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"CIRCLE OF AUSTRIA", map belonging to the "Atlas Universel, dressé sur les meilleures cartes modernes", second half of the 18th century.Illuminated engraving (color demarcations).Edition M. Remondini, Venice, 1784.Hand-numbered on the reverse (no. 34), corresponding to the numbering stipulated in the index.The lot is accompanied by a copy of the title page of the Atlas.Measurements: 50 x 62.5 cm (print); 53 x 76 cm (paper).Map depicting the northern part of the Austrian Circle, comprising the Archduchy of Austria, divided into its eight districts, and the High Duchy of Styria. The Austrian Circle was one of the ten districts of the Imperial Circle into which Maximilian I of Habsburg divided the Holy Roman Empire in 1512.The origin of the "Atlas Universel, dressé sur les meilleures cartes modernes" (Universal Atlas made from the best modern maps) dates back to 1757, when Gilles Robert de Vaugondy (1668-1766) and his son Didier Robert de Vaugondy (1723-1786), geographers to the King of France, formed one of the most renowned map and globe making workshops in France. The excellent position of the Vaugondys in the field of topography, added to the family ties that united them with Nicolas Sanson, one of the most important cartographers of the 17th century, led the Vaugondys to inherit much of the cartographic material that the latter had accumulated over the years, leading to the birth of the ambitious and unique Universal Atlas of which our map is a part. The copy became a commercial and cartographic success with enormous influence in all Europe, reason why the brothers Paolo and Francesco Santini, Venetian engravers, did not let escape the opportunity to acquire the original plates to the Vaugondy. Thus, in 1776, the Santini brothers commissioned the production of new copper plates, while substantially maintaining the original design, keeping the toponyms and the inscriptions in French as defined in the 1757 copy. Due to their knowledge of the Italian territory, the Santini's changes mainly affected the maps of the Italian regions. The following year, Paolo Santini ceded all his publication rights to M. Remondini, who in 1777 and 1784 republished the same Atlas, but with his name.The copy of which our map is part, edited in 1784 by M. Remondini, maintains the exceptionality of the original work of the Vaugondy: the meticulous treatment of the information (based on the revision of the oldest maps available, buying them with the most updated material at the time); the incorporation of the latest academic research in force at the time; the integration of their own astronomical observations (correcting if necessary even the latitude and longitude) or the great decorativism of each of their maps. As in the great majority of cartographic documents produced in France during the 18th century, the map in question is characterized by its enormous pictorial value and great attention to detail.Antique maps are one of the most complete documentary typologies. Their double nature, cartographic and historical, attracts the attention of the most demanding collectors, who see in cartography the faithful reflection of the past, betting on its purchase and its diffusion in the art market. The rarity of some of the editions, added to the longevity of many of the specimens, make the possession and enjoyment of antique cartography an increasingly fashionable pleasure among art lovers. Understood as authentic reminiscences of the past, antique maps become a conscientious reflection of how the territory was divided long ago, or how geographical features define our world. Their decorative character, added to the meticulous and ambitious work of cartographers, turn these pieces into authentic works of art.

"KINGDOM OF SCOTLAND", map belonging to the "Atlas Universel, dressé sur les meilleures cartes modernes", second half of the 18th century.Illuminated engraving (color demarcations).Edition M. Remondini, Venice, 1784.Hand-numbered on the reverse (no. 42), corresponding to the numbering stipulated in the index.The lot is accompanied by a copy of the title page of the Atlas.Measurements: 49.5 x 58 cm (print); 53 x 76 cm (paper).This copy shows the territory corresponding to the Kingdom of Scotland, a state in northwestern Europe that existed between 843 and 1707. It occupied the northern third of the island of Great Britain, sharing a land border to the south with the Kingdom of England.The origin of the "Atlas Universel, dressé sur les meilleures cartes modernes" (Universal Atlas made from the best modern maps) dates back to 1757, when Gilles Robert de Vaugondy (1668-1766) and his son Didier Robert de Vaugondy (1723-1786), geographers to the King of France, formed one of the most renowned map and globe making workshops in France. The excellent position of the Vaugondys in the field of topography, added to the family ties that united them with Nicolas Sanson, one of the most important cartographers of the 17th century, led the Vaugondys to inherit much of the cartographic material that the latter had accumulated over the years, leading to the birth of the ambitious and unique Universal Atlas of which our map is a part. The copy became a commercial and cartographic success with enormous influence in all Europe, reason why the brothers Paolo and Francesco Santini, Venetian engravers, did not let escape the opportunity to acquire the original plates to the Vaugondy. Thus, in 1776, the Santini brothers commissioned the production of new copper plates, while substantially maintaining the original design, keeping the toponyms and the inscriptions in French as defined in the 1757 copy. Due to their knowledge of the Italian territory, the Santini's changes mainly affected the maps of the Italian regions. The following year, Paolo Santini ceded all his publication rights to M. Remondini, who in 1777 and 1784 republished the same Atlas, but with his name.The copy of which our map is part, edited in 1784 by M. Remondini, maintains the exceptionality of the original work of the Vaugondy: the meticulous treatment of the information (based on the revision of the oldest maps available, buying them with the most updated material at the time); the incorporation of the latest academic research in force at the time; the integration of their own astronomical observations (correcting if necessary even the latitude and longitude) or the great decorativism of each of their maps. As in the great majority of cartographic documents produced in France during the 18th century, the map in question is characterized by its enormous pictorial value and great attention to detail.Antique maps are one of the most complete documentary typologies. Their double nature, cartographic and historical, attracts the attention of the most demanding collectors, who see in cartography the faithful reflection of the past, betting on its purchase and its diffusion in the art market. The rarity of some of the editions, added to the longevity of many of the specimens, make the possession and enjoyment of antique cartography an increasingly fashionable pleasure among art lovers. Understood as authentic reminiscences of the past, antique maps become a conscientious reflection of how the territory was divided long ago, or how geographical features define our world. Their decorative character, added to the meticulous and ambitious work of cartographers, turn these pieces into authentic works of art.

"PALESTINE, THE TRIBES OF ISRAEL AND JERUSALEM", map belonging to the "Atlas Universel, dressé sur les meilleures cartes modernes", second half of the 18th century.Illuminated engraving (color demarcations).Italian edition M. Remondini, Venice, 1784.Hand-numbered on the back (nº31 IIº), corresponding with the numbering stipulated in the index.The lot is accompanied by a copy of the title page of the Atlas.Measurements: 42 x 55 cm (print); 53 x 74.5 cm (paper).The map in question, which in turn includes three small maps (corresponding to The Twelve Tribes of Israel, the Plan of Jerusalem and the Positions determinees par des Distances donnees sur une Echelle reduite au tiers) was originally made by the geographer and cartographer Jean Baptiste Bourguignon D'Anville (Paris 1697-1782). This map of Palestine was part of his attempt to re-map the Old Testament lands. In it he demonstrated his accuracy, based on the most recent geographical discoveries, he revolutionized the field of cartography.The origin of the "Atlas Universel, dressé sur les meilleures cartes modernes" (Universal Atlas made from the best modern maps) dates back to 1757, when Gilles Robert de Vaugondy (1668-1766) and his son Didier Robert de Vaugondy (1723-1786), geographers to the King of France, formed one of the most renowned map and globe making workshops in France. The excellent position of the Vaugondys in the field of topography, added to the family ties that united them with Nicolas Sanson, one of the most important cartographers of the 17th century, led the Vaugondys to inherit much of the cartographic material that the latter had accumulated over the years, leading to the birth of the ambitious and unique Universal Atlas of which our map is a part. The copy became a commercial and cartographic success with enormous influence in all Europe, reason why the brothers Paolo and Francesco Santini, Venetian engravers, did not let escape the opportunity to acquire the original plates to the Vaugondy. Thus, in 1776, the Santini brothers commissioned the production of new copper plates, while substantially maintaining the original design, keeping the toponyms and the inscriptions in French as defined in the 1757 copy. Due to their knowledge of the Italian territory, the Santini's changes mainly affected the maps of the Italian regions. The following year, Paolo Santini ceded all his publication rights to M. Remondini, who in 1777 and 1784 republished the same Atlas, but with his name.The copy of which our map is part, published in 1784, maintains the exceptionality of the original work of the Vaugondy: the meticulous treatment of the information (based on the revision of the oldest maps available, buying them with the most updated material at the time); the incorporation of the latest academic research in force at the time; the integration of their own astronomical observations (correcting if necessary even latitude and longitude) or the great decorativism of each of their maps. As in the great majority of cartographic documents produced in France during the 18th century, the map in question is characterized by its enormous pictorial value and great attention to detail.Antique maps are one of the most complete documentary typologies. Their double nature, cartographic and historical, attracts the attention of the most demanding collectors, who see in cartography the faithful reflection of the past, betting on its purchase and its diffusion in the art market. The rarity of some of the editions, added to the longevity of many of the specimens, make the possession and enjoyment of antique cartography an increasingly fashionable pleasure among art lovers. Understood as authentic reminiscences of the past, antique maps become a conscientious reflection of how the territory was divided long ago, or how geographical features define our world. Their decorative character, added to the meticulous and ambitious work of cartographers, turn these pieces into authentic works of art.

"ETATS DU GRAND-SEIGNEUR EN ASIE, EMPIRE DE PERSE, PAYS DES USBECS, ARABIE ET EGYPTE", map belonging to the "Atlas Universel, dressé sur les meilleures cartes modernes", second half of the 18th century.Illuminated engraving (color demarcations).Italian edition M. Remondini, Venice, 1784.Hand-numbered on the reverse (no. 31), corresponding to the numbering stipulated in the index.The lot is accompanied by a copy of the title page of the Atlas.Measurements: 49.5 x 56 (print); 53 x 76 cm (paper).Made by Robert de Vaugondy, the map in question depicts the Ottoman Empire at its height. The territory stretches from the Black Sea to the southernmost extent of Arabia and westward, including Persia, to the Mughal Empire of India. It includes the present-day nations of Turkey, Egypt, Saudi Arabia, Oman, Yemen, United Arab Emirates, Iran, Iraq, Kuwait, Israel, Palestine, Jordan, Syria, Lebanon, Armenia, Azerbaijan, Georgia and parts of Afghanistan, Pakistan, India, Uzbekistan and Greece.The origin of the "Atlas Universel, dressé sur les meilleures cartes modernes" (Universal Atlas made from the best modern maps) dates back to 1757, when Gilles Robert de Vaugondy (1668-1766) and his son Didier Robert de Vaugondy (1723-1786), geographers to the King of France, formed one of the most renowned map and globe making workshops in France. The excellent position of the Vaugondys in the field of topography, added to the family ties that united them with Nicolas Sanson, one of the most important cartographers of the 17th century, led the Vaugondys to inherit much of the cartographic material that the latter had accumulated over the years, leading to the birth of the ambitious and unique Universal Atlas of which our map is a part. The copy became a commercial and cartographic success with enormous influence in all Europe, reason why the brothers Paolo and Francesco Santini, Venetian engravers, did not let escape the opportunity to acquire the original plates to the Vaugondy. Thus, in 1776, the Santini brothers commissioned the production of new copper plates, while substantially maintaining the original design, keeping the toponyms and the inscriptions in French as defined in the 1757 copy. Due to their knowledge of the Italian territory, the Santini's changes mainly affected the maps of the Italian regions. The following year, Paolo Santini ceded all his publication rights to M. Remondini, who in 1777 and 1784 republished the same Atlas, but with his name.The copy of which our map is part, published in 1784, maintains the exceptionality of the original work of the Vaugondy: the meticulous treatment of the information (based on the revision of the oldest maps available, buying them with the most updated material at the time); the incorporation of the latest academic research in force at the time; the integration of their own astronomical observations (correcting if necessary even latitude and longitude) or the great decorativism of each of their maps. As in the great majority of cartographic documents produced in France during the 18th century, the map in question is characterized by its enormous pictorial value and great attention to detail.Antique maps are one of the most complete documentary typologies. Their double nature, cartographic and historical, attracts the attention of the most demanding collectors, who see in cartography the faithful reflection of the past, betting on its purchase and its diffusion in the art market. The rarity of some of the editions, added to the longevity of many of the specimens, make the possession and enjoyment of antique cartography an increasingly fashionable pleasure among art lovers. Understood as authentic reminiscences of the past, antique maps become a conscientious reflection of how the territory was divided long ago, or how geographical features define our world. Their decorative character, added to the meticulous and ambitious work of cartographers, turn these pieces into authentic works of art.

"ORBIS VETERIBUS NOTUS", map belonging to the "Atlas Universel, dressé sur les meilleures cartes modernes", second half of the 18th century.Illuminated engraving (color demarcations).Edition M. Remondini, Venice, 1784.Hand-numbered on the reverse (no. 54), corresponding to the numbering stipulated in the index.The lot is accompanied by a copy of the title page of the Atlas.Measurements: 49 x 66 cm (print); 53 x 76 cm (paper).Large map of the Ancient World published by the famous cartographer J.B.B. D'Anville. The map shows an outline of the regions of Europe known at the time of Ptolemy, using ancient place names and omitting regions not yet known to Europeans.The origin of the "Atlas Universel, dressé sur les meilleures cartes modernes" (Universal Atlas made from the best modern maps) dates back to 1757, when Gilles Robert de Vaugondy (1668-1766) and his son Didier Robert de Vaugondy (1723-1786), geographers to the King of France, formed one of the most renowned map and globe making workshops in France. The excellent position of the Vaugondys in the field of topography, added to the family ties that united them with Nicolas Sanson, one of the most important cartographers of the 17th century, led the Vaugondys to inherit much of the cartographic material that the latter had accumulated over the years, leading to the birth of the ambitious and unique Universal Atlas of which our map is a part. The copy became a commercial and cartographic success with enormous influence in all Europe, reason why the brothers Paolo and Francesco Santini, Venetian engravers, did not let escape the opportunity to acquire the original plates to the Vaugondy. Thus, in 1776, the Santini brothers commissioned the production of new copper plates, while substantially maintaining the original design, keeping the toponyms and the inscriptions in French as defined in the 1757 copy. Due to their knowledge of the Italian territory, the Santini's changes mainly affected the maps of the Italian regions. The following year, Paolo Santini ceded all his publication rights to M. Remondini, who in 1777 and 1784 republished the same Atlas, but with his name.The copy of which our map is part, published in 1784, maintains the exceptionality of the original work of the Vaugondy: the meticulous treatment of the information (based on the revision of the oldest maps available, buying them with the most updated material at the time); the incorporation of the latest academic research in force at the time; the integration of their own astronomical observations (correcting if necessary even latitude and longitude) or the great decorativism of each of their maps. As in the great majority of cartographic documents produced in France during the 18th century, the map in question is characterized by its enormous pictorial value and great attention to detail.Antique maps are one of the most complete documentary typologies. Their double nature, cartographic and historical, attracts the attention of the most demanding collectors, who see in cartography the faithful reflection of the past, betting on its purchase and its diffusion in the art market. The rarity of some of the editions, added to the longevity of many of the specimens, make the possession and enjoyment of antique cartography an increasingly fashionable pleasure among art lovers. Understood as authentic reminiscences of the past, antique maps become a conscientious reflection of how the territory was divided long ago, or how geographical features define our world. Their decorative character, added to the meticulous and ambitious work of cartographers, turn these pieces into authentic works of art.

"AUSTRIAN POLAND", map belonging to the "Atlas Universel, dressé sur les meilleures cartes modernes", second half of the 18th century.Illuminated engraving (color demarcations).Edition M. Remondini, Venice, 1784.Hand-numbered on the reverse (no. 47), corresponding to the numbering stipulated in the index.The lot is accompanied by a copy of the title page of the Atlas.Measurements: 46 x 60 cm (print); 53 x 76 cm (paper).This map of Austrian Poland also contains part of Red Russia and the southern part of the Kraków Palatinate.The origin of the "Atlas Universel, dressé sur les meilleures cartes modernes" (Universal Atlas made from the best modern maps) dates back to 1757, when Gilles Robert de Vaugondy (1668-1766) and his son Didier Robert de Vaugondy (1723-1786), geographers to the King of France, formed one of the most renowned map and globe making workshops in France. The excellent position of the Vaugondys in the field of topography, added to the family ties that united them with Nicolas Sanson, one of the most important cartographers of the 17th century, led the Vaugondys to inherit much of the cartographic material that the latter had accumulated over the years, leading to the birth of the ambitious and unique Universal Atlas of which our map is a part. The copy became a commercial and cartographic success with enormous influence in all Europe, reason why the brothers Paolo and Francesco Santini, Venetian engravers, did not let escape the opportunity to acquire the original plates to the Vaugondy. Thus, in 1776, the Santini brothers commissioned the production of new copper plates, while substantially maintaining the original design, keeping the toponyms and the inscriptions in French as defined in the 1757 copy. Due to their knowledge of the Italian territory, the Santini's changes mainly affected the maps of the Italian regions. The following year, Paolo Santini ceded all his publication rights to M. Remondini, who in 1777 and 1784 republished the same Atlas, but with his name.The copy of which our map is part, edited in 1784 by M. Remondini, maintains the exceptionality of the original work of the Vaugondy: the meticulous treatment of the information (based on the revision of the oldest maps available, buying them with the most updated material at the time); the incorporation of the latest academic research in force at the time; the integration of their own astronomical observations (correcting if necessary even the latitude and longitude) or the great decorativism of each of their maps. As in the great majority of cartographic documents produced in France during the 18th century, the map in question is characterized by its enormous pictorial value and great attention to detail.Antique maps are one of the most complete documentary typologies. Their double nature, cartographic and historical, attracts the attention of the most demanding collectors, who see in cartography the faithful reflection of the past, betting on its purchase and its diffusion in the art market. The rarity of some of the editions, added to the longevity of many of the specimens, make the possession and enjoyment of antique cartography an increasingly fashionable pleasure among art lovers. Understood as authentic reminiscences of the past, antique maps become a conscientious reflection of how the territory was divided long ago, or how geographical features define our world. Their decorative character, added to the meticulous and ambitious work of cartographers, turn these pieces into authentic works of art.

"CIRCLE OF BAVARIA", map belonging to the "Atlas Universel, dressé sur les meilleures cartes modernes", second half of the 18th century.Illuminated engraving (color demarcations).Edition M. Remondini, Venice, 1784.Hand-numbered on the reverse (no. 33), corresponding to the numbering stipulated in the index.The lot is accompanied by a copy of the title page of the Atlas.Measurements: 49.5 x 54.5 cm (print); 53 x 76 cm (paper).Map of the circle of Bavaria including the Upper Palatinate, the duchies of Upper and Lower Bavaria and Neuburg, the archbishopric of Salzburg, the archbishoprics of Regensburg, Freisingen and Passau and the provostship of Berchtolsgaden. The Bavarian Circle was an Imperial Circle of the Holy Roman Empire.The origin of the "Atlas Universel, dressé sur les meilleures cartes modernes" (Universal Atlas made from the best modern maps) dates back to 1757, when Gilles Robert de Vaugondy (1668-1766) and his son Didier Robert de Vaugondy (1723-1786), geographers to the King of France, formed one of the most renowned map and globe making and manufacturing workshops in France. The excellent position of the Vaugondys in the field of topography, added to the family ties that united them with Nicolas Sanson, one of the most important cartographers of the 17th century, led the Vaugondys to inherit much of the cartographic material that the latter had accumulated over the years, leading to the birth of the ambitious and unique Universal Atlas of which our map is a part. The copy became a commercial and cartographic success with enormous influence in all Europe, reason why the brothers Paolo and Francesco Santini, Venetian engravers, did not let escape the opportunity to acquire the original plates to the Vaugondy. Thus, in 1776, the Santini brothers commissioned the production of new copper plates, while substantially maintaining the original design, keeping the toponyms and the inscriptions in French as defined in the 1757 copy. Due to their knowledge of the Italian territory, the Santini's changes mainly affected the maps of the Italian regions. The following year, Paolo Santini ceded all his publication rights to M. Remondini, who in 1777 and 1784 republished the same Atlas, but with his name.The copy of which our map is part, edited in 1784 by M. Remondini, maintains the exceptionality of the original work of the Vaugondy: the meticulous treatment of the information (based on the revision of the oldest maps available, buying them with the most updated material at the time); the incorporation of the latest academic research in force at the time; the integration of their own astronomical observations (correcting if necessary even the latitude and longitude) or the great decorativism of each of their maps. As in the great majority of cartographic documents produced in France during the 18th century, the map in question is characterized by its enormous pictorial value and great attention to detail.Antique maps are one of the most complete documentary typologies. Their double nature, cartographic and historical, attracts the attention of the most demanding collectors, who see in cartography the faithful reflection of the past, betting on its purchase and its diffusion in the art market. The rarity of some of the editions, added to the longevity of many of the specimens, make the possession and enjoyment of antique cartography an increasingly fashionable pleasure among art lovers. Understood as authentic reminiscences of the past, antique maps become a conscientious reflection of how the territory was divided long ago, or how geographical features define our world. Their decorative character, added to the meticulous and ambitious work of cartographers, turn these pieces into authentic works of art.

BRIDGET RILEY (b.1931)Untitled (Fragment 7)Screenprint in black and white on plexiglass, 48.3 x 96.5cmSigned and dated (19)'65; edition 59/75Provenance: From the collection of Michael ScottMichael Scott (1905 – 1989), described  as ‘just one of a small band of young Irish architects who adopted the International Style during the 1930s’, he came to be perceived as the leading pioneer and exponent of modern architecture in Ireland. Internationally he was by far the best-known Irish architect of the post-Second World War era.  As a fixture of the artistic establishment in Ireland he founded ROSC, whose first exhibition of international modern art took place at the RDS in Dublin in 1967. As Chairman of the Board he called upon the curatorial expertise and connoisseurship of Irish-American James Johnson Sweeney, who became a life-long friend, to assist with the selection of the exhibits. Sweeney’s and other jurors’ input and international reputations insured that the exhibitions, which continued every four years until 1988, contained work by many of the leading artists of the day including Mark Rothko, Cy Twombly, Jim Dine, Brigid Riley,  Pablo Picasso and Roy Lichtenstein.We are delighted to have works included in this sale by Bridget Riley (lot 28), Patrick Scott (lot 38), Mary Fitzgerald (lot 64), Jim Dine (lot 93) and Terry Frost (lot 110) from Michael Scott’s collection.

ANONYMOUS, 19th centuryThe Battle of XiaoInk and watercolour on silk, inscribed with a narration about the battle, mounted on silk and framed. The painting, 80cm (31 1/2in) x 82cm (32 1/4in).Footnotes:十九世紀 晉敗秦師於殽圖Provenance: Max Morris (1910-2017), acquired in China in 1957, and thence by descent來源：Max Morris（1910-2017）舊藏，於1957年購自中國，並由後人保存迄今Max Morris was born in London's East End to Russian immigrant parents. In his youth, he began working in his family's shoe business, P.Morris & Sons based in Shoreditch High Street. He served in the RAF during World War Two, as a French interpreter for air support crews in France, reaching the rank of sergeant. In August 1957, Morris was part of a small trade delegation to China with the aim of fostering better understanding and trade between China and the UK. During this time, he visited some artists' studios and acquired paintings, some of which were later exhibited at the Herbert Art Gallery and Museum, Coventry.In the 1980s he taught English at Toynbee Hall to primarily immigrants and was an active patron of the arts and charities. Two days before his 106th birthday he was awarded the British Citizen Award for his charitable work in a ceremony at the House of Lords on 7 July 2016.The battle of Xiao (627 BC) was a battle between the states of Qin and Jin during the Spring and Autumn period, in an area between the Yellow and Luo rivers, in modern-day Henan Province. The Jin defeated the Qin and solidified its position as the most powerful state in north China for several decades. The Qin suffered a significant loss of about 30,000 men. In time however, the Qin would eventually build their strength again to unify China. The battle was recorded in the Zuozhuan (The Commentary of Zuo).For further information on this lot please visit Bonhams.com

Manner of XU BEIHONG (1895-1953)Galloping HorseBlack ink and white pigment on fibrous paper, signed Xu Beihong, one seal of the artist, framed and glazed 56.5cm (22 1/2in) high x 50cm (19 6/8in) wide. Footnotes:徐悲鴻（款） 奔馬 紙本水墨 鏡框裝裱Provenance: Max Morris (1910-2017), acquired in China in 1957, and thence by descentPublished and Exhibited: Herbert Art Gallery and Museum, Modern Chinese Paintings from the Hafkin and Other Collections, Coventry, 11 July - 9 August 1964, no.42.來源：Max Morris（1910-2017）舊藏，於1957年購自中國，並由後人保存迄今展覽著錄：赫伯特藝術博物館，《Modern Chinese Paintings from the Hafkin and Other Collections》，考文垂，1964年7月11日-8月9日，編號42 Max Morris was born in London's East End to Russian immigrant parents. In his youth, he began working in his family's shoe business, P.Morris & Sons based in Shoreditch High Street. He served in the RAF during World War Two, as a French interpreter for air support crews in France, reaching the rank of sergeant. In August 1957, Morris was part of a small trade delegation to China with the aim of fostering better understanding and trade between China and the UK. During this time, he visited some artists' studios and acquired paintings, some of which were later exhibited at the Herbert Art Gallery and Museum, Coventry.In the 1980s he taught English at Toynbee Hall to primarily immigrants and was an active patron of the arts and charities. Two days before his 106th birthday he was awarded the British Citizen Award for his charitable work in a ceremony at the House of Lords on 7 July 2016.Xu Beihong is widely recognised as the father of modern Chinese painting, both for his innovative ink works that revitalised the traditional Chinese form, and for his willingness to embrace Western techniques.Winning high acclaim for their bold and lively styles, the horse paintings by Xu Beihong were highly admired amongst collectors and connoisseurs for their strength and vivacity, whilst also expressing Xu's desire to show his own feelings of patriotism.Born in Yixing, Jiangsu Province, in 1895, Xu grew up in an artistic family and showed talent at an early age. In 1915, he moved to Shanghai, then a melting pot of Chinese and Western cultures, to begin his studies. There he met Kang Youwei, the scholar and political reformer, who became his mentor and greatly influenced Xu's thinking about the need to incorporate Western practices and ideas into Chinese art.Throughout his life, Xu Beihong championed the revitalisation of Chinese painting through the integration of Western-style realism and Chinese brush techniques. Here, using sharp tonal contrasts between black ink and white paper, Xu's swift rendition of the noble steed embodies the spirit of traditional 'ink play'. The horse's natural pose is deftly captured in abbreviated brushwork, however, the horse's accurate anatomy and the convincing foreshortening of its body reflect Xu's solid grounding in Western academic art. The powerful demeanour of the unleashed unmounted animal may convey a Western influence, but its mane and tail, blowing unnaturally in opposite directions, testify to the artist's ultimately subjective approach.Xu employed freehand strokes, only outlining the critical parts, such as the nose, the chest and the hooves. Xu Beihong studied the anatomy of horses and observed their postures and expressions in great detail; the shape of the large muscles at the neck, breast and back is accentuated with ink washes executed in various tones, giving life to a remarkably robust figure, whilst, at the same time, reinstating Xu Beihong's position as a leader of one of the first generation of innovative artists seeking to reinvigorate the long tradition of Chinese aesthetics.Xu's powerful and passionate images of horses, a traditional symbol of Chinese martial spirit, were intended to inspire patriotic resistance during the Sino-Japanese War (1937–1945).See a related ink on paper depiction of a 'Heavenly Horse' by Xu Beihong, in the Metropolitan Museum of Art, New York, published by Shi-yee Liu, Straddling East and West: Lin Yutang, a Modern Literatus, New York, 2007, p.52.For further information on this lot please visit Bonhams.com

MANNER OF QI BAISHI (1864-1957)Apples and LycheesInk and colour on paper, bearing signature Qi Baishi and with three seals of the artist, framed and glazed. 103cm (40 1/2in) long x 35cm (13 3/4in) wide.Footnotes:齊白石（款） 太平多利圖 紙本設色 鏡框裝裱Provenance: Max Morris (1910-2017), acquired in China in 1957, and thence by descentPublished and Exhibited: Herbert Art Gallery and Museum, Modern Chinese Paintings from the Hafkin and Other Collections, Coventry, 11 July - 9 August 1964, no.42.來源：Max Morris（1910-2017）舊藏，於1957年購自中國，並由後人保存迄今展覽著錄：赫伯特藝術博物館，《Modern Chinese Paintings from the Hafkin and Other Collections》，考文垂，1964年7月11日-8月9日，編號42 Max Morris was born in London's East End to Russian immigrant parents. In his youth, he began working in his family's shoe business, P.Morris & Sons based in Shoreditch High Street. He served in the RAF during World War Two, as a French interpreter for air support crews in France, reaching the rank of sergeant. In August 1957, Morris was part of a small trade delegation to China with the aim of fostering better understanding and trade between China and the UK. During this time, he visited some artists' studios and acquired paintings, some of which were later exhibited at the Herbert Art Gallery and Museum, Coventry.In the 1980s he taught English at Toynbee Hall to primarily immigrants and was an active patron of the arts and charities. Two days before his 106th birthday he was awarded the British Citizen Award for his charitable work in a ceremony at the House of Lords on 7 July 2016.Qi Baishi is perhaps the most famous Chinese artist of the 20th century. He is noted for his whimsical, playful, and seemingly simple style of painting. Born to a peasant family from Xiangtan, Hunan, Qi became a carpenter at 14, and learned to paint by himself. When he came across the 'Mustard Seed Garden Manual of Painting', that sparked his interest to paint. He did not start learning painting and calligraphy until he was 27. After he turned 40, he travelled, visiting various scenic spots in China. After 1917 he settled in Beijing. Some of Qi's major influences include the early Qing dynasty painter Bada Shanren (八大山人) and the Ming dynasty artist Xu Wei (徐渭). What is unique about Qi however, is that his works show no western influences, unlike most other contemporary artists in his time. Other artists praised Qi for the freshness and spontaneity that he brought to the familiar genres of birds and flowers, insects and grasses, hermit-scholars and landscapes.For further information on this lot please visit Bonhams.com

MANNER OF LI KERAN (1907-1989)Buffalo and BoyInk on paper, signed, one seal of the artist, framed and glazed. 70cm (27 1/2in) x 41cm (16 1/8in).Footnotes:李可染（款） 童子牧牛圖 紙本設色 鏡框裝裱Provenance: Max Morris (1910-2017), acquired in China in 1957, and thence by descentPublished and Exhibited: Herbert Art Gallery and Museum, Modern Chinese Paintings from the Hafkin and Other Collections, Coventry, 11 July - 9 August 1964, no.42.來源：Max Morris（1910-2017）舊藏，於1957年購自中國，並由後人保存迄今展覽著錄：赫伯特藝術博物館，《Modern Chinese Paintings from the Hafkin and Other Collections》，考文垂，1964年7月11日-8月9日，編號42Max Morris was born in London's East End to Russian immigrant parents. In his youth, he began working in his family's shoe business, P.Morris & Sons based in Shoreditch High Street. He served in the RAF during World War Two, as a French interpreter for air support crews in France, reaching the rank of sergeant. In August 1957, Morris was part of a small trade delegation to China with the aim of fostering better understanding and trade between China and the UK. During this time, he visited some artists' studios and acquired paintings, some of which were later exhibited at the Herbert Art Gallery and Museum, Coventry.In the 1980s he taught English at Toynbee Hall to primarily immigrants and was an active patron of the arts and charities. Two days before his 106th birthday he was awarded the British Citizen Award for his charitable work in a ceremony at the House of Lords on 7 July 2016.Li Keran painted the subject of a herd boy and buffalo on countless occasions over the course of his long career, becoming a signature subject in his oeuvre. On the surface, the depiction of water buffalo or oxen with a herd boy companion appears as a benign depiction of the rural lifestyle. However, the subject is tied to the cultural milieu of 20th century China, as the artist's depiction is an implicit reference to Lu Xun's (1881-1936) writings in the 1930's when he compares himself to a buffalo: 'willingly I become a buffalo for the sake of the children' (俯首甘為孺子牛), as well as Guo Moruo's (1892-1978) essay 'In Praise of Water Buffalo' (水牛贊), where Guo suggests that the water buffalo should be embraced as a national emblem of strength and humble, yet hard work. See a related painting by Li Keran of a water buffalo and boy, illustrated by S.Little and J.M.L.Barrett, New Songs on Ancient Tunes: 19th-20th Century Chinese Paintings and Calligraphy from the Richard Fabian Collection, Honolulu, 2007, pp.592-593.For further information on this lot please visit Bonhams.com

A modern plaster bust of a young lady, 39cm high, in the Art Nouveau taste

Pair Art Deco white metal candlesticks, each with foliate sconce supported by nude female figure on domed base, 21.5cm high approx., a 20th century white metal and ceramic rose-encrusted table lamp and a pair of modern Deco-style mirror panels (5) 

Selection of decorative ceramics, including: Poole pottery limited edition 'May' calendar plate, designed by Tony Morris; Crown Devon Art Deco hand painted tea for one set; pair of modern Delft circular dishes; Beswick 'Nuthatch' figure; another bird figure; and a blue and white circular dish.

FOUR BOXES AND LOOSE CERAMICS AND GLASSWARES, to include a modern Boots Hanover Green China dinner service (thirty two pieces), a Portmeirion Botanic Garden oval platter, width 38cm, a glass cake plate with dome, six Babyham glasses, a box of soup tureens and other dinnerwares to include Minton, Wilkinson, etc, ornaments including modern figurines in Art Deco/Art Nouveau style, nine 'Piggin' pig figures, Lilliput Lane 'Twinkle, Twinkle Little Star' L3283, Beswick dish marked 219 No.8 (chipped) etc (sd) (4 boxes and loose)

stretch jersey fabric over foam and metal frame74cm high, 228cm wide, 66cm deep (29in high, 89.5in wide, 26in deep)Footnote: "At Artifort, I started using new foam and rubber from Italy and a light metallic frame, combined with "stretch" material. Those new, rounder, more comfortable shapes were such a success that they're still being copied today. I have always considered design to be a mix of invention and industrial innovation." (Pierre Paulin) Renowned as a visionary and one of the great French 20th-century designers, Pierre Paulin (1927-2009) was revered for his modernist vision and chic style. His forward-looking furniture was embodied by simplicity, durability and functionality that had been inspired by the work of Charles and Ray Eames, Scandinavian furniture and the Japanese aesthetic. Somewhere between the organic and naturalistic, the flowing lines, surreal forms and use of rich colours and fabrics fostered a new space-age style that made him a firm favourite with the rich and famous, including two French presidents who commissioned him to decorate areas of the Élysée Palace in Paris.The Multimo sofa and armchairs were conceived in 1969 at a critical point in Paulin’s oeuvre. He was by then working for the Dutch firm Artifort, in that year he won the Chicago design award, whilst his furniture designs had also been acquired for the collection of the Museum of Modern Art, New York. The Multimo series conveys the main characteristics which placed him at the forefront of 20th-century furniture design practice with their graphic colours, smooth sculptural curves and chic sensuality. This is a rare and outstanding example of the designer’s furniture that infrequently comes to the market due to the fact that it was only made in very small numbers.

signed with fly insignia (lower left), oil on canvas on board75cm x 94cm (29.5in x 37in)Exhibited: Windsor & Eton Fine Arts Co. Ltd, 1974;Bonhams, London, Modern British & Irish Art, 17 March 2010, Lot 13;Haynes Fine Art, Broadway. Footnote: '"Willie Murgatroyd", cried Miss Carter (who wore Pink) / "stop this minute" / George & I and the dogs Gyp & Barney, were at the back watching the Punch & Judy man. Willie & Annie Murgatroyd were there also, when all at once he lifted his spade and was about to whack the poor man when Miss Carter saw him. His mother rushed forward also, so I thought I had better get George back to mother and father before there was any trouble. They had stood at the back of the crowd to let Cousin Edward & Cousin Marion see the Punch & Judy show. Father held them up in turn. Mother, Aunt Charlotte & Aunt Frances were chatting when Aunt Frances noticed Bertie and Nellie Hope-Ainsworth standing near. "Look who's near you Jane", she said "Be careful what you say", for Nellie Hope Ainsworth listened to everyone's conversation and then passed it on to her mother who was enjoying the show. She was wearing her Parma Violet outfit. And the year was 1907 and it was late September at Blackpool. Helen Layfield Bradley 1971' (to label to reverse). When Helen Bradley’s grandchildren expressed curiosity about Edwardian-era life, she turned to her paintbrushes. Seeking to illustrate how much the world had changed, Bradley drew on her memories of her childhood in Oldham, painting scenes of townspeople going about their daily lives. Her grandchildren must have delighted at the unfamiliar Edwardian clothes, the stiff high-necked dresses, the suits and top hats. Yet Bradley’s paintings also touched on ideas that transcend the intervening decades: each is a celebration of family life and community, and is realised with a deep and earnest affection.The familial origins of Bradley’s artwork scarcely presupposed the phenomenal following she would garner in little more than five years. By the early 1970s, Bradley was an artist with an international reputation. Viewers delighted at the distinctive cast of characters that recur across her oeuvre, from the suited bank manager Mr. Taylor, to the now-famous Miss Carter, the family friend always clad in signature bubble-gum pink. The artist herself appears in many compositions as a child accompanied by her family and two pet dogs, Gyp and Barney. Bradley often drafted short narrative texts to accompany her paintings, further elucidating the memory she had felt compelled to paint.From 1965 until her death in 1979, Bradley’s fame increased, earning the artist an MBE and generating BBC and NBC documentaries about her life, and a Northern Ballet adaptation of her work. Yet, Bradley had only resumed a regular painting practice in the early 1960s. Her artistic talent was evident from an early age: at thirteen, she was awarded a scholarship to attend Oldham Art School. Later, when living in London, Bradley recalled being particularly taken with exhibitions of early Chinese painting and displays of Persian miniatures at the British Museum, perhaps an early indication of her predilection for art with the capacity to transport the viewer to another world. Also familiar is the approach to figures largely in-profile and rendered in vivid colour, as well as the strong narrative function. Unfortunately, with the outbreak of war Bradley's plans to pursue the arts were cut short. In 1926, she married the artist and textile designer John Bradley, and would not consistently paint again until her mid-sixties.It was a chance encounter with L.S. Lowry in the 1960s that encouraged Bradley to approach her painting as a personal document. Blackpool Sands with Punch and Judy Show likely dates to the early 1970s, and epitomises the artist’s ability to recall the past with playful tenderness, without succumbing to nostalgia. Bradley spent her childhood holidays in Blackpool where her grandparents lived, and they proved the most beloved and prolific of her childhood adventures. Brimming with the fun of the seaside - kite flying, donkey rides and Punch and Judy shows - Bradley’s works of Blackpool are perhaps her most iconic and charming works. They were generally painted on a larger scale than her other pictures, and this example is arguably one of the foremost examples of her Blackpool reminiscences. The composition evokes a leisurely family day at the beach punctuated by small moments of chaos: to the alarm of three onlooking children, a small boy brandishes a spade behind the Punch & Judy puppeteer, while Miss Carter rushes to intervene. Relishing in the poignancy of life’s quiet, incidental moments is quintessential Bradley.

stretch jersey fabric over foam and metal frame74cm high, 107cm wide, 84cm deep (29in high, 42in wide, 33in deep)Provenance:Private Collection, London.Footnote: "At Artifort, I started using new foam and rubber from Italy and a light metallic frame, combined with "stretch" material. Those new, rounder, more comfortable shapes were such a success that they're still being copied today. I have always considered design to be a mix of invention and industrial innovation." (Pierre Paulin) Renowned as a visionary and one of the great French 20th Century designers, Pierre Paulin (1927-2009) was revered for his modernist vision and chic style. His forward-looking furniture was embodied by simplicity, durability and functionality that had been inspired by the work of Charles & Ray Eames, Scandinavian furniture and the Japanese aesthetic. Somewhere between the organic and naturalistic - the flowing lines, surreal forms and use of rich colours and fabrics fostered a new space-age style that made him a firm favourite with the rich and famous, including two French presidents who commissioned him to decorate areas of the Élysée Palace in Paris.The Multimo sofa and armchairs was conceived in 1969 at a critical point in Paulin’s oeuvre, as he was now working for the Dutch firm Artifort, and in the same year he had won the Chicago design award, whilst his furniture designs had also been included in the collection of the Museum of Modern Art. The Multimo series conveys the main characteristics which placed him at the forefront of 20th Century furniture design practice with the graphic colours, smooth sculptural curves and chic sensuality and is a rare and outstanding example of the designer’s furniture that infrequently comes to the market due to the fact that it was only made in very small numbers.

series 3, number 96, titled and numbered on 'Unlimited Bath Widcome Manor' label (to underside), enameled aluminium, chrome-plated metal, plastic, glass and electric system220cm high, 23cm wide, 26cm deep (86.7in high, 9in wide, 10.25in deep)Footnote: “It’s only about revealing, in one way or another, the sensory vibrations or the interlacing potentials for energy that exist in the universe […] I think that’s the role of an artist” (Takis in an interview in G. Brett & M. Wellen (ed.s), Takis, Tate Modern, London and tour, exh. cat., 2019) Panayiotis Vassilakis, known as Takis, is considered one of the most important figures of international contemporary art. Despite having no formal training and not beginning to practice art until the age of twenty, Takis became one of the leading artists of the twentieth and twenty-first century, in particular for his development of kinetic art from the late 1950s. His early work in the 1940s was strongly influenced by Picasso and Giacometti – their exaggerated, caricatural figures were particularly interesting to the young artist. The 1950s saw Takis begin his instantly recognizable Signals series, one which he returns to throughout his career. It is said that his inspiration for this series arose while waiting for a train and becoming fascinated by the trackside signals, which provoked him to reject representational art and pursue sculpture that includes light and movement. These sculptures are imposing, otherworldly creations topped with metal shapes or flashing lights which sway in response to vibrations around them. This series would go on to include motors, bulbs, and fireworks and demonstrates his interest in researching movement and energies. His interest in the interlacing potentials for energy was so prolific that he was awarded a scholarship at the Massachusetts Institute of Technology in the Center of Advanced Visual Studies where he continued his studies into electromagnetic forces and the importance of energy binding us together. We are delighted to offer the important number 96 from Series 3 of the Signals series dating to 1968. This piece comprises two long enamelled aluminium poles standing over two metres high with flashing green, amber, and orange lights to the top. These long, flexible rods bend and move to create an almost musical harmony of colour and vibration. Takis’s legacy is clear from his extensive career: from his first one-man show in London in 1955 to his retrospective at Tate Modern in 2019, months before his death at the age of 93. Not only remembered for his important contribution as a visual artist, in 1969 he was also a co-founder of the Art Workers’ Coalition who fought for economic and political rights for artists in New York. Moreover in 1986 he founded the Takis Foundation in Athens, a foundation whose mission is to research and develop the arts and sciences, continuing his work and ensuring his legacy. The works of Panayiotis Vassilakis are important both in the development of a new aesthetic language exploring vibrations and light, and in their scientific exploration of energy. His work, and particularly his celebrated Signals series can be found in many important public collections such as Tate Modern in London, MoMA in New York, and in the UNESCO art collection in Paris.

maker's label, the drop-in seat stamped '17', laminated wood88cm high, 54cm wide, 42cm deep (34.6in high, 21.2in wide, 16.5in deep)Footnote: Literature: Studio Yearbook of Decorative Art, 1949, p. VIII (advertised);''Austerity to Affluence: British Art & Design 1945-1962'', The Fine Art Society, London, 1997, p. 14 and p. 22, cat. no. F27 (an example of chair illustrated);Long, Philip and Thomas, Jane (Edit.) ''Basil Spence'', Architect National Galleries of Scotland in Association with RCAHMS, Edinburgh 2008, p. 52 and p. 54, fig. 55 (another example illustrated). Sir Basil Spence was one of the leading British architects and designers of the 20th century, whose monumental or ''brutalist'' style came to define modern architecture in Britain. Noted commissions include designs for several exhibitions including the Sea and Ships Pavilion for the Festival of Britain (1951), Sussex University (1962), Glasgow Airport (1966), and Coventry Cathedral (1954-62), for which he received a knighthood. In 1947 Neil Morris of manufacturers Morris of Glasgow asked Spence to collaborate on a range of plywood furniture, which was to include his Bambi chair and celebrated Cloud table. The result was the Allegro dining suite, which was awarded a Diploma by the Council of Industrial Design in January 1949. In March of the same year it was exhibited at the Glasgow Today and Tomorrow exhibition, where it was commended, and an example of the armchair was commissioned by the Museum of Modern Art, New York for their collection. In September 1949 it was displayed at the Morris stand, also designed by Spence, at the Scottish Industries Exhibition. In 1951 another single armchair was commissioned for the collection of the Victoria & Albert Museum in London (V&A CIRC.183-1951). The manufacture of the Allegro suite found its origins in wartime innovation. The Southampton-based manufacturer of helicopters, Cierva Autogiro, had developed techniques of laminating and shaping wood to make strong and light helicopter blades - these blades were supplied by Morris of Glasgow by 1946, and the same technology was applied to this remarkable suite of furniture soon afterwards. Over one hundred layers of wood were bonded together under high frequency electrical pressure with phenoformaldehyde, a synthetic resin. The wood is then shaped and carved to produce the chairs, table and sideboard. Whilst it is now acknowledged as a landmark in immediate Post-War British furniture design, the immense expense of this manufacturing process meant that it went into extremely limited production, and as a result examples are extremely rare. In 1950 a single chair was advertised at £31 18s 3d, at a time when the average British annual income was just £101.

slate44.5cm high, 11.5cm wide, 15cm deep (17.5in high, 4.5in wide, 6in deep)Footnote: Boaz Vaadia was an internationally renowned sculptor known for hand-cutting slabs of bluestone and slate and then stacking them thus, creating male and female forms. In 1985 he created Adam, named after a guest who was staying in his loft, which was his first such figural sculpture. This would mark a significant moment in his oeuvre, and a development into a distinct new sculptural style that would become synonymous of his work. It set him on a path to international prominence and his personal totems, evoking ritual and primal forces, with an instinctive nod to his homeland but without overt religious connotations, grace prominent private and public collections around the world including the Metropolitan Museum of Art, New York, the Museum of Modern Art, San Francisco, the Time Warner Building, New York, the Israel Museum, Jerusalem and the private collection of Elton John.

initialled and dated (lower right), and inscribed 'For Molly' (lower left), pen, ink and pastel on paper 27.8cm x 21.4cmProvenance:A gift from the Artist to Jack & Molly Pritchard, England and thence by descent to the present owners.Footnote: “We might well call the scope of his contribution ‘Leonardian,’ so versatile and colorful it has been.” (Walter Gropius, 1946) Described by the art critic Peter Schjeldahl as “relentlessly experimental” due to his innovative work in painting, drawing, photography, sculpture, writing, theatre and film, László Moholy-Nagy was the epitome of what the Bauhaus represented working alongside the likes of Walter Gropius and Marcel Breuer. In 1937, on the recommendation of Gropius, Moholy-Nagy moved to Chicago and became the director of the newly formed IIT Institute of Design known as the ‘New Bauhaus’. It would go on to become one of his most significant accomplishments and what historian Elizabeth Siegel named ‘his overarching work of art’. The present work is dated 1938, a year after he moved to Chicago. It was a gift to Isokon Furniture Company founder Jack Pritchard and his wife Molly. Moholy-Nagy and his wife Sibyl moved to the Lawn Road Flats in London (also known as the ‘Isokon Building’), where the Pritchards were resident, after arriving in Britain from Germany in May 1935. Moholy-Nagy designed numerous promotional materials for Isokon, including the logo for the Isokon firm itself, based on the outline of a plywood chair. Composition uses the vocabulary of de Stijl and Constructivism in its primary colors, line and simple geometric forms. It embodies the abstract language that Moholy-Nagy was aiming towards in his intention to be free from elements redolent of natur,e in order to work only with the particular characteristics of colours and their inter-relationship. In this way Moholy-Nagy is investigating a number of the themes in this work that he had been exploring in London prior to his move to America. By exploring the limitless potential of colour and simple forms, he hoped to instil Composition with a sense of the enigmatic and emotion, stating 'My belief is that mathematically harmonious shapes, executed precisely, are filled with emotional quality, and that they represent the perfect balance between feeling and intellect' ('Abstract of an artist', in R. Motherwell, ed., Lázsló Moholy-Nagy, Documents of Modern Art, New York, 1947).

signed (lower left), initialled and inscribed 'Asolo' (to reverse), oil on paper laid on board61.5cm x 49cm (24.25in x 19.25in)Footnote: As a leading figure in the Bloomsbury Group, Duncan Grant played a key role in the development of modern British art. Following studies in London and Paris, Grant kept abreast of the latest developments in French painting before World War One, including visiting Pablo Picasso's studio. His work was included in Roger Fry's landmark Second Post-Impressionist Exhibition held at the Grafton Galleries, London in 1912. In 1916 Grant moved with the artist Vanessa Bell to Charleston, a house near Lewes. From this East Sussex base, Grant maintained a long and prolific career, involving multiple painting trips to the Continent. View between Pillars, Asolo, Italy is believed to have resulted from one such trip. The titular pillars frame an idyllic view over terracotta-tiled villas to distant hills, realised with a varied and rhythmic technique, with a lilac undertone to its warm palette. Charleston is now open to the public and is hosting a major exhibition of Grant's work until 13 March 2022.

A collection of auction catalogues, mainly Japanese ceramics, modern art and design,etc (11).

oil, pencil and chalk on cardboard18.5cm x 26.5cm (7.25in x 10.5in)Provenance: In Barns-Graham's notes about her collection she states she was given three oils by Alfred Wallis by Mary Buchanan, Ben Nicholson and Sven Berlin. In the exhibition catalogue for Alfred Wallis (The Arts Council of Great Britain 1968) it states this painting is ex-collection Ben Nicholson. Exhibited: 1950: Possibly shown with title 'Houses', Bournemouth, Bournemouth Arts Club, Alfred Wallis and Christopher Wood, 12 Aug to 2 Sep 1950, no. 32;1959: St Ives, 36 Fore Street (Penwith Gallery?), Alfred Wallis Exhibition, 1-6 June 1959, cat. no. 24;1968: London, The Arts Council of Great Britain, Alfred Wallis, Tate Gallery 30 May to 30 June 1968, York City Art Gallery 6 to 28 July;1968: Aberdeen Art Gallery 3 to 25 August, Abbot Hall Art Gallery 31 Aug to 22 Sep 1968, cat. no. 2, plate XII;1983: St Ives, Penwith Gallery, Alfred Wallis, 3 September to 1 October 1983, cat. no. 5;1985: London, Tate, St Ives 1939-64: Twenty Five Years of Painting, Sculpture and Pottery, Tate 13 Feb to 14 Apr 1985, cat. no. 25;1999-2000: Dublin, Irish Museum of Modern Art, Two Painters: Works by Alfred Wallis and James Dixon, Irish Museum of Modern Art, 1 Sep to 21 Nov 1999, Tate St Ives, May to Nov 2000, cat. no. 3.2020: Bristol, Royal West of England Academy, St Ives: Movements in Art and Life, 14 March to 19 September 2020. Footnote: Literature:Possibly published with title 'Houses,' Nicholson, Ben (1950), (Bournemouth Arts Club Presents a Retrospective Exhibition of) Paintings by Alfred Wallis, Sydenham & Co. Ltd, Bournemouth, cat.no. 32;The Arts Council of Great Britain (1968), Alfred Wallis, Percy Lund, Humpries & Co Ltd, London and Bradford, cat. no. 2, plate XII;Tate Gallery (1985), St Ives 1939-64: Twenty Five Years of Painting, Sculpture and Pottery, Tate Gallery Productions, London, cat. no. 25;Irish Museum of Modern Art (2000), Two Painters: Works by Alfred Wallis and James Dixon, Merrell Holberton Publishers Ltd, London, cat. no. 3. The three paintings in this collection by Alfred Wallis were gifted to Barns-Graham by individual friends: Mary Buchanan, Sven Berlin, and Ben Nicholson. Wallis died in 1942 two years after Willie settled in St Ives. There was time however for her to become acquainted with him, and to act as a sort of ambassador for those who wished to meet the self-taught painter (he could be crotchety). She admired, as did Ben Nicholson and other painters before her, the simplicity and directness of his imagemaking. There was a freedom, a lack of formality, that the Moderns strived for. To Wallis, painting was a physical event: perspective and relative scale was irrelevant as he storyboarded his memories. It is difficult today, when his work commands so much attention, to imagine the ease with which one could acquire his work, and also give it away. Mary Buchanan and her husband, the novelist George Buchanan were among those friends the newly arrived Barns-Graham made through the auspices of her Edinburgh College of Art fellow painter Margaret Mellis, and her new husband the art critic and painter, Adrian Stokes. The latter was the catalyst for the move to Cornwall of Barbara Hepworth, her husband Ben Nicholson and the Russian sculptor Naum Gabo with his wife, Miriam. The Stokes’ Carbis Bay home, Little Parc Owles, was a magnet for all new arrivals, and those visiting from London and elsewhere. Despite the house being full of senior Modernist figures, Barns-Graham never forgot her first encounter with the group of Wallis paintings Stokes owned. Always a note-taker, she recorded the oddly shaped bits of cardboard he painted on, and his particular colours: black boats, green and white seas, and grey houses. Some very early St Ives paintings of sheds by Willie owe something to Wallis, the flattening of perspective and his palette.Essay by Lynne Green, author of W. Barns-Graham: a studio life, and Trustee of the Wilhelmina Barns-Graham Trust.

Bernard Rancillac (born 1931)La Parole 4 l'Evangile selon Mao 1967 monogrammé; signé et daté 67 au revers acrylique sur toile (en huit parties)with the artist's monogram, signed and dated 67 on the reverseacrylic on canvas (in eight parts)Chaque: 100 x 80 cm.39 3/8 x 31 1/2 in.Dimensions totales: 200 x 320 cm.78 3/4 x 126 in.Footnotes:ProvenanceCollection particulière, France Puis par descendance au propriétaire actuelExpositionsParis, Musée d'Art moderne de la ville de Paris, Le monde en question, 1967Saint-Etienne, Musée d'Art et d'Industrie; Brest, Musée des Beaux-Arts, Rancillac, 1971Paris, Galerie du Centre culturel municipal, Rancillac, 1973Issoudun, Musée de l'Hospice Saint-Roch; Saint-Etienne, Musée d'art moderne et contemporain; Dole, Musée des Beaux-Arts, Bernard Rancillac Retrospective 1962-2002, 2003, p. 75, illustré en couleurLittératureSerge Fauchereau, Rancillac, Paris 1991, p. 99, n° 91, illustré en noir et blancChef de file d'une génération et l'un des membres fondateurs de la Figuration Narrative, Bernard Rancillac est une icône du Pop Art européen, dont l'héritage est inséparable de toute l'histoire culturelle du vingtième siècle. Nous présentons ici une œuvre qui saisit l'esprit du mondialisme après-guerre et révèle l'approche nuancée et critique que Rancillac a adoptée tout au long de sa carrière. La série de huit toiles intitulée La Parole 4 l'Évangile selon Mao (1967) représente une foule compacte de visages réjouis et de bras tendus en signe de salutation, rendue à traits vifs et en rouge selon la technique du pochoir, qui évoque la propagande et l'imagerie des régimes socialistes de la période, et la subversion des tropes du Pop Art qui est largement associée aux peintures d'Andy Warhol et de Roy Lichtenstein.Rancillac est un artiste dont les œuvres figurent dans les collections des plus grands musées mondiaux, y compris le MoMA, New York ; le Musée d'art contemporain de Barcelone (MACBA) ; et le Musée National d'Art Moderne, Paris ; l'importance de son travail a fait l'objet d'une reconnaissance constante depuis sa participation à l'exposition révolutionnaire The World Goes Pop à la Tate Modern en 2015, qui a ensuite été présentée au Walker Centre, Minneapolis. Rancillac a occupé une place centrale dans cette exposition qui ambitionnait de reconstituer et d'étendre l'histoire du Pop Art, traditionnellement considéré comme un phénomène purement anglo-américain. Il a affirmé, ce faisant, une présence avant-gardiste dans ces mutations profondes de la culture mondiale, et s'est imposé comme une figure majeure de l'art des années 1960.La Parole 4 l'Evangile selon Mao est une œuvre de qualité muséale, qui témoigne indéniablement de son époque : une image de la Chine de Mao un an après la Révolution culturelle de 1966, peinte un an avant que Rancillac ne participe personnellement aux événements de mai 1968, en prenant le contrôle des ateliers de lithographie de l'École des beaux-arts pour former l'Atelier Populaire. Chez Rancillac, les motifs artistiques et politiques sont alignés et occupent une large place dans son œuvre. L'ampleur et l'impact de cette grande œuvre impressionnante sont indéniables, et évoquent une énergie et une confiance intellectuelle dont l'observation est captivante. Peinte en utilisant un projecteur – selon un système qui a été mis au point pour la première fois par Illeana Sonnabend pour l'artiste français Daniel Pommereulle, puis introduit auprès des artistes du groupe Figuration narrative en 1964 – l'image photographique est transposée et reconstituée. Rancillac, en imitant les sérigraphies reproductibles de Warhol, mais en créant des œuvres délicatement peintes à la main et uniques, a réalisé une synthèse esthétique qui a constitué une critique des techniques autonomes du Pop Art tout en maintenant sa propre exigence politique.L'iconographie et les pochoirs des œuvres de protestation – dont les successeurs historiques incluent des artistes comme Christopher Wool et Banksy – recèlent une puissance artistique rarement vue dans la peinture traditionnelle. Rancillac est indubitablement l'un des artistes les plus importants et influents qui ont su capter l'énergie politique d'une décennie, et cette énergie est palpable et puissante dans La Parole 4 l'Evangile selon Mao. Sont également présentées à la vente des peintures de Rancillac de la série Cinémonde reconnaissables au premier regard – un épisode de sa carrière au cours duquel il a reproduit des photos publicitaires des starlettes hollywoodiennes les plus célèbres du vingtième siècle. Selon le co-curateur de l'exposition Mythologies Quotidiennes, véritable visionnaire, cette vente donne une occasion unique d'acquérir des œuvres importantes, emblématiques de l'apogée de l'illustre carrière de Rancillac.A leader of a generation and one of the founding members of the Figuration Narrative, Bernard Rancillac is an icon of European Pop Art, whose legacy is inseparable from the broader cultural history of the twentieth century. Presented here is a work that captures the spirit of post-war globalism and reveals the nuanced, critical approach that Rancillac pursued in his work. Executed over eight canvases, La Parole 4 l'Evangile selon Mao (1967) depicts a raucous crowd of cheering faces and arms in salutation, rendered in a typically sharp, red stencil that evokes the propaganda and imagery of the socialist regimes of the period, as well as a subversion of the tropes of Pop Art that is most widely associated with the paintings of Andy Warhol and Roy Lichtenstein. An artist whose work resides in global museum collections inlcuding the MoMA, New York; the Barcelona Museum of Contemporary Art (MACBA); and the Musée National d'Art Moderne, Paris, Rancillac's significance has seen ongoing appreciation since his inclusion in the ground-breaking exhibition The World Goes Pop at the Tate Modern in 2015, travelling to the Walker Centre, Minneapolis, subsequently. Taking centre stage in a show that sought to reconstitute and expand the history of Pop Art that has traditionally been seen as a British-American phenomena, Rancillac stands as a trailblazing presence who engaged deeply with global cultural shifts and emerged a prominent voice of the 1960s. La Parole 4 l'Evangile selon Mao is an institutional-quality piece that is unquestionably of its moment: an image of Mao's China one year after the Cultural Revolution of 1966, painted one year before Rancillac himself would participate in the events of May 1968, taking over the lithography studios of the École des beaux-arts to form the Atelier Populaire. In Rancillac, artistic and political motives are aligned and writ large. In this grand and impressive work, its scale and impact are undeniable, and evoke an energy and intellectual confidence that are captivating to observe. Painted using a projector – a device that was first procured for the French artist Daniel Pommereulle by Illeana Sonnabend, that then was introduced to the artists of the Figuration Narrative group in 1964 – the photographic image is transposed and reconstituted. Both mimicking the reproducible silkscreens of Warhol, but remaining fastidiously hand-painted and unique, R... For further information on this lot please visit Bonhams.com

Gérard Schlosser (born 1931)Ça donne dans une cour 1977 signé, titré et daté 77 au reversacrylique sur toile sablée signed, titled and dated 77 on the reverseacrylic and sand on canvas189.5 x 189.5 cm.74 5/8 x 74 5/8 in.Footnotes:Provenance Galerie Beaubourg, Paris Collection particulière, France (acquis auprès de celle-ci)Puis par descendance au propriétaire actuel ExpositionsParis, Galerie Beaubourg, FIAC, 1977, p. 37, illustré en noir et blancParis, Galerie Beaubourg, Schlosser, 1981, p. 25, illustré en couleur Paris, Pavillon des Arts, Une journée à la campagne, 1983, p. 28, illustré en couleurReims, Maison de la culture André Malraux, Pays paysages, 1984, non paginé, illustré en couleur Exposition itinérante, Pernod Mécénat, Aspect de la Figuration dans les années 60, 1990, p. 67, illustré en couleurLittératureAlain Jouffroy, Gérard Schlosser, Paris 1993, p. 126, illustré en couleur ; p. 241, illustré en noir et blanc Anne de Marnhac, Séducteurs et séductrices de Casanova à Lolita, Paris 2002, p. 169, illustré en couleur Jean-Luc Chalumeau, La Nouvelle Figuration. Une histoire de 1953 à nos jours, Paris 2003, p. 112, illustré en couleurBernard Noel, Gérard Schlosser, Paris 2008, p. 152, cat. 122, illustré en couleur Pierre Nahon, L'Histoire de la Galerie Beaubourg, Paris 2009, p. 102, illustré en couleur Gérard Schlosser et Pearl Huart-Cholley, Gérard Schlosser Catalogue Raisonné, Paris 2020, p. 103, n° 287, illustré en couleurLes œuvres de Gérard Schlosser, qui capturent des visions séductrices de son époque, sont autant de vignettes intimes qui titillent et évoquent les titans de la peinture moderne, au premier rang desquels figure Édouard Manet dans sa représentation de bars et de jardins, ou encore Gustave Courbet dans L'Origine du monde (1866), œuvre iconique s'il en fut. Schlosser, qui ne se considère pas lui-même comme un artiste du Photoréalisme, se rapproche beaucoup plus du Pop Art et de la Figuration Narrative. Ses peintures, en particulier Ça donne dans une cour (1977), Je n'en trouve qu'une (1988), et Ce n'est pas loin d'ici (1989), sont l'expression d'un Modernisme revivifié, qui immortalisent des instants de la vie au quotidien, rendus avec un art du détail absolument superbe. Les œuvres de l'artiste ont deux points communs avec le Pop Art : la nudité et la sincérité qui scrutent l'œil libéré du spectateur, exposant tout au regard de l'artiste. Chez Jacques Monory comme chez James Rosenquist, chez Richard Hamilton comme chez Gérard Schlosser, la nature libidinale de l'image médiatisée et du consumérisme saute aux yeux dans des toiles monumentales et saisissantes. Nous présentons ici quatre toiles élégantes qui sont emblématiques de l'œuvre de l'artiste français ; des fragments intenses qui restituent en les réinventant des mouvements fugaces de la vie quotidienne.Capturing seductive visions of his time, Gérard Schlosser's paintings offer intimate vignettes that titillate and evoke the titans of Modern painting, not least in the bars and gardens of Édouard Manet, or the iconic L'Origine du monde (1866) by Gustave Courbet. Schlosser, who does not consider himself a Photorealist artist, aligns himself much more closely with Pop Art and Figuration Narrative. What presents itself in paintings such as Ça donne dans une cour (1977), Je n'en trouve qu'une (1988), and Ce n'est pas loin d'ici (1989), therefore, is a revived Modernism that captures the everyday up close, rendered in superb detail. What the artist's paintings have in common with Pop Art is a nakedness and sincerity that scrutinises the liberated eye of the spectator, exposing everything to the gaze of the artist. In Jacques Monory as in James Rosenquist, in Richard Hamilton as in Gerard Schlosser, the libidinal nature of the mediated image and consumerism is brought to the fore over monumental, thrilling canvases. Presented here for sale are four elegant canvases that are exemplary works by the French artist; intense fragments that reimagine fleeting moments of everyday life. For further information on this lot please visit Bonhams.com

§ § Hock-Aun Teh (Malaysian-Scottish 1950-) A letter from homesigned with monogram (centre right); artist's label to the reverseacrylic on board81 x 113cmFootnote: A self-described “kampung boy” at heart, Malaysian born artist, Hock-Aun Teh, has gained international acclaim for his vigorous and dynamic abstract compositions, which have been exhibited throughout Asia and Europe and are held in public collections including The National Visual Arts Gallery in Kuala Lumpur, National Art Museum of China, Beijing and Glasgow’s Gallery of Modern Art, Glasgow. Born to Chinese parents in, Sungei Gedong, a remote Malaysian village, in 1950, Teh spent his early childhood training in traditional Chinese ink painting and calligraphy, before being accepted to study at The Glasgow School of Art in 1970. The first person of Asian descent to graduate from Glasgow’s Drawing and Painting Department, Teh’s work has been praised for its anomalous fusion of the delicacy and lyricism of traditional calligraphic lines with the gestural hyper-masculinity associated with abstract expressionism.Condition report: The frame is quite loose. The surface with a light layer of dust. A few fibre inclusions beneath the paint layer. Thr right hand side with a small abrasion and subsequent paint loss and the lower edge with a larger abrasion (approx 10cm) with paint loss.Overall there is a scattering of very minor surface accretions, but overall in good condition. See additional images.

bronze, signed with initials in the bronze, mounted to an ebonised plinth base19.5cm high (24.5cm high overall)Provenance:Purchased by the present vendor's father directly from the artist in London, circa 1960Footnote: A seminal figure in contemporary sculpture, Israeli born sculptor, painter and graphic artist, Menashe Kasdishman, received his early training under Moshe Sternschuss at the Avni Institute of Art and Design in Tel Aviv, before moving to London, in 1959, where he continued his training at St Martin’s School of Art and, later, at The Slade.Cast in bronze and dating from the earliest years of Kadishman’s career, the present lot is heavily indebted to modern minimalist sculpture and cites the work of Henry Moore as an important influence. Informed by allegories and parables, and straddling Western and Non-Western artistic traditions, Kadishman’s Totemic Crucifix penetrates the veil that separates art and anthropology.

An Art Deco Style Citrine Single Stone Pendant, claw set below geometric openwork surmount, to integral chain stamped "9ct"; Together with A Pair of Modern Earrings, on 9ct white gold post fittings.

A Modern Art Deco Style Diamond Set Bracelet, of geometric design, set throughout with channel set baguette cut and graduated brilliant cut stones, to concealed snap clasp, stamped "750" "18ct" "D527", 18cm long (overall weight 30.5grams).

BONHAMS. 'Impressionist & Modern Art'. Bonhams, 2012.Together withSOTHEBY'S. 'Modern & Post-war British Art. Sotheby's, 2015Together withBONHAMS. 'Under a Western Sky: The art of Newlyn and St Ives'. Bonhams, 2008

'John Piper'. The Penguin Modern Painters. Penguin Books Limited, 1948Together withIrish Museum of Modern Art. 'William Scott Paintings and Drawings'. Merrell, 2004Together with'Mondrian, Nicholson in parallel'. The Courtauld Gallery, 2012

OFFER WATERMAN & CO. 'Modern British Art'. Offer Waterman & Co, 2012Together withOffer Waterman & Co. 'Modern British Art'. Offer Waterman & Co, 2008Together withOffer Waterman & Co. 'Modern British Art'. Offer Waterman & Co, 2007

Paul DEBISON, Sara MATSON, Rachel SMITH and Chris STEPHENS and Michael WHITE. 'Modern Art and St Ives'. TATE Publishing, 2014

Leon Underwood (1890-1975) Modern British School Bronze Sculptor, Painter & Print Maker of Repute, he trained at the Slade School of Art, London, and later became a teacher. A fine original bronze on offer of the famous African Madonna, a Limited Edition of 8, this being No. 4. Signed and dated '38, fitted on a gnarled walnut base of the period. Overall height 14.5''. The bronze of fine colour and patination, in its original state.

Modern Art Glass Abstract Form Shaped Pedestal with a Leaf Design Top, Signed ' Habrap ' 8 Inches High.

Alistair Grant (1925- 1997) Modern Abstract Etching 'The Shoe', pencil signed to the margin; framed and glazed; Grant CV: Royal College of Art, staff, Head of Printmaking Dept. and Professor of Printmaking

Modern Military, Transport & Art collections in 3 albums & loose (many 100s)

An Art Deco chromed metal lamp standard, with modern canted and tapered rectangular shade, on walnut square base, 186cms high.

Three modern Royal Worcester figures and an Art Deco figure

Observer Books - a collection including, Clifford L B Hubbard, The Observer's Book of Dogs; British Wild Animals, Modern Art, Horses and Ponies, Postage Stamps, Wild Flowers, British Ferns, Astronomy, Geology, European Costume, Pond Life, Awards and Medals, Heraldry, qty

Mid century oak cased three train art mantel clock with presentation plaque, together with a modern quarts movement carriage clock. (2) (B.P. 21% + VAT)

Modern patinated bronze figure of a young woman on a high stool in Art Deco style, together with a pair of French spelter figures of street vendors 'La Bouch Bouquetiere' and 'Le Colporteur'. (3)(B.P. 21% + VAT)

Art Nouveau design metal mounted china pail with overall floral decoration, swing handle and separate metal base. Modern. 38cm high approx.(B.P. 21% + VAT)

VICTOR VASARELY (Pécs, Hungary, 1908 - Paris, 1997)."Untitled".Ink, watercolor, pencil and collage on paper.Work validated by Mr. Pierre Vasarely.Measurements: 46 x 30 cm; 58 x 40 cm (frame).In this piece the artist plays with the concept of darkness on the surface of the paper in which there are some blank spaces, thus enhancing the bichromy of the piece, and creating an image of great expressiveness and tension that is resolved by the conjunction of black and white. The artist has created on the surface of the paper, a composition whose form moves energetically, merging and separating from each other, in such a way that it suggests a kind of ordered chaos.Considered the father of Op Art, Victor Vasarely began his artistic training at the Muheely school, founded in Budapest by a student of the Bauhaus. He settled in Paris in 1930, where he created what is considered today as the first Op Art work, "Zebra" (1937). In Paris he worked as a graphic designer for advertising agencies. During this period his artistic style varied from figurative expression, towards a type of constructive and geometric abstract art, interested in the representation of perspective without vanishing points.between 1936 and 1948 he participated regularly in the Salon des Surindependents and in the Salon des Nouvelles Réalités. From 1948 he exhibited regularly at the Denise René Gallery. In the fifties his work approached the use of new materials and supports such as aluminum or glass. In the same way he began to make works of integration with space, such as Homage to Malevich. In the sixties he participated in numerous group exhibitions, such as The Responsive Eye at the Museum of Modern Art in New York, as well as solo exhibitions in Europe and America. Among the numerous awards he received throughout his life, the Guggenheim Prize (1964), the Art Critics of Brussels and the gold medal at the Milan Triennial stand out. In 1970 he was also named Knight of the Order of the Legion of Honor. He is represented in the museums dedicated to him in Aix-en-Provence, Pécs and Budapest, but also in the most important centers of contemporary art in the world, such as the Tate Gallery in London, the MoMA in New York, the Guggenheim in Venice or the Reina Sofia in Madrid.

SEGUNDO MATILLA MARINA (Madrid, 1862 - Teià, Barcelona, 1937)."Marina".Oil on canvas.Signed in the lower right corner.Measurements: 43 x 62 cm; 71 x 80 cm (frame).In this work, Segundo Matilla offers us an evocative coastal landscape, with a rotten wooden hut occupying the first line in front of the immense sea. Solitary sailboats are silhouetted against a horizon marbled with filtered light.Despite being born in Madrid, Matilla trained and developed his career in Barcelona. He studied at the School of Fine Arts in Barcelona, under the direction of Antonio Caba. An outstanding representative of Spanish impressionism, he participated in numerous exhibitions and official competitions held in Barcelona, such as the group exhibitions organized by the Círculo Artístico (1895), the International Exhibitions of 1891, 1894, 1896 and 1898 (honorable mention in 1891) or the Art Exhibitions of 1918 and 1919. In 1897 he obtained an honorable mention at the National Exhibition of Fine Arts in Madrid for his painting "Washerwomen of Galicia". He also showed his work in Paris, taking part in exhibitions such as the French Artists' Salon of 1897. Among his individual exhibitions, those held at the Salón Vilches in Madrid and, in Barcelona, at the Sala Parés (from 1907) and the Pallarés Galleries (1942), the latter a posthumous tribute, stand out. Several of his works exhibited there were bought by the Museum of Modern Art in Madrid, and many others were exported to America. Of special success was his very large exhibition (one hundred and fifty works) held at the Sala Parés in 1914, received with unanimous praise by the critics of the time. The following year it was presented in Madrid at the Salón Vilches, where all the works exhibited were sold. He achieved great public and critical success thanks to his landscapes of the Ampurdán, Camprodón, Port de la Selva and Cadaqués. A painter endowed with astonishing skill, a marked personality full of sensitivity, a mastery of drawing and pictorial technique and an overflowing capacity for work, Segundo Matilla was an excellent painter who cultivated absolutely all genres, being a great landscape painter and sailor, painting portraits of great quality, especially of people from the world of show business, and his flower paintings and still lifes were also highly appreciated. His paintings of bullfighting themes, painted with great spontaneity and full of movement, demonstrate his great fondness for the art of Cúchares. Within the landscape genre, Matilla showed a predilection for the evening hours, in the manner of Eliseo Meifrèn. He always painted in a totally intelligible way and without any kind of reflexive complications, ignoring absolutely all the artistic trends of his time. Segundo Matilla was also the teacher of outstanding painters of the following generation, among them his nephew, Joaquim Terruella, and Antoni Rosell Altamira. His work is currently exhibited in various museums, such as the aforementioned Museum of Contemporary Art in Madrid, the Prado Museum (works on deposit at the Economic Court of the Central Administration and the Municipal Museum of Malaga), the Pablo Gargallo Museum in Zaragoza and the National Art Museum of Catalonia, as well as in important international private collections.

AGUSTÍN ÚBEDA ROMERO (Herencia, Ciudad Real, 1925 - Madrid, 2007)."Astro".Acrylic on canvas.Signed in the lower right corner, titled and signed on the back.Measurements: 53 x 64 cm; 67,5 x 78,5 cm (frame).Great surrealist painter, framed within the so-called Spanish School of Paris, Agustín Úbeda was a great connoisseur of the History of Art and a man of wide culture. He entered the San Fernando School of Fine Arts in Madrid in 1944, where he was a disciple of Vázquez Díaz, Eugenio Hermoso and Joaquín Valverde, receiving the title of professor of drawing in 1948. He made his individual debut in 1949 at the Casino of Alcazar de San Juan, and in 1952, at the age of twenty-seven, he held his first personal exhibition in Madrid, which took place at the Xagra gallery. The following year he settled in Paris, thanks to a scholarship from the French Institute. After winning two consecutive prizes in the Young French Painting Contest, a second prize in 1956 and a first prize the following year, the doors of the prestigious Drouant-David gallery in Paris were opened to him, where he regularly exhibited his work from then on. In 1960 he received the Gold Mill of the XXI Manchegan Exhibition of Valdepeñas, and three years later he was awarded the bronze medal at the V Biennial of Alexandria. It was shortly before he made the leap, from the Biosca Gallery in Madrid, to the United States, the world center of art at that time. Professor Emeritus of the Complutense University of Madrid and Full Member of the Royal Academy of Doctors, Ubeda continued to receive important awards throughout his long career, especially highlighting the Grand Prize for Painting of the Circle of Fine Arts in 1980. Likewise, in 1998 the Centro Cultural de la Villa de Madrid exhibited a retrospective that covered his work between 1944 and 1998. That same year Úbeda held an anthological exhibition of thirty-five paintings at the Caja de San Fernando in Seville, dedicated to three of his constant themes: the landscape, the female nude and the still life. Úbeda has held individual exhibitions in several Spanish cities, as well as in France, Switzerland and the United States. He is currently represented in the Museums of the Villa in Geneva and Paris, the Museum of Fine Arts in Jaén, the Museum of Contemporary Art in Badajoz, the Museum of Modern Art in Valdepeñas, the Museum of Engraving in Marbella, the Municipal Museum in Toledo, the National Museum of Contemporary Art, the Camón Aznar Museum in Zaragoza, the Provincial Museum in Ciudad Real and, in the United States, the Museums of New Mexico, San Diego, Phoenix, Lowe in Miami and Evansille in Indiana.

A pair of modern reverse-glass printed botanical baluster lamp bases, decorated with flower sprays reserved on a white ground in the decalcomania manner, the baluster vases, 64cm high overallProvenance: The property of a lady and gentleman, removed from a Cheshire country house, believed to have been supplied by Colefax & FowlerCondition Report: No serious damage issues noted, reflecting these lamps lack of significant age, please note these are sold as decorative works of art only and these would need to be re-wired and tested by a professional electrician prior to use in a domestic setting. Some scuffs and chips to the giltwood mountsPlease refer to additional images for visual reference to conditionCondition Report Disclaimer

JAZZ/ SOUL JAZZ - LP REISSUES. A quality pack of 10 jazz LPs. All modern reissue pressings of classic albums. Artists/ titles include Nina Simone inc Pastel Blues (MOVLP543), Black Gold (MOVLP195). Art Blakey's Jazz Messengers With Thelonious Monk (WaxTime 771677), Wayne Shorter - Speak No Evil (B0020047-01), Dextor Gordon - Go (BST-84112), Sonny Rollins - The Bridge (WaxTime 771835), Wes Montgomery inc Bumpin' (00600753520413), Go! (WaxTime 772044), Carmell Jones - The Remarkable (JW-033) & Brown And Roach - Incorporated (Jazz Beat 7401 LP). Condition is superb Ex+/ Archive.

T.W. Camm Stained glass Art studios, Smethwick, pencil & watercolour design commissioned for Royal Artillery, St George's Garrison Church, Bulford Camp, Wilts Depicting 3 RA badges above five panels C. 1920's mounted on board in modern frame, 36cm x 49cm

Large modern art oil on canvas 120cm x 186cm

Collection of modern art glass

A box presented to HRH the Prince of Wales (later Edward VII) on his visit to Trichinopoly South India, Trichinopoly, 1875of rectangular form with hinged lid, the lid mounted in brass engraved with floral and foliate motifs, a central brass plaque engraved with the dedication Presented to: HRH The Princess of Wales by the Residents of Trichinopoly. 1875, the interior with blue velvet, baize to base 25 x 9.2 x 31.7 cm.Footnotes:The Prince of Wales's tour of India in 1875-6, was undertaken by the Prince of Wales to forge diplomatic links between the British Crown and Indian rulers. He visited over 21 towns and cities around the Indian subcontinent, which encompassed parts of modern-day India, Pakistan, Nepal and Sri Lanka. It was customary for the Prince to exchange gifts with each ruler he met and some of the most significant Indian works of art acquired during the tour, examples of which include a rosewater sprinkler and pan-dan form part of the Royal Collection. The present lot is fascinating as it was presented to the Prince of Wales for the Princess of Wales, Alexandra who was absent from this tour. This was because the Prince had intended to spend much of the tour hunting and shooting, hence his entourage consisted entirely of males. It is unknown how many gifts presented to the Prince of Wales were intended for the Princess, which makes the present lot unusual.For further information on this lot please visit Bonhams.com

An extremely rare and fine example of the Order of the Propitious Star of the Punjab (Kaukab-i-Iqbal-i-Punjab), INSTITUTED BY MAHARAJA RANJIT SINGH, SECOND CLASS, AWARDED BY THE SIKH COURT TO IMPORTANT COURTIERS, DIPLOMATS OR ENVOYS Lahore, dated [VS] 1894/AD 1837in the form of a radiating star in gold, in the centre a circular portrait of Maharajah Ranjit Singh seated on a chair holding a flower, in gouache and gold on paper under glass, the radiating arms consisting of five broad arms ending in a crescent shape and each inlaid with free-formed sectional tablecut diamonds, these interspersed with five narrower curved arms each inlaid with a principal tablecut diamond and tipped with a brilliant green cabochon emerald, the upper broad arm with small gold suspension loop below a gilded and enamelled bell- or parasol-shaped suspension, topped by a larger gold suspension ring, the reverse with a central roundel containing three lines of Punjabi text in nasta'liq script and the date in gold on a green ground, the broad arms with stylised floral motifs in gold on a green ground, the narrow arms cross-hatched in red enamel, in modern fitted case 9.4 cm. high overall; width 5.2 cm.; painting 20 mm. diam.; weight 57.8g.Footnotes:ProvenanceWith Spink & Son Ltd., London, 1965 (see below).Private collection, USA, acquired from Spink in 1965.Private collection, UK. PublishedSpink & Son Ltd., Numismatic Circular, 73 (September 1965), no. 5442 (illustrated).The inscription on the reverse reads:sri maharajah dehraj maharajah ranjit singh bahadur sat sri akal sahai 1894. 'Sri Maharajah Dehraj Maharajah Ranjit Singh Bahadur, may the Eternal Lord help him, [VS] 1894'.The date is Vikram Samwat 1894, which is equivalent to AD 1837.It is suggested in some sources that this Order, the Propitious Star of the Punjab (Kaukab-i-Iqbal-i-Punjab), was instituted in commemoration of the marriage of Ranjit Singh's grandson, Nau Nihal Singh. What is clear, however, is that in a more general sense, Ranjit Singh had become fascinated by the idea of European medals and orders, as a result of the well-known profusion of British and French officers and other figures at Lahore and in the Punjab more widely. Sir Henry Fane's medals had attracted the Maharajah's curiosity when he arrived at the court in 1837 for the marriage of Nau Nihal Singh (quoted in S. Stronge (ed.), The Arts of the Sikh Kingdoms, London 1999, p.229). General Allard, the French General in Ranjit Singh's service, also wore the Legion d'Honneur (instituted by Napoleon). In some accounts it was Fane who then suggested that medals be introduced at court. Other sources say that it was Captain C. M. Wade, Political Agent at Lodhiana, who developed the rules for granting the awards. But it was decided to make three fixed awards - the highest for Princes, the second class (as seen in our example) for 'relatives and brotherhood' of the Maharajah and the third for high dignitaries, colonels, and those providing honourable service. These would be differentiated by the quality of the stones: respectively, diamonds, diamonds and emeralds, or emeralds only. The recipient of our Order is unknown but its quality is of that intended for presentation to courtiers, sardars, governors of provinces, General officers, diplomats and envoys (see T. McClenaghan, Indian Princely Medals: a Record of the Orders, Decorations and Medals of the Indian Princely States, pp. 11-18; also discussed in Maharaja Ranjit Singh: First Death Centenary Memorial, Amritsar 1939, pp. 94-96).The portrait depicts Maharajah Ranjit Singh holding a flower, seated in one of the characteristic European-style chairs often seen in Sikh portraits (and here with the distinctive loop in the arm where it meets the backrest, as noted by Toor (for a painting of circa 1830-32 depicting Ranjit Singh with Hira Singh, in a similar pose and in such a chair, see D. Toor, In Pursuit of Empire: Treasures from the Toor Collection of Sikh Art, London 2018, pp. 80-81; see also another in the Kapany Collection, illustrated in S. Stronge, op. cit., p. 74, fig. 79). The present depiction seems to be unique amongst the known Orders (for which see below) in portraying the Maharajah full-length.Examples of these orders are very rare. A very similar medal, of the second class, which was presented to Lord Auckland in 1838, is now in the Sheesh Mahal Museum and Medal Gallery in Patiala (illustrated in S. Stronge (ed.), op. cit., p. 82, fig. 90). This has floral decoration on the reverse rather than an inscription.Another, of the third class, said to have been formerly owned by Duleep Singh, and which was sold at Christie's in 1981, is in the Victoria and Albert Museum (inv.no.IS.92-1981; illustrated in J. Guy, D. Swallow (edd.), Arts of India: 1550-1900, London 1990, p. 191, fig. 166).Two, of the third class, presented to the Political Agent General Henry Charles van Corlandt, are also in the Sheesh Mahal Gallery, Patiala.One, presented to Sir Frederick Currie, Bt. (1798-1875), who drew up the peace treaty after the First Anglo-Sikh War, appeared at Christie's, Islamic Art, Indian Miniatures, Rugs and Carpets, 28th & 30th April 1992, lot 138 (illustrated in the catalogue), and now in the collection of Gurshuran and Elvira Sidhu, San Francisco: illustrated in S. Stronge, op. cit., p. 187, fig. 215; see also note, p. 230). This had a miniature portrait in a more European style, after Emily Eden's portrayal), had fish and floral motifs on the reverse, and was lacking the bell and suspension loops.Another, one of a group of medals and swords presented to Colonel Sir Claude Martine Wade (1794-1861), was offered at Christie's, Art of the Islamic and Indian Worlds, 28th October 2020, lot 86, also dated VS 189[4]/AD 1838, but with the painting defaced or damaged, and with a cream and red ribbon.For further information on this lot please visit Bonhams.com

K.H. Ara (Indian, 1917-2001)Untitled (Still Life with Sunflower) signed 'ARA' lower centreOil and pastel on paper74.4 x 54.8cm (29 5/16 x 21 9/16in).Footnotes:ProvenancePrivate Indian Collection: acquired by the owner from Sotheby's New York, Modern and Contemporary South Asian Art, 10th September 2012, Lot 69.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

Syed Haider Raza (Indian, 1922-2016)Untitled (Bombay Street Scene) signed and dated '49 lower leftwatercolour on paper29 x 46.5cm (11 7/16 x 18 5/16in).Footnotes:The view depicted is from the northern end of Colaba Causeway looking over S. P. Mukharji Chowk (formerly Wellington Circle) to the Prince of Wales Museum and up the start of the southern end of Mahatma Gandhi Marg. Bombay is justly famous for the magnificent group of Victorian and Edwardian buildings of neo-Gothic, Indo-Saracenic and classical styles in this area, strung together to form varied sequences of facades and skylines amid broad streets lined with mature trees. The annual Kala Goda arts festival takes place in the stretch of Mahatma Gandhi Marg.S. P. Mukharji Chowk contains Wellington Fountain (1865). The Museum (1908) in Bijapur Indo-Saracenic style stands in its well-tended gardens. The Institute of Science (1910) is in Classical style and now incorporates the Cowasji Jehangir Museum of Modern Art; beside it stands Elphinstone College, in neo-Gothic style. The Rajabai Tower of 1878 stands lies beyond, the highest neo-Gothic building in the city at 79 metres high, rising above the University and High Court.At the date of this depiction, when 19th Century southern Bombay was a city cloaked in greenery, the streets are clean and traffic-free but alive with the mix of different peoples and trades, the conjunction of street activity and the architectural backdrop made for a memorably pleasant and interesting cityscape, caught in Raza's depiction with character and affection.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

Mohan Samant (Indian, 1924-2004)Untitled inscribed Mohan Samant '76 on reverse oil, watercolour and sand on canvas169 x 197cm (66 9/16 x 77 9/16in).Footnotes:ProvenancePrivate New York Collection.Gifted directly from the above to the present owner.Born in Goregaon, Maharashtra in 1924, Samant trained at the Sir J.J School of Art under Shankar Balwant Pasikar and graduated in 1952. From the outset of his career, Samant exhibited his work alongside his fellow Indian modernists, in seminal shows such as Progressive Artists' Group: Gaitonde, Raiba, Ara, Hazarnis, Khanna, Husain, Samant, Gade' at Bombay's Jehangir Art Gallery in 1953 and Eight Painters: Bendre, Gaitonde, Gujral, Husain, Khanna, Kulkarni, Kumar, Samant, curated by Thomas Keehn in New Delhi in 1956.Samant is known for an incredibly diverse body of work. He derived inspiration from a wide variety of sources – including the cave paintings of Lascaux and Pre-Columbian ceramics – and has boldly experimented with mixed media, incorporating acrylic, oil, wire and sand on his canvases. The present lot is an illustration of these influences and is perhaps best explained by Samant himself when he says: : '[...] I fuse the symbols of Hindu mythology and ancient Egyptian wall paintings with the modern-day art world of New York City. My aesthetic relationship to the vast, visual resources from antiquity to the present day has helped form my unique style of painting and serves to provide an ongoing stimulus to its continuous development.' (speaking in 1997, quoted in Y. Dalmia, The Making of Modern Indian Art: the Progressives, New Delhi 2001, p. 69).For a similar work sold in these rooms, see Bonhams, Dubai, Modern and Contemporary Arab, Iranian, Indian and Pakistani Art, 3rd March 2008, lot 97.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

Maqbool Fida Husain (Indian, 1915-2011)Untitled (Possibly a scene from the Mahabharata, depicting Vyasa) signed lower rightacrylic on canvas91.5 x 122cm (36 x 48 1/16in).Footnotes:ProvenancePrivate Indian Collection: acquired by the owner in Dubai from the artist in 2006. ExhibitedTimeless Treasures: A Collection of Modern and Contemporary Masters from across the region, Online Exhibition, Singapore Art Week, 22nd-30th January 2021Husain's first works depicting the Mahabharata were done for the Sao Paulo Biennale, held in September 1971, and it was in the catalogue for the Biennale, that he quoted K.M.Munshi, the distinguished scholar of Indian philosophy and epics, regarding the significance of the poem: 'The Mahabharata is not a mere epic; it is a romance, telling the tale of heroic men and women and of some who were divine; it is a whole literature in itself, containing a code of life, a philosophy of social and ethical thought on human problems that is hard to rival.' (K. Bikram Singh, Maqbool Fida Husain, New Delhi, 2008, p. 142)The present lot, painted in 2005, appears to have been inspired from the incidents or stories of the Mahabharata, with the depiction of Vyasa, its compiler, seated in the top right corner and two warriors aiming their bow and arrows at the horse. Husain continued to depict the epic in various forms for the remainder of his career. The Mahabharata appealed to him given its moral and emotional complexity, which encompassed the perennial human emotions of ambition, greed, love, violence, heroism, vengeance, and deceit.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