum of Fine Arts), no. 38.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: L:45mm / W:35mm; 6.7gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Circa 400-300 BC, Hellenistic PeriodA gold ring penannular in form joining terminals in the form of opposed rams, each with textured fur, segmented horns, pellet eyes. With twisted spriral wires below, the ring is formed of a rounded convex band.For similar but in earring hoops see:The Metropolitan Museum of Art. 37.11.11, .12. Richter, Gisela M. A. 1937. "The Ganymede Jewelry." Bulletin of the Metropolian Museum of Art, 32(12): pp. 290–94.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D: 17.2mm / US: 6 3/4 / UK: N 1/2; 8.7g Provenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Circa 600 ADA gold ring with flat section hoop with granulated edge. To the shoulder two beads of gold; bezel in the form of a round and domed building, possibly a church, with series of arches to the side with granulated decoration to the edge of each with bead of gold at spring point; edge of dome with granulated bead and large bead of gold to the top.For similar see:Metropolitan Museum of Fine Art L.2015.72.7. Cf. Hadjadj, R. Bagues Merovingiennes - Gaul du Nord, Paris, 2007, item 393 (Grez-Doiceau").The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D: 19.5mm / US: 9 5/8 / UK: T; 5.7g Provenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Circa 400-700 ADA bread stamp seal in the form of a silhouette of a shoe, with a Greek inscription.For similar see:Christie's, December 5, 2012, lot 98. Shoe-shaped: D. Friedenberg, "The Evolution and Uses of Jewish Byzantine Stamp Seals" in The Journal of the Walters Art Gallery, vol. 52/53, 1994/1995.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: L:89mm / W:32mm; 119g Provenance: Private London collection; formerly acquired in Europe from 1990s collection.

Circa 600 BC A finelly modelled helmet made of hammered bronze sheet, with a rectilinear opening for the face, long, pointed cheek pieces, horizontal ribbing on the forehead framing the upper facial opening, and twin parallel ridges on the crown, each flanked by a group of three later ribs in low relief, engraved band between. The back and sides flare out to guard the neck and has three perforations for attachment of leather liner. This example has a rich, blue-green patina and is a somewhat more impressive example of Type II, variant A, with a more pronounced dome-like form. The Roman historian Appian wrote that the Illyrian lived in the area south from the Macedonians and Thracians. Traditionally the Illyrians were farmers and miners, but during war time they were respected as seasoned soldiers, primarily for the infantry. For a discussion of Type II, variant A, see Angelo Bottini et. al. Antike Helme (Mainz, 1988) pp. 48-52, and ef. Figs. 7-8, p. 49. These helmets were particularly popular in northern Greece, in the province of Illyria, in the modern day Balkans. They were made for hoplites, the citizen-soldiers of the Greek city states, who often furnished their own bronze armor. As a result, regional styles developed, and there is a great deal of variation in shape and form. For similar examples to this helmet from the Metropolitan Museum of Art (1992.180.1, 2006.221, 2003.407.6) and the Louvre (CA 2221Or). See H. Pflug, 'Illyrische Helme', in A. Bottini et al. Antike Helme, Mainz, 1988, 55-9. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. For further reading see: A. M. Snodgrass, Early Greek Armour and Weapons. From the End of the Bronze Age to 600 B.C., Edinburgh, 1964. Size: L: 280mm / W: 200mm; 1.16kg Provenance: London private collection; formelry in a private New York, USA collection; formerly acquired from the German collection of Hans Hagmann in 1968/69.

Circa 800-1000 ADA late Roman, early Byzantine glazed ceramic grenade, also referred to as "Greek Fire". This hollow ceramic vessel is globular in shape, a piriform body, with a short neck and a domed rim. The body is decorated protruding spikes."Greek Fire” was intended to be filled with explosive liquid and a wick and used as a hand grenade. Typically, it was used in naval battles as it could continue burning while floating on the water. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.For similar grenades see:Arendt, W. I., Granaten des 13-14. Jahrhunderts, die an der Wolga gefunden sind, Zeitschrift fur Historische Waffen-und Kostumkunde, 11 (1926-8), p.42;Cf. Arendt, W., Die Spharisch-konischen Gefasse aus Gebranntem Ton, ibid; Ayalon, D., Gunpowder and Firearms in the Mamluk Kingdom, London, 1956, p.16.Size: L:125mm / W:93mm; 425g Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1990s on the UK / International art markets.

Circa 800-1000 ADA late Roman, early Byzantine glazed ceramic grenade, also referred to as "Greek Fire". This hollow ceramic vessel is globular in shape, a piriform body, with a short neck and a domed rim. The body is decorated with bands of cylindrical circles and ridges."Greek Fire” was intended to be filled with explosive liquid and a wick and used as a hand grenade. Typically, it was used in naval battles as it could continue burning while floating on the water.This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.For similar grenades see:Arendt, W. I., Granaten des 13-14. Jahrhunderts, die an der Wolga gefunden sind, Zeitschrift fur Historische Waffen-und Kostumkunde, 11 (1926-8), p.42;Cf. Arendt, W., Die Spharisch-konischen Gefasse aus Gebranntem Ton, ibid; Ayalon, D., Gunpowder and Firearms in the Mamluk Kingdom, London, 1956, p.16.Size: L:135mm / W:110mm; 565g Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1990s on the UK / International art markets.

Circa 800-1000 ADA late Roman, early Byzantine glazed ceramic grenade, also referred to as "Greek Fire". This hollow ceramic vessel is globular in shape, a piriform body, with a short neck and a domed rim."Greek Fire” was intended to be filled with explosive liquid and a wick and used as a hand grenade. Typically, it was used in naval battles as it could continue burning while floating on the water.This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.For similar grenades see:Arendt, W. I., Granaten des 13-14. Jahrhunderts, die an der Wolga gefunden sind, Zeitschrift fur Historische Waffen-und Kostumkunde, 11 (1926-8), p.42;Cf. Arendt, W., Die Spharisch-konischen Gefasse aus Gebranntem Ton, ibid; Ayalon, D., Gunpowder and Firearms in the Mamluk Kingdom, London, 1956, p.16.Size: L:183mm / W:105mm; 925g Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1990s on the UK / International art markets.

Circa 618-907 ADA delicate Tang Dynasty dancer wearing a long flowing gown with her hands uncovered. The dress is a deep orange, which continues to the waist sash which separates the skirt from the bodice is also the same orange colour. Her upper body is slightly bend to the side, with her left arm up in the air, indicating motion. The dancer herself is carefully modelled, with her hair done up, pink cheeks, red pursed lips, delicate brows and smiling eyes.Dance as an art form reached its peak in China during the Tang Dynasty, which is now known as the golden age of Chinese music and dance. Indeed, during this time The Great Music Bureau was created as a means through with to train musicians and dancers for the imperial court.For simiar style see:Cambridge University "Dancing Girl".This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:290mm / W:135mm; 810g Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.

Circa 618-907 ADA mold-formed pottery tomb attendant figure in the form of a woman who is wearing a lengthy robe with a red-painted skirt, upper clothing in green, her left arm by her side holding a vessel and her right hand outstretched, she is displaying a harmonic expression; her smiling face beneath a large hair bun. Excellent condition and original paintwork.For similar style holding ewer see:The Metropolitan Museum of Fine Art 1997.442.7.1.This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:340mm / W:75mm; 725g Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.

Circa 618-907 ADThe figure is shown standing with her arms folded beneath the long red shawl that is draped over her shoulders and worn over her low-bodiced dress with long which is painted in purple, the lower part of the dress white. Her round face is modeled with a demure expression, and is framed by the almost geometrical hairline of her tall, crescent-shaped coiffure (paojiaji).For similar see:The Metropolitan Museum of Fine Art; accession number: 2015.500.7.4.This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:290mm / W:95mm; 520g Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.

Circa 618-907 ADA delicate Tang Dynasty dancer wearing a long flowing gowns with her hands uncovered. The dress is a deep red, whilst the waist sash which separates the skirt from the bodice is of an orange colour. Her upper body is slightly bend to the side, with her left arm up in the air, indicating motion. The dancer herself is carefully modelled, with her hair done up, pink cheeks, red pursed lips, delicate brows and smiling eyes.Dance as an art form reached its peak in China during the Tang Dynasty, which is now known as the golden age of Chinese music and dance. Indeed, during this time The Great Music Bureau was created as a means through with to train musicians and dancers for the imperial court.This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:260mm / W:115mm; 630g Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.

Circa 202 BC-220 ADAn ornate Chinese Han dynasty pottery goose with bronze legs. The goose is standing on its stylised, well-defined bronze legs which support a globular body and elegantly slender neck terminating in a white-coloured head with a red beak and open, attentive eyes. The body is decorated with white and black glaze, imitating the animal's natural plumage.Geese were a major motif in Han dynasty era poetry and were typically distinguished between two types of geese, the domestic goose, and the wild goose.The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilization during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts.To find out more about the Han Dynasty and its art production, see:Milleker, Elizabeth J. (ed.) (2000). The Year One: Art of the Ancient World East and West. Exhibition catalogue. New York: Metropolitan Museum of Art.This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:200mm / W:185mm; 650g Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.

Circa 202 BC-220 ADAn earthenware Hen with colourful original polychromy. The bird standing on its original legs and is in a position of searching for seed.This hen is a mingqi, 'spirit goods' belonging to the burial rituals in the Chinese Han Dynasty. High-ranking persons were buried with various everyday objects; it was believed that life after death was a continuation of the present life, and therefore the deceased was provided with all the objects necessary to continue living after death. Thus, terracotta animals, such as these roosters and camels, horses and cattle were given, as well as food, clothing, and valuables. The tombs were designed architecturally so that, together with the objects, they provided both a comfortable final resting place as well as a safe journey for the deceased into the afterlife. Ancestor worship was very important, for the welfare of the deceased and for the welfare of the entire family.H.C. Clydesdale, ‘The Vibrant Role of Mingqi in Early Chinese Burials’, Heilbrunn Timeline of Art History, The Metropolitan Museum of Art, New York 2000.This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:140mm / W:195mm; 440g Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.

Circa 202 BC-220 ADAn earthenware rooster with many traces of the original polychromy. The colourful bird is standing its original legs.This rooster is mingqi, 'spirit goods' belonging to the burial rituals in the Chinese Han Dynasty. High-ranking persons were buried with various everyday objects; it was believed that life after death was a continuation of the present life, and therefore the deceased was provided with all the objects necessary to continue living after death. Thus, terracotta animals, such as these roosters and camels, horses and cattle were given, as well as food, clothing, and valuables. The tombs were designed architecturally so that, together with the objects, they provided both a comfortable final resting place as well as a safe journey for the deceased into the afterlife. Ancestor worship was very important, for the welfare of the deceased and for the welfare of the entire family.H.C. Clydesdale, ‘The Vibrant Role of Mingqi in Early Chinese Burials’, Heilbrunn Timeline of Art History, The Metropolitan Museum of Art, New York 2000.This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:150mm / W:160mm; 400g Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.

Circa 202 BC-220 ADAn earthenware Hen with many traces of the original polychromy. The colourful hen standing on its original legs and is in a position of stretching to pick of seeds or food.This hen is a mingqi, 'spirit goods' belonging to the burial rituals in the Chinese Han Dynasty. High-ranking persons were buried with various everyday objects; it was believed that life after death was a continuation of the present life, and therefore the deceased was provided with all the objects necessary to continue living after death. Thus, terracotta animals, such as these roosters and camels, horses and cattle were given, as well as food, clothing, and valuables. The tombs were designed architecturally so that, together with the objects, they provided both a comfortable final resting place as well as a safe journey for the deceased into the afterlife. Ancestor worship was very important, for the welfare of the deceased and for the welfare of the entire family.H.C. Clydesdale, ‘The Vibrant Role of Mingqi in Early Chinese Burials’, Heilbrunn Timeline of Art History, The Metropolitan Museum of Art, New York 2000.This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:100mm / W:220mm; 380g Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.

Deckelgefäß, London England, 1905, Sterling Silber, Meistermarke William George Connell, lt. John Culme: the Directory of Gold & Silversmiths Volume 1 (the Biographies):...one of the pioneers of modern artistic silverware..., reliefierter Jugendstildekor, mit breit auslaufenden sich verjüngenden Henkeln, H. ca. 18cm, ca. 580 g, sammelwürdig, musealLidded vessel, London England, 1905, sterling silver, maker's mark William George Connell, according to John Culme: the Directory of Gold& Silversmiths Volume 1 (the Biographies):... one of the pioneers of modern artistic silverware..., Art Nouveau decoration in relief, with wide, tapering handles, H. approx. 18cm, approx. 580 g, museum

Franz Erhard Walther (1939) sprachliches Abstraktum, abstract modern art, Multiple/Papier, u. rechts signiert Walther und u. links A.P., abstrakte Grafik mit Beschriftung, Blattmass H 50 cm x B 35 cm, Modellrahmen 53 x 43 cm

Original-"Steampunk"-Lampe Zeitgenössische industrielle Skulptur aus Manometern, Ventilen, einem Thermometer von Weksler, Stahlrohren und einem Speichenrad mit 40 cm Durchmesser, mit 2 Lampen, eine nach oben gerichtet und eine nach unten, in Drahtgehäusen, Höhe 83 cm, 110 Volt, moderne elektrische Ausstattung, mit Stoff ummantelte Schnur, funktionierend. - Steampunk, aufkeimende Kunstform und ästhetische Schöpfung, verschmilzt antike Maschinen aus ehemaliger industrieller Nutzung, Science-Fiction und moderne Technologie. Inspiriert von den literarischen Werken von H.G. Wells und Jules Verne, außerdem von den unmöglichen Maschinen von Willi- am Heath Robinson. Eine Neuerfindung von Objekten aus der Zeit der Moderne in der Art des Viktorianischen Zeitalters. Laut dem Steampunk-Evangelisten Bruce Rosenbaum "ist es alt und neu zugleich, Vergangenheit und Gegenwart. Getriebe, mechanische Geräte, nautische und Dampfkraftelemente und Gußeisen sind durchdrungen von der Technologie des 21. Jahrhunderts". - Referenz: Siehe "Testing Golf Drivers" von William Heath Robinson für ein ähnliches Design! Start Price: EUR 280 Original "Steampunk" Lamp Contemporary industrial sculpture of gauges, valves, Weksler thermometer, steel pipes and a 16-inch (40 cm) spoked iron wheel, with two light sources - an uplight and a downlight - in open storm lamp cages with 2 bulbs, ht. 32 ½ in. (83 cm), 110 V, modern electric fittings and cloth-covered cord, working. - Steampunk, burgeoning art form and aesthetic, fuses antique machinery with industrial salvage, science fiction and modern technology. Drawing inspiration from the literary works of H.G. Wells and Jules Verne, the impossible machines of William Heath Robinson and the anarchic humor of Dr. Seuss, "it's a world of 'what if' … that involves reinventing period objects, most notably from the Victorian age". According to Steampunk evangelist Bruce Rosenbaum, "it's old and new at the same time, past and present. Gears, mechanical gadgets, nautical and steam power elements and cast-iron are all imbued with 21st-century technology". Industrial art re-designed. - Reference: See "Testing Golf Drivers" by William Heath Robinson for a similar design! Start Price: EUR 280

Glashütter Hausuhr, um 1923/30Karl Höhnel, Glashütte. Große Bodenstanduhr mit Gong in dunkel gebeiztem Eichenkorpus mit Rundkopfabschluß und sparsamer Ornamentierung. Präzisionspendelwerk mit Gewichtantrieb und Grahamgang, auf Platine gemarkt "Original Glashütte" sowie "K.Höhnel" und nummeriert "3403". Sehr volltoniger Halbstundenschlag auf 4 plus 5 Gongstäben. Metallzifferblatt mit gedruckten arabischen Stunden in moderner, der Bauhaus-Reduktion angenäherten, Typografie. H 193 cm, B 55 cm, T 27 cm. Läuft an. Diese Art Bodenstanduhren mit Gong waren für die Glashütter Uhrenwelt eine Neuerung, die Karl Höhnel im Jahr 1922 einführte. Bereits ein Jahr später war die Nachfrage nennenswert groß und die Uhren wurden in verschiedenen Corpi in großer Zahl ausgeliefert. Famous Glashutte home clock, around 1923/30. Karl Hohnel, Glashutte. Large Grandfather's clock in oak tree case with display windows and rounded top. High quality weight-driven movement, marked on the platine. Chimes each half-hour and on the hour. Metal dial with modern arabic hours. Starts.

Harold Hope Read (British 1881-1959): 'Interior' - Hilda seated on a Chaise Longue, oil on canvas signed, titled verso 37cm x 27cmProvenance: with Louise Kosman Modern British Art, Gullane, Edinburgh, label verso; Hilda (no surname is known) was Read's live-in housekeeper, life model and mistress, probably dating to 1923-25,

PETER HOWSON OBE (SCOTTISH b. 1958) SAMANTHA Etching, signed lower right, titled and inscribed AP (Artist?s proof), dated (19)85, 33 x 24cm, (13 x 9?) Peter Howson was born in London, and studied at The Glasgow School of Art from 1975-1977, later returning as a part time tutor. Howson is an internationally recognised artist, and his work derives inspiration from the human condition, as well as from the streets of Glasgow. Since the 1980s, Howson has exhibited with Flowers Gallery, and other exhibits and collections include the Museum of Modern Art, New York; the Tate Gallery, London; the Victoria & Albert Museum, London; the Scottish National Gallery of Modern Art, Edinburgh; the British Museum, London, and the Gallery of Modern Art, Glasgow. Condition Report:Available upon request

CALLUM INNES (SCOTTISH CONTEMPORARY b.1962)  M  Screenprint, signed lower right and numbered (6/60), 22 x 19cm (8.75 x 7.5?), (sheet) 46 x 37cm (18.25 x 14.5?) ?Purchased at the Fruitmarket Gallery Edinburgh? inscribed verso Born in Edinburgh and graduated from Gray?s School of Art in 1984, he then completed a postgraduate degree at the Edinburgh College of Art. Innes was shortlisted for the Jerwood and Turner prizes in 1995, and he has exhibited internationally. Notable exhibitions and collections include Guggenheim, New York; Tate, London; Pompidou, Paris; and the Scottish National Gallery of Modern Art. Condition Report:Available upon request

ALASDAIR GRAY (SCOTTISH 1934-2019) NIGHT STREET SELF PORTRAIT  Ink with colour added, 53 x 42cm, (20.75 x 16.5?) ?GMA 50th Anniversary Displays / Scottish National Gallery of Modern Art / Sorcha Dallas Gallery? and title inscribed to sticker verso  Alasdair Gray is a Scottish artist and writer of international standing whose paintings, books and murals form and unparalleled body of work in contemporary culture. Born in 1934 in Glasgow, he graduated from Glasgow School of Art in 1957, and he is regarded as the father figure of the renaissance of Scottish Art and Literature. Night Steet Self Portrait 1953, an important early work, was included in Gray's retrospective exhibition in 2014 in Glasgow's Kelvingrove Art Gallery and Museum. This seminal early city scape work can be seen as a precursor of one of his most famous works, Cowcaddens Streetscape in the Fifties. Night Street Self Portrait 1953 is referenced in Gray's obituary, written by James Campbell for The Guardian in December 2019. Campbell regards Night Street as a significant work, stating, ?Night Street Self Portrait (1953) depicts a brooding figure in half-darkness against a background of kissing lovers and happy families. A black cat depicted nine times suggests that life is draining away.? This poignant artwork is also used as the book cover for playwright David Greig?s, Lanark: A Life in Three Acts- Adapted for the Stage. In September 2020, The Great Western Auctions handled the estate of Alasdair Gray with a highly successful auction of the contents of the Studio of Alasdair Gray which included original Artworks, personal effects and studio artefacts. Condition Report:Available upon request

AVRIL PATON (SCOTTISH b.1941) NEIGHBOURS Watercolour on paper, 63 x 66cm, (25 x 26?) Barclay Lennie Fine Art Limited sticker verso with original paperwork attached, together with a relevant newspaper article from The Herald, 28th November 2001, titled ?Windows of opportunities for tenements? attached verso Avril Paton is an important Scottish artist who paid homage to city life in Glasgow through her paintings and watercolours. Paton?s most recognised works are depictions of Glasgow tenements, ?the fabric of the city?,  and the life within them. Born in 1941, she is a living artist who is renowned for offering the viewer an intimate look beyond tenement windows, displaying human life within a busy city. Notable exhibitions and collections include Kelvingrove Art Gallery and Museum, Glasgow, and the Gallery of Modern Art, Glasgow. Condition Report:Available upon request

HUMPHREY SPENDER (BRITISH 1910-2005) PHOENIX  Tapestry, 165 x 121cm, (65 x 47.5?) ?Phoenix by Humphrey Spender - Edinburgh Tapestry Co? inscribed to wooden frame verso Humphrey Spender was a British artist, designer and photographer. ?Phoenix? was designed for Dovecot Studios, after their incorporation as Edinburgh Tapestry Co in 1946. At this time, resident Dovecot weavers were producing tapestries designed by English designers who were well established in the 1930s, which is referenced in Elizabeth Cumming?s book, 'The Art of Modern Tapestry Dovecot Studios Since 1912'. Cummings was commissioned to write this book for the centenary exhibition held to celebrate the birth of Dovecot in 1912. This rare and prestigious tapestry was formerly owned by Sir Harry Jefferson Barnes, who acquired Edinburgh Tapestry Co in 1954, when Sax Shaw was appointed artistic director. Condition Report:Lower left of tapestry has a white mark. Note: this item is woven, therefore there are some imperfections in the weave throughout the tapestry, refer to images. Additional images show the tapestry in situ, true colours shown in natural light

AN ART DECO STYLE EMERALD AND DIAMOND RING AND PENDANT the statement ring set with a line of square cut emeralds and surrounded with brilliant cut diamonds to an estimated approx combined carat weight of 0.58cts, with slightly less, set to the pendant, the pendant with 9ct gold chain (clasp is silver) Length of the ring 21.3gms, finger size N, weight together 7.8gms Condition Report:Both ring and pendant in good order, a modern interpretation of the Art Nouveau style. Chain is a bit discoloured and has a replacement silver clasp.

Five modern brass hanging light fittings, together with an Art Nouveau hanging oil pendant light.

Aurel Bernath (Hungarian, 1895-1982), portrait of a young lady, half length seated in slight profile, signed with initials l.r., pencil on paper, Modern Graphic Art Budapest label verso, 40 by 29cm, unframed. Note: Artist Resale Rights apply

A group of art Deco opaline glass including a bowl, covered dish, figural rose bowl section, scent bottle, Swedish glass model of a cat, modern Lalique amber glass model of a horse and a Austrian ewer (one tray)Condition report: Austrian Vase - dirty but in generally good condition. The rose bowl centrepiece has several hairline cracks. Swedish cat has some flea bite chips to ears. Remaining times in generally good condition.

After Alexander Calder (American 1898-1976) -  "Derriere le Miroir No. 156" - A 1960's surrealism lithograph print in colours depicting distorted figures / animals with splashes of red throughout. Unsigned. Painting measures approx; 370mm x 52cm. Frame measures approx; 50cm x 70cm. This piece once belonging to Walter Strachan. Mr Strachan (1903-1994) was Head of Modern Languages at Bishop Stortford College for over 40 years, but also pursued a parallel career as a poet, French translator, art critic and connoisseur.

Roy Lichtenstein (American 1923-1997) - The Red Horseman - A 20th Century 1976 Exhibition coloured lithograph poster for January 22 - March 7 at the Modern Art Pavilion Seattle Art Museum. Framed and glazed. Litho measures approx; 560mm x 700mm. Frame measures approx; 59cm x 73cm.

A contemporary modern art abstract mixed media on board painting depicting an abstract sky with burnt yellow bleeding through a dark ground. Quintessa Art Collection label to verso. Measures approx; 120cm x 140cm.

A 20th Century oil on canvas abstract modern art painting depicting a cosmic scene with figure in sky and geometric shapes & patterns on a green & blue sky ground. Artist unknown. Measures approx; 910mm x 910mm.

ANDRÉ BUTZER (B. 1973)Ohne Titel 2006 signed; signed and dated '06 on the reverseoil on canvas139.9 by 119.9 cm.55 1/16 by 47 3/16 in.Footnotes:This work will be included in the forthcoming catalogue raisonné being prepared by the André Butzer Archive.ProvenanceGalerie Guido W. Baudach, BerlinPrivate Collection, EuropeSale: Kunsthaus Lempertz, Auktion 960: Zeitgenössische Kunst, 2 June 2010, Lot 686Acquired directly from the above by the present ownerOhne Titel, 2006 is a signature work from André Butzer's early figurative series depicting arguably the artist's most iconic character, the Wanderer. Instantly recognisable, the misshapen figure looms out from the canvas filling the entire plane in a cacophony of bright colour and texture. Paint is applied in generous swathes, with ribbons squeezed directly from paint tubes to the Wanderer's chest creating a chaotic storm of coloured grids that is played out across the surface whilst thick lashings of impasto to the Wanderer's face appear as if the flesh is slowly melting. The over-inflated head features three swollen protuberances on each side of his face, like old fashioned whiskers, and large gawking eyes that stare out as if entranced. The absence of a neck and the strange long arms contrasted against the short legs defy the natural proportions and physiognomy of the graceful human form favoured by artists over the centuries. Here, the figure is an antithesis to the romanticised notion of elegance and is rather a representation; a character of Butzer's Science-Fiction-Expressionism and inhabitant of his fictional outer space universe NASAHEIM, a term that takes inspiration from NASA and is derived from the German word 'heim' which translates to 'home'. Despite his otherworldliness, the Wanderer also possesses overtures of friendliness and an air of humanity, perhaps best expressed through his awkward yet amiable smile and resemblance to familiar cartoon characters.Underpinning Butzer's practice is a strong foundation based around mass culture. Pop iconography and titles such as Chips Und Pepsi und Medizin (Das Glück) from 2003 alongside the more sinister inscriptions of 'nuclear assault' in Schutztod (Teil 1), 1999, refer to Butzer's childhood in Cold War Western Germany in the 1970s. As Hans Werner Holzwarth articulates: 'The new gods have brought Mickey Mouse, Coca-Cola, potato chips, Star Wars. They also bring the promise of death by atom or blood sugar.' (Hans Werner Holzwarth in: Lutz Eitel (Ed.), André Butzer, Cologne 2021, p. 6). American cartoons and in particular the world of Walt Disney would have a profound impact on Butzer's career. Disney's early animations with their propensity for slap stick comedy juxtaposed against a comedic violence are frequent sources throughout his oeuvre. Indeed, the Wanderer possesses the over exaggerated features and wears the same white gloves as seen on the beloved character Mickey Mouse. Drawing upon modern masters including Edvard Munch, Henry Matisse and Paul Cezanne, and influenced by such contemporary icons as Albert Oehlen and Gerhard Richter, Butzer reinterprets the past by recycling and reusing in a continuous sequence of examination and renewal. In the various depictions of the Wanderer, one is often reminded of Munch's masterpiece The Scream from 1903. Set against an expressionist landscape, the agonised face of the main character in Munch's painting resembles the foreign features of the Wanderer traversing NASAHEIM, evident in such works as Auf der Kleinen Wiese, 2003. 'There is nothing worse than being contemporary. But I actually see myself as a radical traditionalist, otherwise you can't really do anything new. I continue what others have started.' (the artist in: Lutz Eitel (Ed.), André Butzer, Cologne 2021, p. 150). Born in Stuttgart in 1973, Butzer's celebrated paintings combine European Expressionism with the themes of Popular Culture and mass consumerism, creating his own distinct aesthetic of brightly coloured figures and cosmic landscapes through to the minimalistic black and white compositions. The earlier works executed in the 90s often employ a darker palette with tones of grey and black, with figures that are rendered in a more ethereal and ghost-like interpretation. Whilst Butzer continues to employ this monochromatic palette throughout his career, it was the introduction of bold hues and gaudy exuberant tones as evident in the present work, that has cemented Butzer firmly within the canon of contemporary art. Highly sought after internationally, Butzer's works can be found in the esteemed collections of the Art Institute of Chicago, Chicago; Denver Art Museum, Denver; Kunsthalle Emden, Emden; LACMA Los Angeles County Museum of Art, Los Angeles; Miettinen Collection, Berlin; Taschen Collection, Los Angeles; and the Rubell Family Collection, Miami.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

KONRAD LUEG (1939-1996)Untitled circa 1963 signed and dedicated Mit Bleistift Für Anja on the reverse casein on cardboard plate 23.5 by 16.5 cm. 9 1/4 by 9 1/4 in. This work was executed circa 1963. Footnotes:Provenance Collection of the artist, DusseldorfGift from the above to the present owner in 1980A seminal protagonist in the German post-war art scene, Konrad Lueg is better known as Konrad Fischer, the legendary gallerist who represented artists such as Carl Andre, Bruce Nauman, Thomas Schütte, Sol Lewitt and Robert Ryman to name but a few. Having attended the Düsseldorf Academy, where he studied under Karl-Otto Götz until 1962, Lueg, took his mother's maiden name as an artist. Around 1963, Lueg alongside fellow classmates Gerhard Richter, Sigmar Polke and Manfred Kuttner, founded the Capitalist Realist movement, the West German version of British and American Pop Art, to critique the rise of American capitalism, the growing commercialization of the art market and bourgeois values in West Germany. The group appropriated the iconography of mass media, caricaturing consumer culture at the time of the West German 'Wirtschaftwunder' and famously invaded retail spaces as part of their practice. Paintings would feature cars, socks, chocolate, a kitschy idealization of Neuschwanstein Castle and as seen in the present work, the humble sausage, a theme also portrayed by Roy Lichtenstein at the same time in America. In the legendary 1963 Living with Pop performance, Gerhard Richter and Konrad Lueg invited visitors to a Dusseldorf furniture store where they were seated on pieces of furniture from the store's inventory, placed on pedestals as works of art. They wore suits and the daily news played in the background. In the Kaffee und Kuchen happening in 1966, Lueg invited friends and colleagues to have coffee and cake, this time in the important Alfred Schmela gallery in Düsseldorf. To challenge the perception of art galleries and what constitutes an artwork, Lueg had covered the entire space in his own wallpaper and Gerhard Richter showed a portrait of Schmela himself during the event.Solo exhibitions of Konrad Lueg's work have been held at Konrad Fischer Galerie, Berlin (2019); Greene Naftali, New York (2019, 2013); Herbert Foundation, Ghent (2018); Museu d'Art Contemporani de Barcelona, Spain (2010); Museum voor Actuele Kunst, Ghent (2000): and PS1 Contemporary Art Center, Queens, New York (1999). Lueg's work has been featured in significant group shows including Painting 2.0: Expression in the Information Age (Museum Brandhorst, Munich, 2015); International Pop (Walker Art Center, Minneapolis, 2015); and Living With Pop: A Reproduction of Capitalist Realism (Kunsthalle Düsseldorf, 2013; travelled to Artists Space, New York, 2014), among others. His work is in the permanent collections of museums such as the Barcelona Museum of Contemporary Art; Dallas Museum of Art; Kröller Müller, Otterlo, The Netherlands; Museum of Fine Arts, Boston; The Museum of Modern Art, New York; Städel Museum, Frankfurt; and the Walker Art Center, Minneapolis.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

FRANK AUERBACH (B. 1931)Portrait of Debbie Ratcliff III 1984 oil on canvas 66 by 66 cm. 26 by 26 in. This work was executed in 1984.Footnotes:Provenance Marlborough Fine Art Ltd., London (no. 35238.6)Acquired directly from the above by the present owner in 1984 ExhibitedVenice, XLII Biennale di Venezia, British Pavilion, Frank Auerbach: Paintings and Drawings 1977-1985, 1986, p. 50, no. 32, illustrated in colourHamburg, Kunstverein; Essen, Museum Folkwang, Frank Auerbach, 1986-1987, p. 72, no. 37, illustrated in colourMadrid, Museo Nacional Centro de Arte Reina Sofía, Frank Auerbach: Retrospectiva, 1954-1985, 1987, p. 68, no. 37, illustrated in colourLiteratureRobert Hughes, Frank Auerbach, London 1990, p. 208, no. 215, illustrated in black and whiteWilliam Feaver, Frank Auerbach, New York 2009, p. 294, no. 505, illustrated in colourFrank Auerbach's Portrait of Debbie Ratcliff III is a masterly and empathetic painting which formed the third of a trio of portraits of his model and muse Debbie Ratcliff that were first unveiled at the 42nd Venice Biennale in 1986, where Auerbach was awarded the Golden Lion, sharing the prestigious prize with Sigmar Polke. Hailed as one of the most influential painters of the 20th century, Frank Auerbach is celebrated for his expressionistic portraits and cityscapes characterised by his distinctive and gestural impasto technique. Auerbach was born in Berlin in 1931. Arriving in England as a Jewish refugee in 1939, he attended St Martin's School of Art, London, and studied with David Bomberg in night classes at Borough Polytechnic, before culminating his final studies at the Royal College of Art. His first exhibition was held at London's Beaux Arts Gallery in 1956. Initially Auerbach was criticised for his thick application of paint, but found support from the critic David Sylvester, who identified the exhibition as one of the most exciting and impressive debut solo-shows by an English painter since Francis Bacon. By the early 1960s, Auerbach had established himself among the ranks of what would later become known as the School of London, a group that included Lucian Freud and Francis Bacon. Bacon shared much of Auerbach's sensibility: the two artists favoured painterly intuition over carefully studied precision, viewing painting as a means of pinning down human expression. However, despite his affiliation with the School of London artists and comparisons to Bacon, Auerbach also sought to engage in the explicit dialogue with the art historical canon, and cites numerous old and modern masters as influences, including Rembrandt, Rubens, Titian, Constable and Picasso. Auerbach would continue to exhibit regularly at the Beaux Arts Gallery until 1963, before joining Marlborough Gallery in 1965. Today his works are amongst the most internationally collected and desirable amongst all living artists. Beautifully positioned within the square canvas, Debbie Ratcliff sits composed and elegant, her angular shoulders asymmetrically filling the composition. Auerbach employs rich swathes of crimson, green hues, and vibrant yellows to build his portrait. There is a meditative, emotional quality to his paint; Auerbach's heavy impasto can take months to build up and scrape back, he paints slowly and methodically revealing an intense observation of his subject. He makes his mark with authority and finality, pushing abstraction to the limit while still capturing the essence of his sitters. Auerbach first met Ratcliff at the Slade School of Art in 1983. He was reportedly drawn to her strongly defined features and initially had her pose reclining on a bed. It was in the second sitting that Auerbach decided to seat her instead on a chair facing him; the pose would continue in all three of these portraits the artist created of her. Over the course of Ratcliff's sittings for him, the two would come to relax in one another's presence, enjoying conversations about art and literature. Auerbach is credited with making some of the most impressive, vibrant, and intuitive portraits of the post-war years. A true draftsman as well as a painter, his graphic works, his signature thick black lines and the concerted mark-making that he employs give his sitters a flickering quality of energy. His method requires an intimate knowledge, not only of his sitter's physiognomy, but also their temperament and personality and most of Auerbach's sitters posed for him every week, often over many years. Connections were important to Auerbach, who despite the physical immediacy of his brushwork, ultimately undertook long and studied contemplations of his subjects. He has attested to finding himself simply more engaged when he knows the people, as they get older and change, enjoying the process of recording this in paint. Auerbach's portraiture features a number of long-standing sitters, including, his wife Julia, Catherine Lampert, Gerda Boehm, Stella West, 'J.Y.M.' and as seen in this present work, Debbie Ratcliff. Auerbach's distortions in his portraits have been likened to Francis Bacon's figures. However, perhaps unlike Bacon, a warmth emanates from the former's portraits. In Portrait of Debbie Ratcliff III, Auerbach's muse is cast as an impression instead of a likeness. Painting only those whom the artist has formed an intimate bond with, the paintings teeter on incomprehensibility. Auerbach's prolonged engagement with Ratcliff throughout the course of her sittings nonetheless captures a spirit in its fleeting and mercurial beauty. The rapid and vivid strokes perceive an individuality, a humanity. Portrait of Debbie Ratcliff III is a painting of life in action. An individual in the throes of contemplative personal eminence. Frank Auerbach is widely recognised as one of the most inventive and influential painters of the Post-War period. In 1978, the artist was honoured with a retrospective at London's Hayward Gallery and in 2015, London's Tate Britain, in partnership with Kunstmuseum Bonn, mounted another major retrospective of his work. Today, his paintings reside in the prestigious permanent collections of the Tate Gallery and National Portrait Gallery in London; Museum of Modern Art and The Metropolitan Museum of Art, in New York; and the Museo Nacional Thyssen-Bornemisza in Madrid, among many others.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

HOWARD HODGKIN (1932-2017)Girl in a Museum 1958-1960 signed on the stretcheroil on canvas 101.3 by 71 cm. 39 7/8 by 27 15/16 in.This work was executed in 1958-1960. Footnotes:ProvenancePeter Cochrane Collection, London Thence by descent to the present ownerExhibitedLondon, Arthur Tooth & Sons, Howard Hodgkin, 1962, no. 4, illustrated in black and white Bochum, Städtischen Kunstgalerie Bochum, Profile III: Englische Kunst der Gegenwart, 1964, no. 78, illustrated in black and whiteOxford, Museum of Modern Art; London, Serpentine Gallery; Leigh, Turnpike Gallery; Newcastle upon Tyne, Laing Art Gallery; Aberdeen, Aberdeen Art Gallery; Sheffield, Graves Art Gallery, Howard Hodgkin: Forty-Five paintings 1949-1975, 1976 Berlin, Galerie Haas & Fuchs, Howard Hodgkin, 2004LiteratureMarla Price (Ed.), Howard Hodgkin: The Complete Paintings Catalogue Raisonné, London 2006, p. 44, no. 9, illustrated in colourÅsmund Thorkildsen, Howard Hodgkin The Thinking Painter of Embodied Memories, Milan 2011, p. 14, illustrated in colourIn 1962, the celebrated English artist Howard Hodgkin presented his first solo exhibition at the prominent London gallery, Arthur Tooth & Sons. Founded in 1842, the gallery hosted many exhibitions over the years by important artists including Dame Barbara Hepworth, Allen Jones, Antoni Clavé and Jean Dubuffet to name only a few. The exhibition, Howard Hodgkin: An exhibition of recent paintings, in which the present work was included, was met with widespread acclaim as declared by the art critic Edward Lucie Smith: 'It is with sad truth that English artists usually have little sense of the 'absolute'. By which I mean that they seldom have either the stamina or the courage to pursue their own discoveries, or even their own feelings, to the bitter end. Howard Hodgkin, by contrast, is a painter with a wholly refreshing rigour, a talent not just for bold design, but for the intellectual organisation of things. Yet he remains in love with the medium. His work has none of the drabness which is too frequently associated by modern artists with pretensions to intellect. He knows that true austerity need by no means be dismal, and the result is some of the most exciting and original colour harmonies I have seen for years...' (Edward Lucie Smith, Howard Hodgkin: An exhibition of recent paintings, www.howard-hodgkin.com, 9 March 2022).Painted during a pivotal moment in Hodgkin's career, the present work captures a point between the earlier figurative portraiture favoured by the artist in the 40s and early 50s and the more mature expressive and abstract gestural strokes. Whereas works such as Memoirs, 1949 – which illustrates the artist and a friend in a domestic setting - are executed with geometric shapes and bold graphic outlines, Girl in a Museum from 1958-60 is painted in a much looser style and unencumbered by limitations of structure. It is here that we start to see how Hodgkin would break away from the traditional confines of painting and would explore beyond the picture plane, utilising the frame as an inclusion of his work in his highly emotive and eloquent abstractions. Girl in a Museum is a devotion of colour, form, and texture. A young girl is depicted mid-motion, seemingly caught between the foreground and the background of the surface. Her torso is partly ensconced by the horizontal stripes in the upper half of the canvas as her eyes peer out towards the viewer. Only one arm sticks out defiantly as if reaching for something or someone that we cannot see, meanwhile the lower half of her body is free from constraint and the bold red on her legs draws the eye down the surface and is contrasted against the emerald tones of the horizontal lines. From the title we can deduce that the girl is visiting a museum, however there is no indication of the nature of museum or indeed any representation of the institution at all. Instead, the figure has taken the centre stage of the painting as both the viewer and the girl are caught in a fleeting moment filled with the energy and intensity of the artist, skilfully communicated through Hodgkin's masterly interplay of gesture and movement. Widely exhibited, this work was originally acquired by John Peter Warren Cochrane, who was a director at Arthur Tooth & Sons. Aside from his career as an art dealer, Cochrane was also a keen collector with an astute eye and devotion to championing young British artists. Cochrane would collect several works from Hodgkin including the present lot, which was treasured in his private collection for many years. This fondness for the artist was clearly reciprocated as Cochrane became the subject for a portrait Hodgkin would execute in the same year as the solo exhibition. Now in the prestigious collection of the National Portrait Gallery, London, (John) Peter Warren Cochrane, 1962 is an arresting depiction of someone Hodgkin clearly admired. Rendered with a compositional flatness that evokes the simplification favoured by Henri Matisse, there is a sense of assuredness and calm from the sitter but also a respect between the artist and subject. In 1984 Hodgkin represented Great Britain at the Venice Biennale and the next year he was awarded the Turner Prize. With a career spanning over seven decades and with paintings residing in museums internationally, including the Museum of Modern Art, New York; the Museu de Arte Contemporanea de Sao Paulo, Brazil; and the Centro de Arte Moderna, Lisbon, Girl in a Museum presents a wonderful opportunity to acquire a very early and rare work with wonderful provenance by one of the most celebrated and acclaimed contemporary British painters.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

ANTONY GORMLEY (B. 1950)BREATHE 2016 signed, titled and dated 2016 on the reversecrude oil, linseed oil and petroleum jelly on paper256 by 134 cm.100 13/16 by 52 3/4 in. This work is from a series of 12 unique monoprints taken directly from the artist's body. Footnotes:ProvenanceAlan Cristea Gallery, LondonAcquired directly from the above by the present owner in 2016ExhibitedLondon, Alan Cristea Gallery, Antony Gormley: CAST, 2016, p. 33, no. 10, illustrated in colour LiteratureMartin Caiger-Smith, Antony Gormley, New York 2017, p. 407, illustrated in colourLe Gallerie degli Uffizi, Antony Gormley ESSERE, Florence 2019, p. 71, no. 3, illustrated in colour Born in London in 1950, Antony Gormley is not only widely acclaimed for his sculptures, installations, and public artworks, but also for a truly remarkable body of drawings. Not unlike a modern-day Leonardo Da Vinci, his drawings are tinged with washes, varnishes, dyes, oil, earth and even blood amongst more traditional media and they serve as much more than just a way to record his surroundings. Always with a workbook at hand, Gormley's drawings form an artistic corpus in its own right and whilst there are visual parallels with his larger three-dimensional work, they go far beyond mere preparatory studies. He is 'going places in the drawing that are not possible in life or sculpture: outer space or deep water' ('BODY AND LIGHT, 1990 – 1996', www.antonygormley.com, 22.02.2022), the process of drawing itself becoming a meditative as well as creative exercise. Gormley draws the viewer in, makes them both spectator and participant in his work by questioning and exploring where human beings as a whole and the human body in particular stand in relation to the space in which they exist; be it a small room, nature, or the cosmos. This was perhaps nowhere more palpable than in his recent critically acclaimed solo show at the Royal Academy where he filled the institution's thirteen vast main galleries with astonishing larger-than-life sculptures and installations. An entire room there was dedicated to drawing, showing the sheer diversity, range, and importance of this part of his oeuvre.Perhaps best known for Angel of the North near Gateshead, Gormley is a monumental figure, both in eminence and stature. His own 6ft 4in tall frame functions as a mould for his sculptural work and as a brush in his drawings which often involve the physical activity of the entire body. Works like the Clearing drawings convey considerable speed and velocity used in their creation, and in life-sized, ethereal Body Prints such as the present work, Gormley himself becomes the painting apparatus. The series of unique works was developed for the exhibition CAST at Alan Cristea Gallery in London in 2016, which explored how our own physical freedom and imaginative potential is progressively more conditioned by the environment we have built and the dependencies we have constructed around us. A number of large woodblock prints based on seven distinct body poses that reinterpreted anatomy in the language of architecture were interspersed with a series of crude oil and petroleum jelly Body Prints. Titles ranged from OPEN to FEEL, SEE, SHOW and the present work, BREATHE. Whilst the woodblock prints relate to Expansion Field (2014) a work which 'applies the principles of an expanding universe to the subjective space of the body' ('CAST, ALAN CRISTEA GALLERY, LONDON, ENGLAND, 2016', www.antonygormley.com, 22.02.2022), the use of crude oil in the artist's body prints has an avowedly political context. To create the transfer, Gormley covered himself in crude oil, linseed oil and petroleum jelly and, with the help of two assistants and two long poles, he would fall onto the handmade paper, the weight of his body creating a corresponding, ghost like imprint. As the 'blood of the earth' slowly seeps into the fabric of the sheet, a kind of halo forms around the figure, imbuing the work with a sacral feel. Having grown up in a devoutly Catholic home, Gormley turned away from the church at the age of eighteen towards Buddhism and became interested in vipassana meditation which he often uses in his artistic practice. The use of 350-million-year-old carboniferous Texan crude mixed with North Dakota oil to perfect the colour shade and effect is meant to highlight our dependency on petrochemicals. The oil represents the planet's DNA, its solar memory, a result of age-old photosynthesis in a time where we have our own capacity to harness the power of the sun and perform a sort of industrialised photosynthesis. The Body Prints act as a memorial to a time in which our dependency on fossil fuels was on the ebb though still pronounced. Antony Gormley was awarded the Turner Prize in 1994, the Praemium Imperiale in 2013 and has been a Royal Academician since 2003. In 1997 he was made an Officer of the British Empire (OBE) and was made a knight in the New Year's Honours list in 2014. Gormley's work has been widely exhibited throughout the UK and internationally with recent exhibitions at National Gallery Singapore, Singapore (2021); the Royal Academy of Arts, London (2019): Delos, Greece (2019); Uffizi Gallery, Florence (2019) and the Philadelphia Museum of Art, Philadelphia (2019). Permanent public works around the globe include the Angel of the North (Gateshead, England), Another Place (Crosby Beach, England), Inside Australia (Lake Ballard, Western Australia), Exposure (Lelystad, The Netherlands) and Chord (MIT - Massachusetts Institute of Technology, Cambridge, MA, USA). Highly political in much of his oeuvre, he uses the strength of his market and public popularity to highlight injustice and confront us with our own needs, our relationship to the planet, other lifeforms and the cosmos.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

FERNANDO BOTERO (B. 1932)La Casa de Rosalba Correa 2001 signed and dated 01oil on canvas179.2 by 192 cm.70 9/16 by 75 9/16 in.Footnotes:ProvenanceCollection of the artist, EuropePrivate Collection, Turkey (acquired from the above in 2013)Acquired directly from the above by the present ownerExecuted in Fernando Botero's distinctively voluptuous signature style, La Casa de Rosalba Correa from 2001 is a magnificently complex and distinctive painting by one of the most important Colombian modern artists of our day. Having studied under Roberto Longhi, a renowned authority on Italian Renaissance and Baroque art, Botero obtained a remarkable art historical knowledge of Western Classicism that transfuses his work. The canon of art history, especially the European one became a rich source of inspiration whilst studying Italy's Renaissance frescoes, Spain's Golden Age masters and France's turn-of-the-century School of Paris on his travels in the 1950's. Profoundly influenced by these masterworks, Botero embarked on a quest to critically re-interpret iconic paintings, paying homage to the great artists of the past whilst finding true originality doing so. Not unlike Picasso, whose Cubist breakthrough came after experimenting with the construction of a guitar, Botero had his artistic revolution with a mandolin. In 1956, the artist painted an image of a mandolin resting on a table and decided to place a disproportionately small hole in the body of the instrument, thus transforming it into an object of exaggerated mass and monumentality; a lifelong fascination with the exploration of volume was born. Well known for subjects ranging from the Old Masters to circus scenes, bullfights, domestic life and political satire, the present work falls into a theme of brothel scenes and bacchanalia that the artist revisited throughout his career. 'There was a red-light district in Medellín at the time,' the artist recollects of his adolescence in Colombia. 'It was an easy-going place; class lines blurred in a sort of never-ending carnival, a permanent street party.' If he sometimes 'felt like [he] was the local Toulouse-Lautrec,' a sensitive observer of brothels and their late-night habitués, he began to see beauty in all the vagaries of the human body and humour, as well, in its fleshy flamboyance and grandiosity (the artist in: Ana María Escallón, 'From the Inside Out: An Interview with Fernando Botero', Botero: New Works on Canvas, New York 1997, p. 13). Art historically, Botero's brothel scenes are inspired by the lush, arresting depictions of courtesans by the medieval master Lucas Cranach and he has revisited the theme both in painting and sculpture throughout his career. The vibrant, candy coloured La Casa de Rosalba Correa shares clear characteristics with earlier depictions of the theme, notably La casa de Raquel Vega, from 1975 in the collection of Mumok, Vienna, House Mariduque from 1977 and The House of Amanda Ramírez of 1988 which is in the permanent collection of the Museo de Antioquia in Medellin. The latter, shows a similar rudimentary structure of the room, the stage if you will, whilst the protagonists and distinct elements of the scene differ. We appear to be privy to the final stages of a debauched evening in a room that seems too small to hold its curvaceous inhabitants. The smell of tobacco and stale alcohol lingers in the air, and a swarm of flies' buzzes around a lone lightbulb. Much of the night's events have unfolded but some protagonists are still awake and active. A nude couple shares a large bed in the centre of the room. They have fallen asleep in a loose embrace and only a half-eaten plate of food at the man's feet and the green bottle clutched tightly in his hand hint at the preceding evening. He wears a wedding band suggesting an act of infidelity. Two men, one apparently passed out under the bed not unlike the array of discarded clothes around the room, the other taking a large swig from a bottle, along with a further empty bottle and cigarette buds strewn all over the floor tie in with the theme of a raucous party. In the foreground, a man has swept up a somewhat dispassionate woman in a luscious green dress and clutches her tightly in his arms. The only protagonist of the scene to look straight out that the viewer, to acknowledge our peeping eye without judgement, is a cat reclining elegantly in the lower right corner. Symbolic for femininity and domesticity, cats feature in much of Botero's work, often accompanying a dominant matriarch or a sensual nude and in La Casa de Rosalba Correa, it is easy to draw on comparisons with Manet's famous masterpiece Olympia. Despite the scene drawing up questions of male prerogative, Botero's female protagonists tend to be strong, self-alert characters, in control of their situation and playing with their allure. The black feline with its piercing green eyes makes us keenly aware that we are trespassing into this scene, the viewer has become a voyeur, an active participant and we have been spotted. Using humorous and exaggerated elements in his work, Botero breaks with the established classical tradition of eternalizing the classically heroic and brave and adds a fresh approach to age old themes. Botero shifts classical art historical topics into the realm of the common and trivial, the realm of day-to-day life, often infused with a melange of his own lived experiences and the air of his native Colombia.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

JULIAN OPIE (B. 1958)Wooden Painting 16 2006 signed on the reverseenamel on wood90 by 61.2 cm.35 7/16 by 24 1/8 in.This work was executed in 2006.Footnotes:ProvenanceAcquired directly from the artist by the present owner in 2007Contemporary British artist Julian Opie is widely recognised for his distinctive depictions of figures, portraits, and landscapes. Born in London in 1958, Opie graduated from Goldsmiths College in 1982, studying under Michael-Craig Martin, and was quickly associated with the New British Sculpture movement. From the 1980s into 1990s he transitioned from painted steel sculptures inspired by Pop Art and Minimalism into a simpler graphic style, which he employs across a diverse range of media, from paintings to animation, continually pushing the boundaries of traditional artistic practice.Opie plays with ways of seeing through reinterpreting the vocabulary of everyday life; his reductive style evokes both a visual and spatial experience of the world around us. Alongside his clear influence in Pop aesthetics, particularly the work of Andy Warhol and Roy Lichtenstein, Opie draws further inspiration from classical portraiture, Egyptian hieroglyphs, Greek mythology, Japanese woodblock prints, as well as public signage, information boards, traffic signs and even the Tintin cartoons by Hergé. Through connecting the clean visual language of modern life with the fundamentals of art history, Opie has produced a distinctive and unique style in his body of work which have appeared in cities and sculpture parks around the world.Perhaps more widely recognised for his portraits and figurative studies, Opie reduces his subjects to essential lines created by thick black outlines and filled in with solid areas of flat, vibrant colour. His figurative subjects are de-personalised; he either chooses to render a featureless face using just a blank circle, or otherwise only depicts very basic facial features using dots and lines in the simplest expression of form. He chooses to differentiate his figures through colour of backgrounds, hairstyles, position of head, light reflected in the eyes and accessories. This depersonalised style creates an ambiguous sense of subjectivity in the sitter and provokes the viewer to question what makes a portrait of a person distinct and how they can relate to it. Bonhams are delighted to be offering three works by Julian Opie - two figurative pieces and a dynamic digital landscape of Lake Kawaguchi in Japan. Aniela 2, executed in 2011, is a portrait of the artist's wife. Set against a vibrant red background, Aniela is not submitting to the viewer; she appears to us in the nude, loosely holding a piece of drapery, captured in a private moment. Aniela was a regular sitter for the Opie and resulted in a series inspired by Renaissance and neoclassical paintings of Greek goddesses such as Aphrodite. In this series, Opie portrayed his wife in the nude occasionally wrapped in drapery which has been reduced to its most essential elements or holding a Grecian urn. Indeed, in this present work we can draw parallels to classicism and his interest in interpreting Greek mythology. Julian Opie's style increased in popularity after he designed the cover of English Britpop band Blur's best of album which was released in 2000.The four-part portrait is not only one of the most famous album covers to be produced but is considered as an iconic artwork. The portraits of the four band members of Blur were bought by the Art Fund in 2001 and now reside in the collection of the National Portrait Gallery in London. Today, Julian Opie is considered one of the leading contemporary artists in the world and his work is exhibited extensively in galleries and museums around the world, including in the Essl Collection, Vienna, the Stedelijk Museum, Amsterdam, Israel Museum, Jerusalem, Takamatsu City Museum of Art, Japan, Museum of Modern Art, New York, Institute of Contemporary Arts, Boston, among many others.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

GIUSEPPE CAPOGROSSI (1900-1972)Superficie 674 1951-1969 signed, partially titled and dated 1951-69 on the reversetempera and oil on paper laid on jute canvas 118 by 86 cm. 46 7/16 by 33 7/8 in. Footnotes:Provenance Galleria d'Arte Niccoli, ParmaStudio d'Arte Mercurio, MilanPrivate Collection, RomeSale: Christie's, Milan, Contemporary and Modern Art, 23 November 2010, Lot 58Acquired directly from the above by the previous owner Thence by decent to the present owner ExhibitedRome, Galleria Marlborough, Capogrossi, 1969Parma, Galleria d'Arte Niccoli, Capogrossi opere dal 1951 al 1972, 1986, p. 26, illustrated in black and whiteLiteratureG. Capogrossi, Seconda parte del catalogo delle opere di Capogrossi 1967-1972, Milan 1992, n.p., no. 18, illustrated in black and whiteThis 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

UGO RONDINONE (B. 1963)Silver Black White Green Mountain 2016 incised with the artist's initials and dated 2016 on the underside of the basepainted stone, stainless steel, wooden pedestal197 by 51 by 41 cm.77 9/16 by 20 1/16 by 16 1/8 in.Footnotes:ProvenanceGladstone Gallery, New YorkAcquired directly from the above by the present owner in 2016 ExhibitedNew York, Gladstone Gallery, the sun at 4pm, 2016Ugo Rondinone's work is timeless, transcendent, and powerful. He evokes our preternatural infatuation with the totem, be it figurative, divine, or mythical. A structure that is as rudimentary as it is authoritative. Throughout his career, the Swiss-born artist has navigated nature, spirituality, and materiality, often capturing such grand ideas in the delicate surfaces and compositions of a single work. He treats art as poetry: his sculptures are wonderfully self-contained, yet they are made up of elements that are individual, primal, and carefully balanced. In the present work, Silver Black White Green Mountain from 2016 – part of Rondinone's signature Mountain series that has been the centrepiece of major public art commissions around the world – the ideas that underpin his practice are expressed with a simplicity, lyricism and grandeur that is deeply compelling. Rondinone's Mountain series has been definitive of his career at large; instantly recognisable and highly sought-after. Tracing a line between natural phenomena and the human condition, Rondinone's work emerges from materials that are innately primordial and raw. His role as the artist is to colour, shape, and provide balance to the matter he is given. The totems speak to, not only the artist's relationship to his chosen medium, but to humanity's role as caretakers of the rock on which it stands. In the artist's words, he's 'putting faith in stone as material—in its innate beauty and energy, its structural quality, its surface texture, and its ability to collect and condense time. The grotesque biomorphic distortion that characterizes the lifetime of a stone can become a haunting openness when transformed by colour and palpable emotional charge' (the artist in an interview with Mitchell Anderson, 'Organic Accord: Ugo Rondinone', moussemagazine.it, 5 November 2020).The associations embedded in Rondinone's work go beyond the relationship between the natural, human, and spiritual, however. In the present work, there is a resurgent presence of Minimalism, Brancusi's Endless Column, and Land Art. Donald Judd's stacks and Michael Heizer's Levitated Mass (2012) are art historical threads that Rondinone conjures masterfully – the latest in a lineage of multifaceted artists to engage with a phenomenology that emerges from the simplicity and rationality that is inherent to the order of the world around us. Painted in glistening, unnatural pigments, Silver Black White Green Mountain is a sterling example that captures the spirit of an artist who continues to be a pioneer of his generation and whose work is held in global museum collections including the Tate collection, UK; the Centre Pompidou, Paris; the Museum of Modern Art, New York; the Institute of Contemporary Art, Boston; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis, and the Dallas Museum of Art, among others. He will further be celebrated at this year's 59th Venice Biennale, with a major solo exhibition at the Scuola Grande di San Giovanni Evangelista, titled burn shine fly, paying homage to Rondinone's late partner and collaborator John Giorno.This lot is subject to the following lot symbols: † TP ○† VAT at the prevailing rate on Hammer Price and Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.○ The 'Seller' has been guaranteed a minimum price for the 'Lot', either by 'Bonhams' or a third party. This may take the form of an irrevocable bid by a third party, who may make a financial gain on a successful 'Sale' or a financial loss if unsuccessful.For further information on this lot please visit Bonhams.com