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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

YAYOI KUSAMA (B. 1929)Fruits 1996 signed, titled in Japanese and dated 1996 on the reverseacrylic on canvas14.4 by 18.2 cm.5 11/16 by 7 3/16 in. Footnotes:This work is accompanied by a registration card issued by Yayoi Kusama Inc., Tokyo.ProvenancePrivate Collection, Japan Acquired from the above by the present ownerThroughout the course of her distinguished career, Japanese artist Yayoi Kusama has developed a practice which, whilst sharing affiliations with Surrealism, Minimalism, Pop Art, ZERO and Nul, fights to resist any singular categorisation. Fruit baskets have served as a recurring subject in Kusama's works and Fruits, executed in 1996, follows her fundamental concept of Infinity Nets with the multiplex addition of her iconic dots and organic symbols. The intricate geometric arrangement of the background, fruit basket, and tabletop in the present painting illustrates her logic behind the spatial relationship. Fruits attests to her own artistic enhancement, while epitomising her creative practice since its earliest days.The basket is set against a turquoise background covered with an infinite net of black-outlined triangles. The delicate fine lines stretch and connect in a seemingly unconscious manner, leaving the viewer in a trance between figurative and abstract representations. The fruits in the basket are painted in bold colours using visually directional dots arranged in a concentric pattern, reminiscent of her widely identifiable Pumpkins. Kusama's motif of the pumpkin form has achieved an almost mythical status in her art since the late 1940s. Coming from a family that made its living cultivating plant seeds, Kusama was familiar with the kabocha squash growing in the fields that surrounded her childhood home, and the pumpkin continues to occupy a special place in her body of work. Born in Matsumoto City, Japan in 1929, Kusama studied painting in Kyoto before moving to New York in the late 1950s. By the mid-1960s, she had become well known for her avant-garde activities and exhibitions with her diverse artistic endeavours spanning categories such as painting, drawing, collage, sculpture, performance, film, printmaking, installation, and environmental art as well as literature and fashion. Her use of an innovative perspective and her navigation of the cultural contexts of both the East and the West has enabled her to become an internationally renowned artist. Today, Yayoi Kusama who lives, somewhat famously, in a psychiatric institution in Tokyo, continues to produce paintings and installations at an incredible speed, exhibiting internationally in nearly every corner of the globe and maintaining a commanding presence and demand on the primary art market and at auction. From a young age, Yayoi Kusama experienced visual and auditory hallucinations and consequently began creating net and polka dot pattern pictures. Those hallucinations and the theme of dots would continue to influence her art throughout her career. From 1951 to 1957, Kusama created thousands of paintings and drawings on paper, further establishing these two significant motifs of dots and nets. In 1957, she went to the United States and began making net paintings and soft sculptures, as well developing installations that made use of mirrors and lights. It was in 1959 that Yayoi Kusama held her first solo exhibition in New York showcasing a series of white Infinity Net paintings that achieved critical acclaim. Her debut stirred heated discussions among artists in the United States, at a time where Abstract Expressionismwas prevalent. The organic shapes in her work created during the 1950s could be identified as evocative of surrealist artworks by the likes of Joan Miró and Paul Klee, yet they appear in a more obscure, colourful, playful, and neurotic form. By breaking the world up into nets and dots, Kusama eliminates physical boundaries and constructs a well-developed concept of repetition and multiplication. Named previously as 'the world's most popular artist', it's not hard to see why Yayoi Kusama continues to impress art audiences of all ages around the globe. In 1993, she represented her country in the 45th Venice Biennale and 2017 saw the inauguration of Kusama's museum in Tokyo. Recent exhibitions include the debut of 'Yayoi Kusama: Infinity Mirrors' at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., 'Yayoi Kusama: Life is the Heart of Rainbow' at the National Gallery Singapore, and the concurrent exhibitions 'Yayoi Kusama: Festival of Life' and 'Yayoi Kusama Infinity Nets' at David Zwirner in New York. Today, Kusama's works can be found in the collections of The Museum of Modern Art in New York, the Los Angeles County Museum of Art, the Mattress Factory in Pittsburgh, and the National Museum of Modern Art in Tokyo, among many others.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

Botta, Mario (geb. 1943 Mendrisio, Italien) Stuhl mit Armstützen "Seconda". Matt schwarz lackiertes Stahlrohrgestell. Gepflegter Zustand. Hersteller Alias, Italien, um 1988 (erworben in diesem Jahr). H. 72 cm. Beigegeben: Kaufbeleg INTERNI Einrichtungen, Berlin, von 1988 füber DM 1.090,-. Ein Vergleichsstück befindet sich im Museum of Modern Art.

Botta, Mario (geb. 1943 Mendrisio, Italien) Stuhl mit Armstützen "Quinta". Matt schwarz lackiertes Stahlrohrgestell. Kratzer. Hersteller Alias, Italien, um 1987 (erworben in diesem Jahr). H. 93,5 cm. Beigegeben: Kaufbeleg INTERNI Einrichtungen, Berlin, von 1987 über DM 468,-. Ein Vergleichsstück befindet sich im Museum of Modern Art.

Seidel, Jochen (1924 Bitterfeld - New York 1971) Ohne Titel. Öl/Hartfaserplatte (Altersspuren, überwiegend im Randbereich mit kl. Farbfehlstellen), um 1960. Ca. 130x 160 cm. R. Werke des Künstlers befinden sich heute in öffentlichen Sammlungen wie im Museum of Modern Art und Guggenheim Museum, New York.

A modern Art Deco style globe with aeroplane finial

A COLLECTION OF ANTIQUE AND MODERN ORIENTAL AND ART POTTERY ETC.

A CO-OPERATIVE SOCIETY ART DECO OAK DRESSING CHEST WITH CIRCULAR MIRROR BACK TOGETHER WITH A MODERN STAG MAHOGANY CHEST OF FIVE DRAWERS 

JOSEPH BEUYS 1921 - 1986 VITEX AGNUS CASTUS 1973 Farboffset auf Karton. Signiert. Ex. 289/1000. Edition Staeck, Heidelberg und Modern Art Agency, Neapel. 60,5 x 44 cm. Schellmann 73. (Faltspuren).

Kandinsky, Wassily: Über das Geistige in der Kunst. Insbesondere in der Malerei. Zweite Auflage. München: R. Piper & Co. 1912. 23,7 x 18,5 cm. Mit 11 OrHolzschnitten von Kandinsky (davon 10 im Text, 1 in Grün auf dem Deckel), sowie 8 Tafeln und 3 Tabellen. 6 Bll., 125 SS., 2 Bll. Verlagswerbung. Broschur mit OrHz.-Umschlagtitel in Pp.-Schuber.(Brosch. gebräunt, mit Randläsuren und Knickspuren. Rücken mit kleinen Fehlstellen am Kopf und Schwanz. Umschlag repariert und neu angefalzt. Innen leicht gebräunt und mit vereinzelten hs. Einträgen).Roethel 82-92. The Artist & the Book 137. Jentsch 6. - Die erste Auflage erschien Ende 1911 mit einem Umfang von nur 104 S. in 1000 Exemplaren, die hier vorliegende, im Umfang vermehrte 2. Auflage (2.-3. Tsd.) ein halbes Jahr später. - Kandinsky hatte das Manuskript zu diesem Werk bereits 1909 abgeschlossen, jedoch blieb es einige Zeit liegen, da, wie er 1930 schrieb, "kein einziger Verleger den Mut hatte, einige (schließlich ziemlich geringe) Verlagskosten zu riskieren". Auch der Piper-Verlag lehnte es zunächst einmal ab. - "One of the most important manifests of modern art" (The Artist & the Book 137).

Tischlampe "1H" Cedric Hartman, Ausführung Pandora, Kirchberg, Schweiz für Jack Lenor Larsen Inc., um 1968 Messing, Stahl. Einflammig. Gerades Gestell mit halbkugeligem Schirm, höhenverstellbar und um 360° schwenkbar. H. 85 cm (Schirm kl. Beule). Modelljahr 1966. Unter dem Stand bezeichnet. Vergleichsstück im Museum of Modern Art, New York, Object number 2232.1967 (59679)

John Butler Yeats, RHA (1839-1922) "Portrait of a Woman ," O.O.C., 76 h x 61 w cms  (30" x 24")(1) In addition to portraits of political and cultural leaders such as John O'Leary, Douglas Hyde, Ruth Lane and George Moore, John Butler Yeats often sketched and painted portraits of family members and relatives. The sitter in this portrait has not been identified, but may be a member of the Pollexfen or Cottenham families. Painted with Yeats?s characteristic finesse and sensitivity, the portrait depicts a woman in early middle age, dressed in a fur coat or stole, wearing a white blouse and jewelled pendant necklace. The Pollexfens were important in Yeats?s life, with much of his early education taking place while he lived with them in Sligo.  In 1857, he was a student at Trinity College Dublin and during a visit to Sligo in 1862, aged twenty-three, he and his cousin Susan Pollexfen became engaged. The following year the couple married. Yeats then studied law in Dublin, but became dissatisfied and elected to move with his wife and young children to London, and take up a career as an artist. He enrolled first in Heatherley?s School of Art, afterwards attending the Slade. Initially the family spent summers in Sligo together, but by the early 1870's, John Butler was staying on alone in London while his wife and children went to Ireland. The following years of moving between Ireland and London were not easy: after suffering a stroke in 1887, Susan became an invalid. She died in 1900 and Yeats formed a friendship with Rosa Butt, daughter of the Irish politician Isaac Butt. The American lawyer John Quinn then helped Yeats to settle with his daughters Susan (Lily) and Elizabeth (Lolly) in Dublin, and in 1901 he had a joint exhibition with Nathaniel Hone. The following year, Hugh Lane commissioned Yeats to paint portraits of people influential in the Irish literary revival: these were to form the nucleus of a new museum of modern art in Dublin. After accompanying Lily to New York in 1908, Yeats decided to settle in Manhattan, where he lived and worked until his death in 1922. Dr. Peter Murray, 2022

Maurice MacGonigal, PRHA  (1900-1979) "Aran Folk," oils on canvas laid on board,  109 h x 163 w cms  (43" x 64"). (1)     Originally commissioned circa 1932 by Patrick and Ellen (Nellie) Rooney for 'Runnymede', the family home they built in Ballsbridge in 1908, this large painting by Maurice MacGonigal depicts a group of Aran Islanders, four adults and three children, standing against a backdrop of mountains and cottages. A large Arts and Crafts period house, Runnymede, at 22 Shrewsbury Road, had a baronial-style ?Minstrel?s Hall? which the family wished to decorate with murals portraying scenes of traditional life in the Aran Islands. When completed, MacGonigal?s Aran mural cycle, commissioned to celebrate a family wedding, was unveiled with a series of parties, one of which was attended by Governor-General James MacNeill and his wife Josephine. The paintings were hung at a high level in the hall, with MacGonigal emphasising both colour and form so they could be best read from a distance. In terms of style and composition, and also the reserved and dignified aspect of the figures, Aran Folk recalls the frescoes of Giotto or Masaccio, with MacGonigal employing the bright primary colours typically found in Renaissance mural cycles. The figures are depicted in traditional dress, which even during the artist?s lifetime was being replaced by modern clothing. To the right of the group is a donkey, while the grass and sky are treated with MacGonigal?s signature Impressionist brushwork. Although clearly in the realm of history painting, there is also a down-to-earth quality in Aran Folk, particularly in the depiction of two women engaged in an animated discussion. In the foreground is a neat wooden firkin, while the background feature a row of equally neat thatched cottages, set against a mountain range of intense blue. Also included in the Runnymede mural scheme was a similar composition Aran Folk, with Animals (private collection) depicting a group of men and women, with geese and sheep. Another canvas by MacGonigal, Woman at a Spinning Wheel, (exhibited Gorry Gallery, 1993) also formed part of the same ensemble, with the artist?s older sister Eileen modelling for the figure. Through works such as these, Maurice MacGonigal, who was from Dublin city, sought not only to portray traditional life in the west of Ireland, but also to create a ?national? school of painting, one that would embody the values of Irish Republicanism. Eventually, when Runnymede was sold, the murals were taken down and distributed amongst members of the family. The painting Aran Folk was inherited by the Rooney?s daughter Avice, who had married into the Meade family, and in turn passed to her grandson Edward Dundon in whose possession it remained until 2022.   Born in Dublin in 1900, Maurice MacGonigal was educated at Synge Street school before being apprenticed to his uncle Joshua Clarke, the stained-glass manufacturer. His cousin Harry Clarke also served his apprenticeship with the family firm. Encouraged by the Quaker republican Bulmer Hobson, MacGonigal enlisted in Na Fianna Eireann in 1916, and later became a member of the IRA, participating in raids during the War of Independence. Arrested in 1920, he was interned in Ballykinlar Camp, Co. Down, for a year. After his release, he went back to the Clarke studios, but soon left to take up a scholarship at the Dublin Metropolitan School of Art. Although he missed the years when William Orpen had beenvisiting tutor, MacGonigal did study under Patrick Touhy and Seán Keating, who had both been taught by Orpen, and carried forward his style of Academic Realism After a stay with the Van Stockum family in Holland in 1927, MacGonigal returned to Ireland, inspired by the paintings of Van Gogh, and greatly taken with the concept of landscape painting expressing a sense of national identity. During the 1930?s and 40?s, he did some of his finest work in the west of Ireland, depicting traditional Irish scenes and landscapes. The Meade commission inspired other group portraits: In 1933 MacGonigal was commissioned to paint a group portrait of the Ryan family at Kindlestown, and the following year completed what is perhaps his most outstanding work, Dockers, depicting workers standing beside a ship (Hugh Lane Gallery). In 1935 he painted a group of his friends, members of the art group ?The Radical Club?. Set in the life drawing room of the National College of Art, this painting, Studio Interior, is in the Limerick City Gallery. MacGonigal also designed sets for the Abbey Theatre, the Irish Hospitals Sweepstakes, and contributed illustrations to the Saorstat Eireann Handbook edited by Bulmer Hobson. In 1939 he was commissioned to paint a large mural, depicting Ireland?s contribution to American history, for the Irish pavilion in the New York World?s Fair. In this mural, his wife Aida served as the model for the depiction of ?America?. From 1924 to 1978, MacGonigal exhibited regularly at the Royal Hibernian Academy, serving twice as Keeper, and in 1962 was appointed President. He also taught at the National College of Art, where he was Professor of Painting from 1954 to 1969. A retrospective exhibition of his  work was held at the Hugh Lane Municipal Art Gallery in 1991. Dr. Peter Murray, 2022

 Seán Keating PRHA, (1889-1977) “Three Women,” c. 1972, approx. 53cms x 69cms (21" x 27"), charcoal, with black conté, highlighted with white gouacheAlthough the sitters in this triple portrait by Seán Keating have not been identified, it is likely that they are members of the same family, perhaps a mother and two daughters. The portrait was likely commissioned by people close to the artist, who admired his work and respected his contribution to Irish art in the twentieth century. Another possibility is that the drawing depicts actors from the Abbey Theatre: Keating regularly sketched and painted scenes from Abbey productions, including The Playboy of the Western World, and he also sketched Lennox Robinson directing a play. [Morgan O’Driscoll Dec. 2018]. In addition to this triple portrait, Keating sketched an individual portrait of the central figure (Whytes 2011). Traces of squaring-up remain on the paper, indicating this work was completed in the studio, with the artist working from individual sketches and photographs. Unlike many of his classic images, depicting farming and fishing families of the west of Ireland, with shrewd eyes and weather-beaten faces, the women depicted here radiate a sense of modern urban sophistication, and so this work can perhaps serve as a visual metaphor for Ireland during the twentieth century, when a transition took place from rural life to urban and suburban living. The central figure, a woman perhaps in her twenties, is glamorous, while the figure on the left—perhaps her mother—is older and appears more worldly-wise. Full of Keating’s characteristic expressionist vigour, this triple portrait is more than a sketch: the artist has used conté crayon over rubbed charcoal, suggesting colour in what otherwise would be a monochrome drawing, and has further highlighted the portrait with white gouache.Born in Limerick, John (later Seán) Keating initially studied at the Technical School in that city. Recognising his talent, in 1911 William Orpen arranged a scholarship for the young artist to the Metropolitan School of Art in Dublin. Keating visited the Aran Islands three years later, where he was inspired by the authenticity and simplicity of island life. The following year provided a complete contrast, where he worked in Orpen’s London studio as an assistant. He tried, unsuccessfully, to convince Orpen to return to Ireland, to document the momentous changes then taking place in society and politics. Keating himself did move back to Dublin, to teach at the Metropolitan School. Over the ensuing years, in a series of portraits and ambitious academic realist canvases, he documented the struggle for political independence. Although the unspoiled Aran Islands provided subject matter for many paintings, Keating also celebrated the industrialisation of the newly emergent Republic. He painted what he saw, and said what he thought, following the Realist tenet that art should not be separated from life. On his own initiative he decided to record the building of the Ardnacrusha Hydroelectric Scheme, realising that this massive engineering project would help bring prosperity to Ireland. His interest in progress was further revealed in a mural commissioned for the Irish pavilion at the 1939 New York World’s Fair. However, the public on both sides of the Atlantic preferred Keating’s more traditional subject matter. While Keating’s large allegorical works, such as Night’s Candles are Burned Out, are powerful, realist canvases, his watercolours and sketches reveal a delicacy and aesthetic quality similar to that of John Singer Sargent. President of the RHA from 1949-62, Keating was one of the key artists who defined visual culture in Ireland from the early to mid-twentieth century.

DANIEL ZULOAGA BONETA (Madrid, 1852 - Segovia, 1921).Town. Regionalist Series.Dish in red clay with painted enamels.Signed in the inferior zone.Stamp "Daniel Zuloaga" printed on the back.Measurements: 30 cm. diameter.An outstanding ceramist and painter trained at the Sèvres ceramics school, where he was a disciple of Salvetat and Regnault, Daniel Zuloaga was the uncle of the famous painter Ignacio Zuloaga. He was the founder, together with his brothers, of the Royal Factory of La Moncloa. Later he also had workshops in Vallehermoso, Segovia and Pasajes de San Juan. He painted numerous ceramic murals, such as those on the façade of the Palacio de Velázquez and the cooker in the Palacio de Cristal del Retiro, and exhibited individually in various places in Spain, with a particularly important exhibition in 1916 in the Sala Parés in Barcelona, where he was a great success in terms of sales and public. He also taught at the School of Arts and Crafts in Madrid from 1889 onwards. He was a corresponding member of the Royal Academy of Fine Arts in Saragossa, and the year after his death a posthumous exhibition was devoted to him at the Museum of Modern Art in Madrid. He is currently represented in the museum that bears his name in Segovia.

DANIEL ZULOAGA BONETA (Madrid, 1852 - Segovia, 1921).Town. Regionalist Series.Dish in red clay with painted enamels.Signed in the inferior zone.Stamp "Daniel Zuloaga" printed on the back.Measurements: 30 cm. diameter.An outstanding ceramist and painter trained at the Sèvres ceramics school, where he was a disciple of Salvetat and Regnault, Daniel Zuloaga was the uncle of the famous painter Ignacio Zuloaga. He was the founder, together with his brothers, of the Royal Factory of La Moncloa. Later he also had workshops in Vallehermoso, Segovia and Pasajes de San Juan. He painted numerous ceramic murals, such as those on the façade of the Palacio de Velázquez and the cooker in the Palacio de Cristal del Retiro, and exhibited individually in various places in Spain. His 1916 exhibition at the Sala Parés in Barcelona, where he was a great success in terms of sales and public, was particularly important. He also taught at the Madrid School of Arts and Crafts from 1889 onwards. He was a corresponding member of the Royal Academy of Fine Arts in Saragossa, and the year after his death a posthumous exhibition was devoted to him at the Museum of Modern Art in Madrid. He is currently represented in the museum that bears his name in Segovia.

HARRIS (JOHN)Lexicon Technicum: or, an Universal English Dictionary of Arts and Sciences: Explaining Not Only the Terms of Art but the Arts Themselves, FIRST EDITION, engraved frontispiece portrait, title printed in red and black, 7 engraved plates (2 folding, one with old tear), numerous woodcut illustrations, list of subscribers (including Isaac Newton), upper fore-corner of title torn away with some loss to rule border, light dampstaining in lower fore-corner of approximately 20 leaves at end, modern quarter morocco [PMM 171a], small folio (320 x 202mm), Dan. Brown, Tim Goodwin, [and others], 1704Footnotes:The first edition of the 'first technical dictionary in any language. The most famous of his contributors was Isaac Newton' (PMM). A second volume was published in 1710.Provenance: Thomas Snyddon, 12 October 1788, ownership inscription on the front free endpaper.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

GERALD WILDE [1905-86]. Standing Figures, 1941. oil & gouache on card; signed and dated. 28 x 40 cm - overall including glazed frame 49 x 60 cm. Provenance: the artist; Wilfrid Evill collection [one of the greatest collections of Modern British art]; Sothebys, 16.6.2011, lot 141 [£1875 hammer price - total £2500]; private collection, UK. Exhibited: Brighton Art Gallery, 1965. Wilde was an extremely highly regarded artist during his lifetime and this is a very good example of his early work. [very good condition - unexamined out of frame - some reflection in glass on photos]. Buyers premium of 20% + vat is payable.

JOHN PIPER CH [1903-1992]. Swansea Chapel, 1966. Lithograph on handmade Barcham Green paper. Signed and numbered in pencil from the edition of 75, published by Marlborough Fine Art, printed at Curwen Studio, London 1966. 69.3 x 51.6cm [image size], 810 x 592cm [sheet size]. Unframed. Literature: The Prints of John Piper Levinson 175. Collections: Albright-Knox; Scottish National Gallery of Modern Art; Tate Gallery. [Very good condition]. Buyers premium of 20% + VAT is payable. This lot is stored in London and can be collected or shipped from there.

WILLIAM STRANG RA [1859-1921]. Selfridges Toy Window, 1911. Drypoint etching on cream laid F J Head & Co. paper with full margins. Signed in pencil. 35.3 x 44.9cm [plate size], 45.5 x 57 [sheet size]. Unframed. Collection: Scottish National Gallery of Modern Art P2333.84. [Very good condition]. Buyers premium of 20% + VAT is payable. This lot is stored in London and can be collected or shipped from there.

A collection of farriery, animal husbandry and veterinary related titles, including Thomas Brown: 'A Manual of Modern Farriery', London, Virtue, c.1847, engraved frontis, added engraved title + 18 plates as called for, contemporary calf (worn); James White: 'A Treatise on Veterinary Medicine - Volume I A Compendium of The Veterinary Art, containing plain and concise rules for the treatment of all the disorders and Accidents to which the Horse is liable - Volume II Materia medica, and pharmacopoeia - Volume III Practical observations on some important diseases of the horse', L, Longmans, 1823, 3 volumes, volume I engraved frontis + 23 engraved plates, of which 1 folding and 3 hand coloured, as called for, volume II engraved frontis, uniform contemporary half calf gilt (worn); Miles: 'Modern Practical Farriery', illustrated Benjamin Herring, L, William Mackenzie, c.1870, coloured and black & white plates, 4to, contemporary cloth gilt; plus W. Taplin: 'The Gentleman's Stable Directory of Modern System of Farriery', 1789, Clater: 'Every Man His Own Farrier', 1812, Bartlet: 'The Gentleman's Farriery', 1782, etc etc (23)

(Art Deco) 'The Studio Yearbook of Decorative Art 1925', edited Geoffrey Holme, 1925, 1st hardback edition, 8 coloured plates + numerous black & white plates from photos throughout, original cloth gilt, top edge gilt (scarce hardback edition); plus others similar including 'Decoration of the House Beautiful', April-June 1921, original printed wraps; 'Advertising Display', April 1927 & January 1930, 2 issues, each orig. pictorial wraps; 'Modern Publicity 1935-6', edited Mercer & Gaunt, profusely illustrated throughout covering posters, packaging, printing, typography, photography etc, original printed wraps; plus 3 others similar (7)

(Edward Bawden, Eric Ravilious, Graphic art, Private Press), a collection of mainly Edward Bawden ephemera, including 'The Delectable History of Fortnum & Mason', c.1957, 1st edition, 2nd issue, [12]pp promotional booklet with colour illustrated wraps and colour illustrations throughout by Bawden, a near fine/fine copy; 'The World of Edward Bawden', exhibition catalogue 1973-74, original pictorial wraps; Scolar Press 1978/79 catalogue with illustrations and pictorial wraps taken from Bawden's 'A Book of Cuts'; 'War Pictures at the National Gallery', 1944, illustrations by Edward Bawden, Paul Nash, John Piper, Graham Sutherland etc; 'Penguin Modern Painters - Edward Bawden', 1946, 1st edition; plus other prospectuses, booklets, flyers, postcards, illustrations, cuttings Bawden, Ravilious etc, all housed in a very large cloth covered solander box (52x37cm) with "Edward Bawden" printed paper label to lid, produced to house a special edition of Edward Bawden engravings published by The Merivale Press, 1988, in a limited edition of 35, small printed label inside "Boxes designed and made by Clarissa Hinsley"

A collection of art, printing, typography etc books, including 'William Nicholson', biography by Marguerite Steen, signed by William Nicholson to title page, and further signed & inscribed by Steen, Collins, 1943, 1st edition, original cloth; plus others Edward Bawden, Eric Ravilious, Eric Gill, Ben Nicholson, John Minton, Paul Nash, Pascal Cucaro; good qty. Penguin Modern Painters series including Paul Nash, John Piper, Edward Bawden, Duncan Grant, Richard Chopping, William Nicholson, Ben Nicholson etc; 'Some Vorticist Poetry and a Piece of Prose', London, Privately Printed, 1985, frontis, orig. stitched printed wraps, etc

A Modern Cast Ceramic Wall Hanging Sconce in the Form of Art Nouveau Maidens Head, 38cm high

A modern Italian Art Deco-style figural table lamp, 62cm high overall, a Continental ceramic table lamp in the form of a female figure, 50cm and other composite figures.

A WALL MIRROR IN ART DECO TASTE, MODERN Composed of vertical beveled panels in sizes. 70cm high, 89,5cm wide

Postcards, Glamour, a collection of 3 Tuck published art nouveau glamour cards, unsigned but likely to be by Eva Daniell from 'Modern Art' series no. 2525, 'Art' postcard series 2524 VI, and French Edition no. 176 (gd/vg)

A modern 18ct white gold ruby and diamond cluster ring, in Art Deco style, set with oval mixed-cut ruby and baguette and round brilliant-cut diamonds, ruby measures: 6.98mm x 5.83mm x 2.71mm, setting height 14.7mm, size N, 5.4gNo damage or repairs, all stones present, ruby is a deep vivid pinkish red with multiple veil inclusions, diamonds bright and white, settings lightly abraded, mark clear, engraved 750

A modern platinum sapphire and diamond ring, in Art Deco style, set with emerald-cut sapphire and modern round brilliant-cut diamonds, total diamond content approx 0.25ct, setting height 7.9mm, size M, 5.4gNo damage or repairs, all stones present, sapphire has no chips or cracks with a deep blue body colour and slight window in centre, diamonds bright white and fiery with only a couple of minute black spot inclusions, settings nicely polished, marks clear, engraved 950

An Art Deco style lady figure mounted on a onyx base together with a modern Art Deco style cat figure.

A modern design Orrefors glass bowl a jug and two other example of modern art glass. (4)

A collection of modern design art glass a ceramic red bull ornament a Retro desk calendar and other oddments (a lot)

A GREEN STAFFORDSHIRE JARDINIERE AND STAND, decorated with a shepherd and his lover motif, together with a modern Art Nouveau style stick stand, Arthur Wood Twin handled vase, tall floral vase, artificial flower displays, walking sticks and a quantity of compact umbrellas etc

NINE BOXES AND LOOSE CHRISTMAS TREES AND DECORATIONS, to include two large Christmas trees, three boxed Paperchase 60cm trees in rose gold, red and ombre black, a continental Nativity scene with original box, a boxed novelty wooden train advent calendar, snowman wall art 96cm x 46cm, modern and late twentieth century tree ornaments (some boxed), free standing and wall decorations, wreaths, tinsel, etc (sd) (9 BOXES + LOOSE)

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), GRAZALEMA oil on board, signed image size 45cm x 45cm, overall size 65cm x 65cm Framed and under glass. Note: Inscribed verso in the artist's hand "Grazalema 12.09.01" although obscured by the back board. Note 2: Grazalema is a "white village" located in the north-eastern part of the province of Cádiz, in the autonomous community of Andalucia, Spain. It is situated in the foothills of the Sierra del Pinar mountain range. Note 3: 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.

R Grainger (contemporary) a modern collage, arranged flint, entitled 'Low Tide', signed framed and glazed 20cm x 29cm. Sold together with a modern ceramic art work mounted to a large slate roof tile and machine stitched artwork.

Original vintage Official Bulleting of the Trade Union of Master Printers - Printing and Modern Thought / Bulletin Officiel Union Syndicale des Maitres Imprimeurs - L'Imprimerie et la Pensee Moderne, monthly review Christmas edition 1928, the volume presents samples of advertising and art from the great master printers of the 1920s, featuring engravings, photographs, and designs by notable artists: Cappiello, R. Pichon, A. Gueiroard, P. Louis Cazaubon, Rene Kuder, F. Dengremont, Paul Dupont, Edouard Bisson, Corot, Laure Albin Guillot, R. Le Veneur, J. Robichon, Sternberg, M. Charpaux, Vila, Gustave Brisgand, Simone Marmy, and works by various printing establishments: Atelier Pinta, Paul Dupont, Marc Mourgue, Omega advertisement by Henri Dieval, full page advertisement poster for a 1927 German science fiction drama by Fritz Lang - Metropolis. Soft paperback binding, volume consists of 111 pages, and sheet insets. Very good condition, light staining on the cover, tape marks on the top and bottom corners of the cover. Country of issue: France, designer: Various, size (cm): 31.5x25, year of printing: 1928. For other avant-garde publications please visit our website https://antikbarbooks.co.uk/

Original vintage magazine Arts et Metiers Graphiques Graphic Art Magazine January 1931, Issue 21. Arts et Métiers Graphiques (AMG) is a luxury French bimonthly art magazine devoted to graphic arts and photography, which existed from 1927 to 1939. 68 issues were published, text in French. The volume includes articles on "La Paix" of Aristophane, the works of André Derain, the modern poster in Hungary with works by Bereny, Fiora, Nemes, Kaesz, Bortnyk, Modiano, G. Vegh, illustrations of Chas Laborde, engravings by Laboureur, Ben Soussan, Luc-Albert Moreau, Berthold Mahn, Chas Laborde, Andre Mare, Boussingault, Segonzac, Laurencin, Dufy, also on a great engraver on wood, Valentin Le Campion, photograph by Jean Moral, advertising posters by Garretto, Paul Colin, Jean Carlu, Marton. Colour printing on the foil of a design of Tchimoukov, as well as a paperboard insert of the menu written by Curnonsky for the dinner of the l'Académie des psychologues du goût, dated February 29, 1929. Paperback, 70 pages. Good condition, staining on cover, tears on spine Country of issue: France, designer: Various, size (cm): 31x25, year of printing: 1931. For other avant-garde publications please visit our website https://antikbarbooks.co.uk/

Original vintage magazine Fortune December 1938 Christmas Volume XVIII Number 6 featuring the cover by Antonio Petruccelli (1907-1994) depicting two workers welding large red star. The volume covers various topics with in-depth articles on General Motors with a map of the world by Richard Edes Harrison showing the locations of General Motors plants; The Debutante with paintings by Georges Schreiber; Business and Government articles on the American Dream; U.S. Treasury with stunning illustration and photographs by Mettee-Frittita; The Coca-Cola industry with photographs of the drink production in offices and plants, automatic dispenser, loading trucks of Cola crates, and sale places at the filling station, Radio City bottle bar, and department store; Will Hays with a caricature by Sam Berman and photo stills from films; Museum of Modern Art on the popularity of van Gogh art, with portraits of the president, trustee, museum directors, treasurer, construction of the building and packing of the painting, with twelve Modern Paintings with captions by Alfred H. Barr Jr - Cezanne, Renoir, van Gogh, Henri Rousseau, Paul Gauguin, Giorgio de Chirico, Pablo Picasso, Bombois, Salvador Dali, Orozco, Peter Blume, Grant Wood; Arbitration; and Great Britain's Europe - with photographs of Adolph Hitler's Mein Kampf and him coming to total power, Reichstag on fire, suppression of German radicals, degradation and terror for Germany's Jews, with a map of Nazism influence and spread throughout Europe, Mussolini and Goering on a promenade, and Hitler getting Vienna. The issue presents advertising painting by Hugh Terry for Bankers Trust Company, Lentheric advertisement by MAC, Bell and Howell motion picture camera advertisement by M.R. Moore, and various advertisement for whiskey and bourbon brands - Vat 69, Old Grand-Dad, Four Roses, Martell, Johnnie Walker, Old Crow, Kentucky Tavern, Gordon Rouge champagne, cognac Monnet, Harvey's cream sherry, Old Forman, Schenley's Belmont Kentucky Stragith Bourbon Whiskey. Travel advertisement for American Republics Line, Furness Prince Line, Italian Line to Egypt, Canadian Pacific. Car and vehicle advertisement by International Trucks, Cadillac, Oldsmobile, Packard, and Dodge; and various product advertisement - Goodrich rubber, Royal typewriter, Burberrys Overcoats, Cartier luxury jewellery, Gillette shaver, Leica camera, Cine-Kodak camera, Cuban Havana cigars and Alfred Dunhill cigars Montecristo, and Tobaccoland's finest gift - Lucky Strike cigarettes on the back cover. Soft paperback binding, volume consists of 186 pages. Fortune is an American business magazine, it was founded in 1929 by Time magazine co-founder Henry Luce. Good condition, paper skimming on the cover and the spine, light browning on the cover. Country of issue: USA, designer: A. Petruccelli, size (cm): 35.5x29, year of printing: 1938. For other avant-garde publications please visit our website https://antikbarbooks.co.uk/

Original vintage midcentury modern advertising poster for an art exhibition - 3er salon nacional de la Acuarela Valencia / 3rd National Salon of Watercolour Valencia - organised by the CNA from 1-20 May 1960 featuring red and blue overlapping circles and white rectangles with a paintbrush dripping a drop of paint over them against the black background. Fair condition, folds, tears, creasing, paper losses. Country of issue: Spain, designer: Damian Contreras, size (cm): 100x69, year of printing: 1960.

Albert KLINGNER (1869 - 1912). Moderne Kunst 1901 - Vierzehntagsheft - Ausgabe.Circa 43,5 cm x 30,5 cm. Farbplakat. Graphik.Albert KLINGNER (1869 - 1912). Modern Art 1901 - Fourteen Issue.Circa 43,5 cm x 30,5 cm. Colour poster. Graphics.

Mitchell, David M: Silversmiths in Elizabethan and Stuart London, Their Lives and Their Marks, Hardback with dust jacket, Published 2017 The Boydell Press, Woodbridge, Suffolk, ISBN 978 1 78327 238 9,Silversmiths in Elizabethan and Stuart London is one of the most important works of silver scholarship in recent years. Taking the first surviving makers' mark plate in the archives of the London Assay Office as its starting point, David Mitchell's meticulous research has allowed him to identify some of these previously unknown craftsmen and to piece together the narratives of their lives and trade.The first part of the book tells the story of the silversmiths' trade in the Elizabethan and Stuart periods, including the range of silver plate available between 1560 and 1700 and the many influences on silversmiths and the wider trade, from the impact of French design and 'Stranger' silversmiths through to Plague, Fire and Civil War.The second part of the book identifies previously unknown makers, containing attributions for 540 separate marks and some 400 individual biographies compiled from the author's research. Richly illustrated with over 200 images, this work combines social, economic and art history and casts new light on a fascinating period. It will be of interest not only to students and scholars of early modern history and the history of London and to museums with respective art collections, but also to those interested in the Elizabethan and Stuart periods, silver and the decorative arts.Condition report: Crease to dustjacket along the top edge.Some very light marks to front and back of jacket.Two small creases to back of dustjacket.Otherwise a very clean edition.

Jake & Dinos Chapman (British, 20th/21st century): Insult to Injury book (Steidl Mack pub. 2003), a collection of printed versions of their deface Goya works, a Rape of Creativity Becks bottle, with double headed skull and crossbones symbol bearing label 'Jake & Dinos Chapman THe Rape of Creativity 12 April - June 2003 Modern Art Oxford', 21.5cm high, together with a crushed tin of '100% Nectar', 6cm high. (3)

Raffald, Elizabeth. The Experienced English Housekeeper, 3 folding engraved plates, lacks portrait, title laid-down, spotted and browned throughout, nineteenth century half calf, extremities rubbed, 8vo, London: [no publisher] 1789; Glasse, Hannah. [The Art of Cookery Made Plain and Easy], defective, lacking all before p. xxxi and all after p.372, modern half calf, 8vo, [no publisher, no date] (2)

A small group of vintage and modern watches, including an Art Deco 9ct gold cased example, and six others (7)

Modern Art Feature Piece with polished needle shaped Orthoceras fossil on a textured grey stone base. Measures 40" in length. Great designer piece.

Three Pieces of Modern Studio Art Pottery, by a local artist, comprising two blue and white striped jugs 9" and 6" tall, and a large shallow blue and white striped bowl, 13" diameter, raised on a pedestal.

A box of mainly modern Art & Sculpture catalogues including Ben Nicholson, John Piper, Francis Bacon, Anish Kapoor, Jake Tilson, Barbara Hepworth, Roy Lichtenstein, Bruce McLean, Max Ernst etc (45+)

After Paul Philippe - a modern cast bronze and ivorine figure of a lady holding a bird, raised on a stepped hardstone base, height 39cm, together with an Art Deco style figure group of two kneeling ladies, width 31cm, and another figure, height 28cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

An Art Deco silver caster, domed cover with bud finial, plain body with stepped lower section, on circular foot, hallmarked by William Suckling Ltd., Birmingham, 1940  and a Modern Chinese style napkin ring, with floral decoration, hallmarked Chester, 1965, 3.98 ozt (122.3 grams) (2) together plated salts, spoons and button hook 

A Modern three piece silver tea and coffee set, to include teapot, coffee pot and milk jug, lobed melon shaped bodies, with ebonised handles and Art Deco fan style finials, hallmarked by Cooper Brothers, Sheffield, 1959, approx gross weight 56.16 (1746.9 grams) 

Marcel Temporal - Ceramique de Cazaux - A 1920s/30s Art Deco model of Pierrot and Colombine, she with a painted black, white and green dress, painted Temporal and impressed Ceramique de Cazaux alongside the Evolution mark, height 33cm, S/D. Marcel Temporal with Edouard Cazau and Sybylle May etc were members of the L'Evolution group of artists, founded by Arthur Goldscheider in the early 1920s whose works Goldscheider exhibited at the Paris Exposition Internationale des Arts Décoratifs et Industriels modern in 1925.

Bruno Mathsson (Swedish, 1907-1988) for Karl Mathsson, Sweden. Early mid-century modern Maria wooden extendable folding dining table. Stamped "Made in Sweden. Designed by Bruno Mathsson." along the underside. Labels that read "Bruno Mathsson Mobler" and "Bruno Mathsson Firma Karl Mathsson Made in Varnamo Sweden" affixed along the underside.Provenance: Harvey Art & Antiques, Evanston, Illinois; Private collection, Minnesota.Literature: "Bruno Mathsson: Architect and Designer," Widman, Winter and Spritzler-Levine, pg. 24-25.Height: 28 3/8 in x width: 36 5/8 in x length: 60 1/4 in.

Five Observers Books Cyanamide wrapper titles comprising: EDWARD C JOSLIN: BRITISH AWARDS AND MEDALS, 1974, original cloth, d/w; PETER SMITH: CRICKET, 1979, original cloth, d/w; ROBERT PEARCE: WEATHER, 1980, original cloth, d/w; HOWARD LINECAR: COINS, 1980, original cloth, d/w; WILLIAM GAUNT: MODERN ART, 1980, original cloth, d/w, all titles vgc (5)

λ Graham Sutherland (British 1903-1980) Outcast Coal Production (Tin Mine) Mixed media on paper Signed, dated 1947 and dedicated 'For Heinz Roland with regards' (verso) 23 x 19.5cm (9 x 7½ in.)Provenance: Collection Dr. Henry (Heinz) Roland Sale, Christie's, London, 25 May 1994, lot 26 Crane Kalman Gallery, London Purchased from the above by the late owner in 1999Exhibited: Bury St. Edmunds Art Gallery, Works from the Roland Collection, 1979, no. 54 London, Fischer Fine Art Ltd., The British Neo-Romantics 1935-1950, July-September 1983, no. 86 Edinburgh, Scottish National Gallery of Modern Art, One Man's Choice, April-May 1985, no. 107 London, Crane Kalman Gallery, C.K.G. Retrospective, 1999 In 1942, Sutherland was commissioned as an official war artist to document the industrial work supporting the war effort. Through his training as an engineering draughtsman, Sutherland was well equipped to understand the processes that he was recording. From an artistic point of view, the experience also impressed upon him a lasting preoccupation with what he saw as the anthropomorphic characteristics of machinery, a fascination which informed his work well beyond his wartime output. Dr. Henry (Heinz) Roland (1907-1993) was one of the partners of the enormously influential gallery Roland, Browse & Delbanco, formed in London in 1945. The gallery supported a broad stable of artists and Roland's private collection included superb examples of works by Henry Moore and Auguste Rodin, German artists such as Max Ernst, Erich Heckel and Emil Nolde as well British artists including Graham Sutherland. Condition Report: Unexamined out of glazed frame. The left hand side of the sheet is not straight. There are a few small areas of surface skinning to the extreme left edge and one to the lower right corner. Otherwise in good original condition. Condition Report Disclaimer

λ† Frank Dobson (British 1886-1963)Portrait of T.W. EarpPencil32.5 x 22cm (12¾ x 8½ in.)Provenance:The Artist's EstateGillian Jason Gallery, LondonT.W. Earp was one of the most renowned art critics, curators and writers of the Edwardian era. Regarded as one of the pioneers of Modernism in England during the 1920s and 1930s, his publication 'The Modern Movement in Painting' of 1935 caused a particular stir within the more conservative circles of British society. He also published a monograph on his close friend, in 1945, titled `Frank Dobson, Sculptor'.

Erdogan Zumrutoglu (Turkish b. 1970)Mirror of Darkness Oil on canvas 200 x 150cm (78½ x 59 in.)Erdogen Zumrutoglu's solo show at the J.D. Malat Gallery in 2018 was entitled Mirror of Darkness. The title was inspired by the fear and barbarism in novelist Joseph Conrad's work, and is Zümrütoğlu's personal Heart of Darkness, turning a mirror to the shadows of modern society.He explained: "I have always been heavily inspired by Conrad and his work. This is my own Heart of Darkness, exploring existential fears about modernity, progress and capitalism."Like Conrad, he is brutally honest in his expression - whether that is in his language or his art, which features harsh brushstrokes and a conscious decision to make his subjects real, rather than beautiful. Condition Report: In good original condition. No apparent damages or issues.Condition Report Disclaimer

λ Hubert Dalwood (British 1924-1976)Maquette for Ionian Bank ScreenAluminium mounted on stone base43 x 53.5cm (16¾ x 21 in.)Conceived circa 1959, this work is unique.Provenance:Tom Hancock (acquired directly from the artist in 1959)Private collection, LondonSale, Bonhams, London, 11 July 2006, lot 88 Sale, Modern Art Auctions, Online, 12 June 2013, lot 87Acquired from the above by the present ownerLiterature:C. Stephens, The Sculpture of Hubert Dalwood, Much Hadham, 1999, p. 121, no. 122