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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

Devi Prasad Roy Chowdhury (Indian, 1899-1975)An Inmate of the Harem signed centre right in Bengalipencil, pen and ink and watercolour with heightening in gold and white on paper laid down on board23 x 31cm (9 1/16 x 12 3/16in).Footnotes:ProvenanceAcquired by a previous owner in the late 1990s an auction in Cape Cod, Massachusetts.There are two labels on the reverse, one printed Exhibition/Modern (East) Indian Painting/Sent by Mr. O. C. Gangoly,/Calcutta, with the number of the picture (20), the title and the name of the artist in ink, and a second typewritten label with the price of $270.'He [Chowdhury] did not attempt the emotional approach and peter out into sickly sentimentality. If his women were decorative they were meant to be so [...] They were not intended to be manifestations of a spiritual ideal, but to frankly convey their human charm...' (Karl Khandalavala, 'Decorative Artist', in P. R. Ramachandra Rao (ed.), Chowdhury and his Art, Bombay 1943, p. 73, quoted in N. Tuli, The Flamed Mosaic: Indian Contemporary Painting, Ahmedabad 1997, p. 195, n. 48).Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),RONDA, SPAINoil on board, signed and dated 2001image size 45cm x 48cm, overall size 63cm x 66cm Framed and under glass.Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In the most recent Scottish Contemporary Art Auction (12th Sept 2021) lot 506 "Capileira, Spain" by Sheila Macmillan sold for £1,100 (hammer).

* JOHN BYRNE RSA (SCOTTISH b 1940),SELF PORTRAIToil on board, signed 'Patrick'image size 55cm x 40cm, overall size 83cm x 68cm Framed and under glass.Note: John Byrne was born in 1940 in Paisley, Scotland and attended the Glasgow School of Art from 1958 - 63 where he excelled. In his final year he was awarded the Bellahousten Award, the school's most prestigious painting prize, and spent six months in Italy. John Byrne has combined several careers - playwright, theatre designer and artist. In his most famous play, 'The Slab Boys', Byrne drew on his experience as a paint mixer in a Paisley carpet factory. During the 1980s Byrne wrote the cult television series 'Tutti Frutti', followed by 'Your Cheatin' Heart', which used country and western music as a backdrop to a comedy of Glasgow life. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow. In 2007 he was made a full member of the Royal Scottish Academy and is an Honorary Fellow of the GSA, the RIAS, an Honorary Member of the RGI and has Honorary Doctorates from the Universities of Paisley, Glasgow, Aberdeen and Strathclyde. Byrne often signs his paintings "Patrick" and he is unquestionably one of Scotland's most celebrated living artists.

* EDWARD SUMMERTON RSA,ONE NIGHT IN BANGKOKmixed media on paper, signed; titled in newspaper article versoimage size 40cm x 50cm, overall size 62cm x 69cm Mounted, framed and under glass.Note: The Royal Scottish Academy entry states: "Edward Summerton RSA is a critically-acclaimed artist whose work has expanded from the practice of painting into photography, sound works, prints, objects, collaborations and the organising of events and exhibitions. He has recently curated Blind Sight where 50 visual artists were invited to submit sound works to be exhibited as a jukebox installation; Doctor Skin, a unique public art event where artists designed temporary tattoos to be worn by the public; Bird of the Devil, a publication collaborating with 17 writers, and Digital VD, a one hour film work involving one minute films by 60 artists. Summerton is Senior Lecturer in Art and Media at Duncan of Jordanstone College of Art, Dundee. His work has been exhibited in solo and group exhibitions worldwide and is held within public collections including the BBC and the Museum of Modern Art, New York (MOMA)". Edward Summerton's paintings very rarely appear at auction.

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013),THE PORTRAIT OF JULIET AND DAVIDoil on board, signed and dated '76overall size 154cm x 92cmUnframed, as intended.Provenance: This deeply personal portrait is of Juliet Lister, who became John Bellany's second wife, and her son David (Gray). After Juliet's tragic suicide this painting was held by her family and in recent times it passed to David Gray, Juliet's son and the current owner of the picture.Note: By 1973 Bellany was head of the faculty of painting at Croydon College of Art. His marriage to Helen had foundered, his personal life was in disarray and eventually, in 1979 he married Juliet Lister, a mature student. Juliet however was beset by mental health problems which necessitated frequent and lengthy spells of time in hospital. Bellany’s work during this period predominated in dark themes dealing with fate and the passing of time. Despite the torment in his personal life, Bellany’s paintings were finally gaining recognition and in the same year he was a joint winner of the Athena Art Award, at the time the most valuable art prize in the UK. Alongside a host of solo exhibitions in galleries, in 1986 a major retrospective of his work was held at the Scottish National Gallery of Modern Art and in 1988 at the Hamburg Kunsthalle. A crisis in his health brought Helen back into Bellany’s life. A distant presence over the years as the mother of their three children she, by necessity, now would prove his saviour, forcing him to seek medical attention for the chronic liver disease that was seriously endangering his life. After Juliet’s death in 1985 John and Helen remarried but Bellany’s health continued to deteriorate. By the end of 1987 the only remaining medical option was a liver transplant for which he was eventually considered and tested. He then joined the waiting list for a donor. On 30 April 1988, an extraordinary opportunity presented itself. Exceeding all expectations, the transplant granted the artist a further 25 years of life.

* HERBERT WHONE (BRITISH 1925 - 2011),THE OLD FARMHOUSE oil on canvas, signed and dated '60 (or possibly '66)image size 67cm x 113cm, overall size 81cm x 126cm Framed.Note: Herbert Whone was born in Bingley, West Yorkshire, where his parents were both employed in the cloth mills. He was encouraged by his mother to ''improve'' himself culturally, and from an early age took photographs and practised the violin. After education at the Royal Manchester College of Music (now the Royal Northern College of Music) and Manchester University, he secured positions in the Royal Opera House Orchestra and the BBC Symphony Orchestra, before moving to Glasgow in 1955, where he took up the position of deputy leader of the Scottish National Orchestra. He was inspired by Glasgow's changing fortunes and painted a series of notable canvases featuring the beauty of a city and surrounding areas in transition. His paintings of trams and shipbuilding on and around the Clyde, to pick two of his fondest subjects, were presented with warmth and beauty, almost impressionistic in their depiction of glowing sunsets and use of rich colour. Herbert Whone (often incorrectly catalogued as Herbert Bannister Whone, his father's name) continued to paint long after his departure from Glasgow in 1964 and made several trips back to Scotland to paint, but It's the relatively small body of work produced in and around the city that stands testament to his exceptional talent. Whone's paintings, while highly collected and critically acclaimed, are still to attain the full recognition and commercial value they deserve and will surely eventually achieve. Known collectors of Herbert Whone's paintings included Joan Eardley, Margot Sandeman, Cyril Gerber, Johnny Beattie and Magnus Magnusson. Growing collector interest in Herbert Whone has seen his auction record price being beaten on an almost annual basis in recent years. This is even more impressive as auction appearances of his larger paintings are becoming ever rarer. However, during the last 12 months the prices achieved in our auctions for Herbert Whone paintings have been £7000, £8000, £13,000 (at the time, a new auction record) and in The Scottish Pictures Auction on 24th September, lot 2030 (Tram & Figures in Rain, Byres Road) set yet another world auction record selling for £18,000 (hammer). Public collections include: Glasgow Museums & Galleries, The Scottish National Gallery of Modern Art, The Hepworth, Kirklees Museums & Galleries, Salford Museums & Galleries and The Mercer Gallery (Harrogate). A copy of "Herbert Whone, Glasgow - In Transition" (a 112 page illustrated hardback book) accompanies this lot.

* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003), REFLECTION (VESSEL FOR TEARS), 1992oil, sand and acrylic gel on canvas, signed verso, titled labels versoimage size 179cm x 50cm, overall size 180cm x 51cm Framed.Artist's labels verso.Note: Neil Dallas Brown was born in Elgin, Moray and studied at Dundee College of Art, Patrick Allan Fraser School of Art in Arbroath and the Royal Academy Schools. He won a travelling scholarship to the continent and a number of notable awards and prizes. In 1967 he visited New York with a Scottish Arts Council bursary; in 1970 took part in the Arts Council of Northern Ireland Open winning a major prize, and in 1981 won a bursary to the Scottish Arts Council studio in Amsterdam. From 1968-78 he was visiting lecturer at Dundee's Duncan of Jordanstone College of Art, then joined Glasgow School of Art where he taught for some 20 years. He lived in Fife until his death in 2003. Dallas Brown participated in dozens of group shows but also had a series of prestigious solo shows, notably at Compass Gallery in Glasgow, a series in the late 1960s at Piccadilly Gallery in London, a touring retrospective in 1975 from Stirling University, Perth Art Gallery 1987, Thackeray Gallery London in 1989 and Glasgow School of Art 1998. Birds and humans are featured in Dallas Brown's pictures, which are tinged with mystery, menace and surrealism. He said ''Painting is love. Painting is an affectionate devotion''. More than 50 of Neil Dallas Brown's paintings are held in major public collections in the UK including at Glasgow Museums & Galleries, Fife Council, Hospitalfield, The Glasgow School of Art, Edinburgh City Collection, Nottingham Art Gallery, The Walker Art Gallery (Liverpool), Aberdeen Museums & Galleries, Dundee Museums & Galleries, The Fleming Collection (London), Paisley Museums & Galleries and The Scottish National Gallery of Modern Art.

* LEON MORROCCO RSA RGI (SCOTTISH b 1942),FISHING BOATSoil on board, signedimage size 92cm x 92cm, overall size 94cm x 94cmFramed.Note: Leon Morrocco is a highly skilled draughtsman with an international reputation whose paintings in oil, gouache and pastel, feature landscapes and still lifes inspired by his travels to Spain, France, South America and Australia. Leon Francesco Morrocco was born in Edinburgh in 1942, the first son of the artist Alberto Morrocco. He studied at Duncan of Jordanstone College of Art, Slade School of Art in London and Edinburgh College of Art. In 1968 he won an Italian government scholarship to study at the Accademia di Brera in Milan. He was lecturer in Drawing and Painting at Edinburgh College of Art from 1965 to 1968, and then at Glasgow School of Art from 1969 to 1979. In 1979 he moved to Australia as Head of the Department of Fine Art at the Chisholm Institute in Melbourne. He retired in 1984 to devote all of his time to painting. In 1991, he returned permanently to Britain. His work can be found in many notable public and private collections including the Scottish National Gallery of Modern Art, H.R.H Princess Margaret, Leeds Art Gallery, The Nuffield Foundation, The Scottish Arts Council, Lillie Art Gallery, the Australian Government Collection, Queensland Art Gallery and numerous prestigious corporate collections.

* PHILIP BRAHAM (SCOTTISH b. 1959),SIC TRANSIT GLORIA SCOTIAE (SO PASSES AWAY THE GLORY OF SCOTLAND)oil on canvas, signed, titled and dated 1990 versoimage size 97cm x 127cm, overall size 103cm x 134cmFramed.Note: A graduate from Duncan of Jordanstone College of Art and Design, Philip Braham first came to prominence in the 1980s with the rise of figurative painting in Scotland, which culminated in "The Vigorous Imagination" an exhibition at the Scottish National Gallery of Modern Art in 1987. His career includes 22 solo exhibitions to date; in addition to numerous group shows both nationally and internationally. Among the awards received are the prestigious Royal Scottish Academy Guthrie Award for painting and the Royal Scottish Academy Morton Award. Recent exhibitions include solo shows at Raab Gallery Berlin, The Scottish Gallery and at the Royal Scottish Academy for the Edinburgh International Festival contribution in 2010. A longstanding interest in continental aesthetics informs his pedagogical role as Course Director for Art, Philosophy and Contemporary Practices at the University of Dundee. Philip Braham is represented by the prestigious Scottish Gallery (Edinburgh) and his most recent highly successful solo show "Closer to Home" at The Scottish Gallery (his sixth at the venue) was in January 2021. It was subsequently announced that this exhibition would also be presented at Perth Museum & Art Gallery from 30th April to 5th June 2021.

Four pieces of modern Art Glass, comprising three vases, one of slightly ovoid form, another of tapering cylindrical form, and the third of trumpet form, tallest H29.5cm, and a flared bowl, D27cm, each with merging brown decoration.

GREAT BRITAIN (1952-PRESENT DAY) QUEEN ELIZABETH II 2010 SILVER MEDAL- The inspiration behind the hands design by Gordon Summers came from the art of engraving and working with his hands. These skills and techniques are relevant to modern minting process. In the centre of the medal is a replica portrait of King Charles II representing the traditional way of creating hammered coins. This punch was one the last used to make hammered coinage in Britain. The Medal Obverse design is a continued theme of the Restoration of the Monarchy and the modern machinery used to produce our coinage today. The Medal weighs 155.517 grams and is 65mm in diameter and has a maximum mintage of just 500. Certification number 016

A large modern Chinese blue and white bottle vase and assorted other asian art including two abacus, wood printing blocks, vase stands, sandles and gaming counters etc

Cookery.- M[ontagu] (W[alter]) The Queens Closet Opened. Incomparable secrets in physick, chirurgery, preserving and candying, &c, 3 parts in 1 vol., engraved portrait frontispiece, a few short marginal repairs, the odd ff. partly adhering to its facing counterpart, some light creasing or occasional toning to margins, but a good, clean copy generally, ink inscription to endpaper, modern calf, [Wing M102; cf. Simon 1239; Cagle 838-840], 12mo, for Nath. Brooke, 1674.⁂ A rare edition, ESTC lists 4 copies copies in the UK and 1 in the US. In three parts: "The Queen's cabinet opened, or, The pearl of practice", "A Queen's delight, or, The art of preserving, conserving, and candying" and "The compleat cook : expertly prescribing the most ready wayes, whether Italian, Spanish or French, for dressing of flesh and fish".

Collection of silver plate, EP, EPNS to include: Italian Sabatini modern vase; EPNS hammered bowl on four raised feet; EPNS sugar bowl in the form of a coal skuttle with shovel; various items of flatware, Art Deco serving dish, teaware etc (1 box - Q) 

Modern literature. POWELL (Anthony) A Dance to the Music of Time, first editions in dust jackets of: Casanova's Chinese Restaurant, The Kindly Ones, The Valley of Bones, The Soldier's Art, Books do Furnish a Room, also - At Lady Molly's, 1957 (lacking jacket), and The Acceptance World (reprint 1961); GREENE (G) The Quiet American, 1st edition 1955, dust jacket; a few others including Iris Murdoch (4), and Poetry in Pamphlet series, 20 vols. (together 38 vols.)

Literature, various. PIESSE (G W Septimus) The Art of Perfumery, 3rd edition 1862, 8vo, illustrated, original cloth; ACCUM (Fredrick) A Practical Essay on Chemical Re-agents or Tests, 1816, 8vo, vignette title, slightly stained, 60pp catalogue at rear of Apparatus & Instruments manufactured and sold by Accum & Garden, plus 24pp. publishers catalogue, untrimmed, later cloth; SOWERBY (G B) Popular History of the Aquarium, 1857, square 12mo, coloured lithographic plates, half calf; PERRETT (S B) Guide to Puzzledom, Bristol 1888, original paper wraps bound in, modern boards; YEARSLEY (Ann) Poems on Various Subjects. London: for the author 1787, 4to, bound with - Earl Goodwin, An Historical Play, 1791, worn binding, later ownership name of Edwin (?) Yearsley, dated [18]91; various others (23)

An Art Deco style (modern) patinated bronze of two angel fish; the lower angel fish with fin signed 'Altdorp', black, angular marble base (37cm highest point)

δ Banksy (b.1974)Morons (LA Edition)Screenprint in colours, 2006, numbered from the edition of 500 in pencil (the edition was 100), printed by Modern Multiples, Fine Art Editions, Los Angeles, published by Pictures on Walls, London, on Arches 88 wove paper, the sheet trimmed slightly on all four sides, 525 x 708mm (20 5/8 x 27 7/8in)This work has been authenticated by Pest Control Office and a new Certificate of Authenticity will be issued to the buyer.WE ARE PLEASED TO OFFER FREE INSURED SHIPPING WORLDWIDE FOR ALL LOTS IN THIS AUCTION.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

School of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652). "Head of Saint John the Baptist". Oil on canvas. Relined. Measurements: 46 x 63,5 cm. In this canvas the author deals with a theme of great dramatism, very much in accordance with the popular sensibility of the Spain of the time, strongly influenced by the Counter-Reformation, which demanded from the art a realistic language so that the faithful could understand and identify with what was represented, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. Thus we see the decapitated head of the Baptist, placed on the silver tray on which it was given to Salome. However, there are no narrative elements to tell the story; it is a static, devotional composition in which we see only the severed head on the tray placed on a table dressed in a rich red cloth. The space is undefined and closed, with a dark background worked in neutral tones against which the saint's head stands out, strongly illuminated by a light of Tenebrist heritage, directed and contrasted, which leaves the secondary areas of the composition in semi-darkness, focusing the viewer's attention on the saint's dead face. From its subject matter and style we can situate this painting within the Neapolitan school of the 17th century around the figure of José de Ribera, a key painter belonging to the generation of the great masters of the Golden Age, trained in Italy as a self-taught artist. He first came into contact with naturalism when he arrived in Rome in 1615, where he came into contact with the Nordic Caravaggists, from whom he adopted the smooth, hurried technique, ugliness and rigorous drawing that shaped his style during his Roman period. However, in 1616 he moved to Naples and settled there permanently. In Naples Ribera became the leader of the group of Neapolitan naturalists and an important circle of painters grew up around him. Despite his stay in Italy, Ribera sent numerous works to Spain, and his language would play a key role in the development of the Baroque in our country. His work would bring tenebrism and, later, the full Baroque, long before it arrived directly in Spain, thus influencing the new generations of painters. On the other hand, once his Roman period was over, his painting was characterised by a very loose, Venetian-influenced brushstroke, which also influenced the work of his followers. Thus, Ribera's school developed a style of dramatic, contrasting, clearly tenebrist lighting, which is nevertheless tinged by a Venetian brushstroke that is impastoed and fluid. Thus, here we see an artificial, directed spotlight that penetrates the scene from the upper right corner and directly illuminates the saint's face and hands, leaving the rest in semi-darkness. And we also find that totally modern brushstroke that models the saint by means of the light, that touch of pasty, expressive brushstroke that the artist learned directly from Ribera's work.

Ɵ PARK, Mungo. (1771 - 1806). The Journal of a Mission to the Interior of Africa in the Year 1805. John Murray, London. 1815. single volume, second edition, 4to., (269 x 220mm), modern quarter black leather over marbled boards, gilt lettering and raised bands bordered in gilt to spine, seemingly complete, half-title, advertisement to the second edition, 'African words' list, appendix, 1 folding hand-coloured map. This second edition, revised and corrected with additions, was printed in the same year as the first edition. It appears to be an enlarged second edition with a variant of the same title found in Oxford Bodleian Library (CC 121 Art. Seld.), with a pagination of only 219 pages, whereas the present volume includes 373 pages. Mungo Park was a Scottish explorer of West Africa, and this text records his travels of the upper Niger in 1805. Following a previous exploration in 1796 he published a text in which he theorised that the Niger and Congo merged to become the same river, a theory which was later disproved. Park was regarded as an enemy of many of the tribes who lived along the route on which he travelled, he drowned whilst trying to escape attacks from local natives. His observations are striking for lacking in emotion, and this set a standard that future travel writers would follow. (1) Condition Report: clean and bright binding, first and last few leaves lightly foxed. Condition Report Disclaimer

watercolour on silk and with ivory sticks, capped with silvered metal, inscribed, signed and dated THE ISLAND OF THE FAY/ PHOEBE A. TRAQUAIR/ 1889, set within card box32.5cm x 60cm (open)Footnote: Note: In the late 1880s the Irish-born Phoebe Anna Traquair was involved in a range of crafts in addition to painting her second Edinburgh mural cycle at the Song School, St Mary’s Episcopal Cathedral (1888-92). In addition, she was working on embroideries and beginning to engage in both commercial book illustration and finely illuminating modern British poetry, notably Alfred Lord Tennyson’s In Memoriam.Among her more everyday domestic crafts was fan painting. She first practised it at home in Dublin, winning a medal at the age of fourteen. A few years later, as a student attending the Royal Dublin Society’s art school, a second fan was awarded a Queen’s Medal in the school’s submission to South Kensington’s National Competition. Two later fans are known. The first, dated 1888, was likely made for her personal use as it subsequently passed to her daughter and granddaughter and thence to the V&A in the mid-1970s. Given the title The Sleeping Beauty, it was painted with a scene of a sleeping girl watched by Cupid.Traquair painted this fan the following year. Its subject, The Land of the Fay, was taken from Celtic lore, and gave her the opportunity to explore non-classical imagery. A boat is being steered to Tir Na Nog, the ‘land of the young’. The waters are peopled by mermaids and fish. In design it is unique, although in 1905 she would enamel a stunning mermaid necklace (also in the V&A), and her delight in patterning the swirling waters would soon find reinterpretation in The Souls of the Blest, the second panel (1889-91) of her embroidered draught screen The Salvation of Mankind (c.1886-93 (Edinburgh Museums and Galleries, City Art Centre), and later in her ceiling decoration The Six Days of Creation (1896) in the South Chapel of the Mansfield Place Church (Mansfield Traquair Centre).With thanks to Elizabeth Cumming for her footnote for this lotNote: Please be aware that this lot contains material that may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/

oak, with iron fittings106cm wide, 166cm high, 45.5cm deepProvenance: From The Millinery Works Collection.Footnote: Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p. 153Note: This model is the first time an arched apron was employed by the designer.Note: Ambrose Heal is widely considered a pioneer of modern furniture design. After studying at the Slade School of Art, Heal joined the family furniture business established by his great-grandfather John Harris Heal in 1893, where he initially worked in the bedding department. Not long after, he began designing furniture for the firm. These designs adopted simple lines, using unvarnished oak or chestnut and were far more robust in appearance, much to the disdain of his sales colleagues who were used to selling far more elaborate furniture that took inspiration from the early 18th century. Despite this, Heal was recognised in 1900 when he won a silver medal at the Paris Exhibition for a bedroom suite. He was soon appointed chairman of the company in 1913; he was the driving force behind their renewed marketing efforts and expanded the range of products produced in a bid to appeal to the emerging middle class. Heals' furniture embraced the Arts & Crafts ideals, and while he did accept some machinery into the production line, he was resolute in ensuring that the quality of craftsmanship never suffered as a result. As well as chairman of the family business, Heal was also a founding member of the Design & Industries Association, which campaigned to increase the standard of British Design under the slogan ‘Fitness for Purpose’. Early Heal’s designs clearly demonstrate an admiration for Arts & Crafts, but as tastes changed the company was able to innovate quickly and began to embrace stylistic influences from Art Deco and Modernism. Before his retirement from the family firm in 1959, Heal was knighted in 1933 and appointed a Royal designer for industry in 1939.

patinated gilt bronze, with Daum mottled glass shade, stamped E. BRANDT, engraved DAUM NANCY FRANCE with Cross of Lorraine160cm highFootnote: Literature: Kahr J. Edgar Brandt: Master of Art Deco Ironwork, New York, 1999, pp. 156-7, pl. 166.Kahr J. Edgar Brandt: Art Deco Ironwork, New York, 2010, p. 133, pl. 184 et p. 134 for a view of the design in the Brandt showrooms at 101 boulevard Murat, Paris in about 1923.Note: Edgar Brandt was a celebrated Art Deco designer working in metal producing both private and public works. He celebrated the past but was also thoroughly modern. He understood traditional materials and chose to explore their potential, besides using hand-tools, he also relied on machines. Brandt set up a workshop in 1901 and by 1925 was exhibiting on the world stage at the Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exposition of Decorative Arts and Modern Industries). A design he showed on this occasion was La Tentation, a lamp featuring a serpent. A subject of antiquity that appeared in ancient Greek, Roman and Egyptian culture as a creature to both be feared and revered. It was an exotic motif also employed by other leading Art Deco designers including René Lalique, Jean Dunand, Albert Chereut and Paul Jouve. The serpent was a recurrent motif in Brandt’s work appearing on andirons, vases, cachepots, paperweights and incense burners, but is perhaps best remembered in his two lamps designs both of which were produced in bronze between 1920-26. This present example La Tentation being the larger of the two, the smaller being referred to as the Cobra. Both lamps were made to order and available in two sizes and this present lot is the larger version. They were of high quality, not only in terms of the sophistication of the design, but also in their execution and the attention paid to their finishing. Brandt employed specialists to patinate the pieces. La Tentation was a great commercial success and remain highly sought after still today by collectors.La Simplicitée lamp by contrast illustrates Brandt’s passion for iron. The textured circular base supports soaring vertical elements conjoined by scrolling and foliate forms. Brandt’s lamp offered his customers move versatile lighting options than traditional fixed chandeliers provided.IMPORTANT INFO FOR ‡ LOTSLots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.Collection of Purchased ‡ Lots:For items marked with the ‡ (denoting additional VAT payable at a reduced rate of 5% on the hammer price) additional time should be allowed for Customs clearance by HMRC if the item is to remain in the UK. For items being exported out of the UK these items can be shipped via Crown Fine Art or via another approved shipper with a temporary admissions account.

A set of four Kandya Ltd Jason chairs designed by Carl Jacobs, beech with ebonised legs and stretchers, applied Kandya labels, 73cm. high, (4) Provenance Private collection Literature Austerity to Affluence, British Art & Design 1845-1962, Fine Art Society, page 24 for comparable chairs illustrated Lesley Jackson, Modern British Furniture Design since 1945, page 80-83 for comparable examples. Charlotte & Peter Fiell 1000 Chairs, Taschen, page 270, this design illustrated.

A QUANTITY OF ASSORTED PICTURES AND PRINTS TO INCLUDE MODERN ART

A QUANTITY OF ASSORTED PICTURES AND PRINTS TO INCLUDE MODERN ART

A METAL MODERN ART FIGURE OF A LADY PLAYING A CELLO ON WOODEN PLINTH

FILM MAGAZINES AND MEMORABILIA TO INCLUDE 1966 Doctor Zhivago Calendar, "Picture Post" with Sophia Loren cover January 1956, "Picturegoer" with Kim Novak cover July 1957, "Picture Show & Film Pictorial" July 1957, August 1957, October 1957, December 1957, "The Modern Boy's Film Star Album" with Will Hay cover, souvenir booklet for the Cecil B. DeMille film "The Ten Commandments", "Picture Show Art Supplement" February 1931 "The Blue Angel" together with film related sheet music including Judy Garland's "Over The Rainbow" and two Disney pieces

Bulova 10k gold filled rectangular gentleman's wristwatch, case no. 9125xxx, silvered dial with Arabic numerals, baton markers and subsidiary seconds within an Art Deco stepped case, 10 AE 17 jewel signed movement, black strap, 25mm-Movement - currently functioning.Dial - appears original with tarnished appearance and would benefit with a clean.Glass - light marks.Hands - light marks.Case - typical light surface marks as expected for the period - see images.Crown - adjusting correclty.Strap - modern replacement with mild wear.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained 

Attractive Rolex Art Deco platinum and diamond set lady's cocktail watch, case serial no. 192xxx, signed rectangular engine turned dial with Arabic numerals in a stylised case set with old-cut diamonds, Prima timed 6 positions 15 jewel movement, modern black leather strap, 41mm x 15mm Movement - currently functioning.Dial - good.Glass - light marks.Hands - matching, light marks.Case - not signed, good for the period - see images.Crown - adjusts correctly.Strap - modern and good condition.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained

ANTONI CLAVÉ I SANMARTÍ(Barcelona, 1913 - Saint Tropez, France, 2005). Untitled. Mixed media and collage on cardboard. Signed in the lower right corner. Size: 34,5 x 24,5 cm; 62 x 52 cm (frame). Antoni Clavé was a multifaceted artist who synthesised figuration with abstraction, the effects of trompe-l'oeil with the strength of matter, the incorporation of the object with the gestural stroke and the sources of tradition with the concerns of the avant-garde. He went into exile in Paris and became friends with Pablo Picasso, which led him to immerse himself in the world of collage and assemblage and to become a researcher of all kinds of textures and materials, which he used to create his works, as in the case of the one we are auctioning here. Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop a work marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He was already enjoying great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In 1952 he made the sets for the film "Hans Christian Andersen", by Charles Vidor, and was nominated for an Oscar. In 1954 he gave up decorating to devote himself to painting. In the 1960s he painted a tribute to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. Of particular relevance is the theme of the knight with his hand on his chest, a reference that would be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage, and inventing new ones such as "papier froissé", the result of a chance use of aerosol on crumpled paper. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to him that made him one of the most prestigious artists of his generation. In the 1980s he dedicated a series of works to Picasso under the title "To Don Pablo". His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennial in 1954 and at the Tokyo International Biennial in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.

MATÍAS PALAU FERRER (Montblanch, 1921-2000). "Woman with flowers". Oil on canvas. Signed in the upper left corner. Size: 98 x 78,5 cm; 106 x 87 cm (frame). In this work Maties Palau Ferré offers us a beautiful scene of colour and light, based on a rigorous composition starring a young woman who offers the spectator a vase with flowers, and a clearly modern concept of space, of cubist heritage. In this way, Palau Ferré overcomes classical forms to show us another way of seeing reality, freed from the chains of learning, the fruit of experimentation and reflection. He studied at the Royal Catalan Academy of Fine Arts of Saint George, Barcelona, and moved to Paris in 1957, where he was one of Pablo Picasso's disciples. He began with some cubist-inspired works on oil canvases. Over the years he also did some ceramics and a few sculptures. After coming to fame in Spain he exhibited in several foreign countries, including France, the UK and the USA. His most important works are Woman and Moon, Montblanch and Guer-Blanc. Palau Ferré became notorious for his sudden mood swings, which led him to burn his oil paintings in 1974 after a dispute with a gallery owner. As a protest against what he defined as the "prostitution of art", he continued to systematically burn all his oil paintings that came into his possession over a period of about twenty years. He usually scattered the ashes of his paintings ceremonially in the Francolí River in his homeland, but some of the ashes of his canvases were saved and became part of an art exhibition in Pennsylvania, USA.1 His prolonged protest led him to stop painting oil canvases and to prohibit the few that survived from being exhibited until 1989. In his last artistic phase he painted only in India ink on thick paper using a technique of his own invention. He always signed his works with his two surnames "Palau Ferré". Palau Ferré died on 1 January 2000 in Montblanch and the town council named a street after him that same year. Months later, the Palau Ferré Art Museum was inaugurated, where some of his works are exhibited, including some rare canvases that were saved from burning.

ANTONI TÀPIES (Barcelona, 1923- 2012) and JOAN BROSSA CUERVO (Barcelona, 1919 - 1998)."El pa a la barca".Contains 22 lithographs on Vélin Guarro paper, copy 89/100.Hand signed and justified by both artists.Measurements: 40,5 x 29 x 3 cm."El pa a la barca" is a book illustrated by Antoni Tapiès and text by Joan Brossa, 1963, which incorporated 22 original lithographs and collages-découpages by the artist on Vélin Guarro paper.Co-founder of "Dau al Set" in 1948, Tàpies began to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In 1953 he had a solo exhibition at Martha Jackson's New York gallery. From then on, his exhibitions, both collective and individual, were held all over the world, in outstanding galleries and in museums such as the Guggenheim in New York or the Modern Art Museum in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. Self-taught, Tàpies has created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style but full of symbolism, giving great importance to the material substratum of the work. It is worth mentioning the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous awards and distinctions, including the Praemium Imperiale of Japan, the National Culture Award, the Grand Prix de Painting in France, the Wolf Foundation of the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Award for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). Antoni Tàpies is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

FRANCISCO FARRERAS RICART (Barcelona, 1927).Untitled, 1964.Mixed media on paper adhered to board.Presents inscription on the back.Signed, dated and located on the back.Measurements: 83,5 x 58,5 cm; 85,5 x 60 cm (frame).Francisco Farreras Ricart began young to develop his artistic vocation thanks, at least at the beginning, to Antonio Gómez Cano de Murcia and Mariano Cossío, when he began to study in the School of Arts and Trades of Santa Cruz de Tenerife. He continued his apprenticeship at the San Fernando School in Madrid, where he obtained the title of Professor of Drawing in 1949, and in Paris, Belgium and Holland thanks to his study trips. At the end of the 50's his style was geometric, using thick materials; later, when he discovered silk paper, he developed the possibilities of this material with a large number of collages, above all, and his work could be seen, since 1954 when he began his professional artistic career, in numerous cities both in Spain and abroad (Madrid, New York, Munich, Logroño, Gijón, Elche, Lisbon, Oporto, Alicante, Berlin, Buenos Aires, Granada, Lahr in Germany, Mallorca, Geneva, California, etc.). It is also preserved in numerous private collections around the world and in institutions such as the Museo Nacional Centro de Arte Reina Sofia in Madrid, the Carnegie Institute of Pittsburgh in Pennsylvania, the Contemporary Art Center of Almada in Portugal, the Honolulu Academy of the Arts in Hawaii, the Chaux de Fonds Museum of Fine Arts in Switzerland, the National Museum of Modern Art in Paris, the Museum of Contemporary Art in Madrid, the Museum of Fine Arts in Bilbao, the Patio Herreriano Museum in Valladolid, the Museum of the 20th Century in Vienna, Austria, etc.

MANOLO QUEJIDO (Seville, 1946)."Nudes", 1980.Oil on board.Signed and dated 2-7-80, in the upper left corner.Provenance: acquired by the parents of the present owner, directly from the artist.Measurements: 100 x 70 cm; 109 x 80 cm (frame).Manolo Quejido is considered one of the most outstanding artists of the generation that practiced the new figuration. He was an integral member of the New Figuration of Madrid and a pioneer in the use of computers for creative purposes in Spain. His painting moves between the everyday and the monumental, and is characterized by a vibrant chromatism charged with a vital and festive joy. His artistic production, in which he adopts an ironic and provocative attitude, draws from the figurative tradition, which he resolves in large formats with large areas of color and gestural brushstrokes. In 1997 the IVAM Valencian Institute of Modern Art organized the exhibition "Manolo Quejido. 33 years in resistance", in which more than a hundred of his works could be seen. He has participated in numerous solo and group exhibitions, including the one held at IVAM, "Manolo Quejido. 33 years in resistance", in which more than a hundred of his works could be seen. His work is part of museums and public collections such as Artium Centro-Museo Vasco de Arte Contemporáneo (Vitoria), CAAC Centro Andaluz de Arte Contemporáneo (Seville), IVAM Instituto Valenciano de Arte Moderno (Valencia) or MNCARS Museo Nacional Centro de Arte Reina Sofía (Madrid).

CHRISTO (Bulgaria, 1935)"Wrapped Monument Vittorio Emanuele II, 1975.Photograph mounted on cardboard. H.C. copy.Enclosed polygraph certificate.Signed and justified in the lower right corner.Measurements: 76 x 56 cm.The monument to the King of Italy Vittorio Emanuele II, in Piazza del Duomo, and the monument to Leonardo da Vinci, in Piazza della Scala, were wrapped with polypropylene fabric and red polypropylene rope, in the fall of 1970, in Milan, Italy.The fabric had been sewn in advance according to patterns that allowed for wide folds. The two wrapped monuments could be seen from the center of the Galleria, simultaneously, at each end of the large 19th century vaulted pedestrian passageway.Christo together with Jeanne-Claude a renowned artistic couple of the late 20th century, the wrapped objects of are some of the most extreme examples of modern conceptual art. Christo Valdimirov Javacheff, the primary artist and designer of the duo's projects, studied between 1952 and 1956 at the Academy of Fine Arts in Sofia, then spent a year in Prague. In 1957 Christo fled the socialist state and settled in Vienna, from where he traveled to Geneva and finally to Paris, settling in the French capital. His life in Paris was characterized by economic deprivation and social isolation, which was increased by his difficulty in learning the French language. He earned money painting portraits, which he compared to prostitution. Visiting the city's galleries and museums, he was inspired by the work of Joan Miró, Nicholas de Stael, Jackson Pollock, Jean Tinguely and mainly Jean Dubuffet. In January 1958, Christo made his first piece of "wrapped art"; he covered an empty paint jar with a canvas soaked in acrylic. He tied it up and colored it with glue, sand and automobile paint. Christo and Jeanne-Claude met in Paris in November 1958, when he was commissioned to paint a portrait of her mother. Although Jeanne-Claude married another man, she became pregnant by Christo and left her husband after their honeymoon. Despite opposition from Jeanne-Claude's family, the couple married in 1962. By 1959, Christo had changed his approach to wrapped objects. Instead of embellishing the wrapped material with glue and sand, he kept it intact. The following year, he stopped painting altogether and completed his "Inventory" series. In 1961 he tackled what would be his first project with large objects, wrapping barrels in the German port of Cologne. In 1962, as a couple, Christo and Jeanne-Claude tackled their first monumental project, "Rideau de fer" ("Steel Curtain"), as a statement against the Berlin Wall. The work consisted of blocking off Visconti Street over the river with oil barrels. Although Christo was simultaneously holding his first gallery exhibition, it was the Visconti project that made him known in Paris. In 1964 the couple settled in New York, and continued to carry out projects and exhibitions both in the United States and Europe. In 1968 they participated in Documenta 4 in Kassel, and in 1969 they undertook one of their most famous projects, that of wrapping the Little Bay waterfront in Sydney, Australia. Since then, Christo and Jeanne-Claude have undertaken numerous large-scale projects around the world, including "Running fence" and "Wrapped walk".

CAROLINE HAMILTON (1777-1861)'His Lordship's Country Seat in the true Modern Taste'A satirical landscape showing a coach and pair struggling up a hill to a 'modern' mansionSigned C. Hamilton decit 31st January 1798Watercolour and collage, 33 x 43.5cmNothing escapes Caroline's acute eye. She quotes from the poet Cowper "Our father's knew the value of a screen …" whilst here the elevated 'post-modern' block of a house receives windswept visitors, park trees struggle to grow, mature trees are cut down, the demesne is entered by a pretenius?? coronetted gateway whilst beyond is a thatched cottage.Caroline Hamilton was the daughter of William Tighe of Rosanna and Sarah Fownes of Woodstock. She married Charles Hamilton of Hamwood in 1801. Brought up in a family that stressed education for daughters that included Continental tours and the appointment of John Spilsbury the Harrow School Art Master as tutor. She later made a protégée of this man's niece, Maria Spilsbury Taylor. Influenced by the family's support for the Christian evangelist, John Wesley, her social conscience found expression through the medium of her training in drawing and watercolours, and she became a true satirist. Her cutting depictions of Dublin society castrated by the Act of the Union are known. She was also the main beneficiary of the will of her cousin, Sarah Ponsonby, the surviving partner of Lady Betty Butler, the Ladies of Llangollen.

Volumes to include The National Gallery, Russia, art, royalty and the Romanovs and assorted modern firsts, i.e. Robert Harris, Con Iggulden, etc (3 boxes) 

Howard Hodgkin (1932-2017)/Red Bermudas/initialled, dated and numbered 143 in white pencil to the black border/offset lithograph in colours, 43cm x 43cm/Note: from a limited edition of 150 donated by the artist for the Museum of Modern Art Oxford Appeal Fund 1982 (label verso) CONDITION REPORT: In very good condition. Framed and glazed. May have faded very slightly from original colours.ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

An Heal & Son Art Deco walnut headboard,of stepped form, flanked on both sides by a cabinet over two shelves, over a bedside table, each bedside with a drawer and a cupboard opening on to shelving, the top with two integrated light fittings, each with a toggle switch on either side, with ivorine label to the right drawer, 283cm wide, 210cm in between the bedsides, 38cm deep163cm highCondition report: The top with some water damage. Wear commensurate with age. Scratches and marks occurring. Appears rewired for modern UK mains.

An Art Deco walnut and ebonised stand,three tiers with rounded ends supported with a chrome column, mounted with a cabinet to the opposite side, raised on castors, with a glass top,99cm wide34.5cm deep77cm highCondition report: Quarter veneered top, repolished and reebonised. Some cracks to the veneers and the ebonised areas. The cupboard has an ash and birch shelf. Modern castors. Glass top chipped.

A Patinated Bronze Modern Art Figure, Reclining Nude, 31cm wide

A Modern Reproduction Opaque Resin Table Lamp in the Art Deco Style, Decorated in Relief with Horses in the Round, 32cm high

A Norwegian Abstract Modern Art Sculpture, 35cm high

Exhibition catalogue, The Retrospective Exhibition of Shoji Hamada, April 16- June 5, 1977, National Museum of Modern Art Japan.

The Films of Harry Langdon, exhibition poster, artwork by William Hogarth, Dec 5th to 17th 1967, The Gallery of Modern Art Columbus Circle New York City, Including the Huntington Hartford Collection, Raymond Rohauer film curator and program director, 114cm x 76cm, (41inch x 30inch).

A pietra dure table topafter a Florentine early 18th century modelInlaid with various hardstones and marbles, the central rectangular tablet inset with interlaced scrolled foliage and four birds, encompassed by six shaped tablets and six alternating scrolled cartouches inlaid with assorted birds, butterflies, flowers and fruit, 148cm wide x 4cm deep x 90.5cm high, (58in wide x 1 1/2in deep x 35 1/2in high)Footnotes:The present lot appears to be a modern variant based upon Italian early 18th century pietra dure table tops illustrated in A. Giusti, Pietre Dure, The Art of Semi-Precious Stonework, pp.'s 106 & 107 and A. Giusti, l'Opificio dell Pietre Dure nell'Italia Unita, Dagli Splendori di Corte al Lusso Borghese, 2011, Florence, fig. XI, p. 81.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

ROBERT WELCH: a silver Alveston pattern table service of flatware and cutlerymajority maker's mark for Robert Welch, Sheffield 1973 - 1975Placings for six, comprising: table forks (one for Old Hall Tableware), dessert forks, dessert spoons, fish forks, fish knives, soup spoons, fruit spoons, fruit forks (marks for Old Hall Tableware, Sheffield 1967), four serving spoons, table knives (four for Old Hall Tableware, Sheffield 1967) and dessert knives, with stainless steel blades, weight excluding knives with stainless steel blades 87oz. (64)Footnotes:ROBERT RADMAN WELCH, MBE, RDI (1929 – 2000)Robert Welch was born 21 May 1929 in Hereford.He trained in drawing, painting and silversmithing under Victor Moody at the Malvern School of Art and under Cyril Shiner and R G Baxendale at Birmingham College of Art. He was a contemporary of Gerald Benney and David Mellor studying at the Royal College of Art under Professor Robert Goodden.Studying in Stockholm influenced Welch's designs, with clean lines and functional designs in stainless steel, particularly those designs by the Gense factory.In 1955 he became a design consultant for J & J Wigan the only British manufacturer of stainless steel tableware, and the 'Old Hall' range of tableware. His modern designs were functional in stainless steel and silver.In the same year he established his own studio and workshop in Chipping Campden and the old workshops of C R Ashbee.Like David Mellor, Welch had a diversity of design work produced in varying materials.He was elected a Royal Designer for Industry in 1965. Robert Welch lived at Alveston near Stratford. Naming this cutlery design after his home, designed in 1961 and in 1965 this one him the Design Centre Award. This was Welch's first major commercial success.Robert Welch's most important commissions are in the Victoria & Albert Museum, The British Museum, the Museum of Modern Art, New York, Canterbury Cathedral and No.10 Downing Street.Robert Welch Designs is still family owned with shops in Chipping Campden and Warwick.For further information on this lot please visit Bonhams.com

Khaled Takreti (Liban, né en 1964)Beirut acrylique sur toilesigné et daté exécuté en 2020150 x 120cm (59 1/16 x 47 1/4in).acrylic on canvassigned and datedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeNé à Beyrouth en 1964, et formé à l'architecture à l'Université de Damas, Khaled Takreti a influencé toute une génération de peintres arabes contemporains. Il commence à exposer son travail au milieu des années 1990 et est rapidement reconnu pour son approche innovante du portrait. En décryptant l'image sociale moderne, mêlée à des souvenirs de vie personnelle, il introduit un style de peinture sans précédent en Syrie.Basé à Paris depuis 2006, Takreti a été exposé internationalement et a été présenté dans les plus importantes biennales et foires du monde, comme la Biennale d'Alexandrie et Art Hong Kong. Ses œuvres sont conservées au Musée national syrien, à la Galerie nationale jordanienne des Beaux-Arts et au Mathaf : Musée arabe d'art moderne, entre autres collections privées et publiques.Born in Beirut in 1964, Khaled Takreti is a leading Syrian artist whose Pop aesthetic has influenced a subsequent generation of contemporary Arab painters. Originally trained as an architect at the University of Damascus, he began exhibiting his work in the mid 1990s. Recognised for his innovative approach to portraiture, which merges a personal narrative in the form of a visual diary with explorations of the modern social image, he introduced a painting style that was without precedent in Syria. Based in Paris since 2006, Takreti has exhibited internationally in solo and group exhibitions and has been featured in biennials and art fairs such as the Alexandria Biennale and Art Hong Kong. His works are housed in the Syrian National Museum, the Jordanian National Gallery of Fine Arts, and Mathaf: Arab Museum of Modern Art, among other private and public collections.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Mahmud Obaidi (Irak, né en 1966)Beirut techniques mixtes sur toilesigné et daté exécuté en 2020200 x 200cm (78 3/4 x 78 3/4in).mixed media on canvassigned and datedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeMahmoud Al Obaidi est un artiste contemporain irako-canadien né en 1966 à Bagdad. Après avoir quitté l'Irak en 1991, il obtient sa maîtrise d'arts appliqués à l'Université de Guelph au Canada et est diplomé en nouveaux médias et en cinéma à Toronto et à Los Angeles. Depuis sa première exposition personnelle internationale en 1995, son travail a été exposé dans de nombreux musées et galeries à travers le monde, dont le Musée national de Bahreïn, Manama ; Musée de l'Institut du Monde Arabe, Paris ; Mathaf : Musée arabe d'art moderne, Doha ; Galerie nationale des beaux-arts de Jordanie, Amman ; Station Museum of Contemporary Art, Houston, Texas ; et Musée d'Art Contemporain de Baie-Saint-Paul, Québec; entre autres.Mahmoud Al Obaidi is an Iraqi-Canadian Contemporary artist, who was born in 1966 in Baghdad. After leaving Iraq in 1991, he obtained his MFA at the University of Guelph in Canada, and completed diplomas in new media and film in Toronto and Los Angeles. Since his first international solo exhibition in 1995, his work has been exhibited in a number of museums and galleries around the world, including the National Museum of Bahrain, Manama; Musée de l'Institut du Monde Arabe, Paris; Mathaf: Arab Museum of Modern Art, Doha; Jordan National Gallery of Fine Arts, Amman; Station Museum of Contemporary Art, Houston, TX; and Musée d'Art Contemporain de Baie-Saint-Paul, Quebec; among others.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Manabu Kochi (Japon / France, né en, born 1954)Tragédie du Liban II technique mixte sur papier arches, encadrésigné 'M. Kochi', daté '2020' et titré 'Tragédie du Liban II' (en bas à gauche)exécuté en 202076 x 57cm (29 15/16 x 22 7/16in).mixed media on arches paper, framedsigned, dated and titledFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeNé en 1954 à Okinawa, au Japon, Manabu Kochi suit une formation à l'Ecole des Beaux-Arts de Florence, et s'établit en France en 1981. Sculpteur, peintre et graveur, il réussit à élaborer un univers personnel, synthèse entre les arts primitifs et les courants européens modernes les plus novateurs et positifs. Son œuvre post-moderne est imprégnée de philosophie et d'humour, de couleur et d'harmonie. Depuis octobre 2018, le Musée de l'Institut du monde arabe détient une très importante collection d'œuvres de Manabu Kochi, grâce à la Donation Claude et France Lemand.« Cher Claude, j'ai dessiné des études préparatoires sur la tragédie et l'espoir du Liban. J'en ai tiré deux peintures à l'aquarelle. La première est l'image de l'explosion et de la destruction de la ville : les bâtiments sont détruits, le bateau a coulé, mais l'esprit des Libanais se dresse comme le Phénix. Et puis, il y a les paysages des célèbres chaînes de montagnes, qui embrassent et qui protègent toujours et si magnifiquement le peuple libanais.La deuxième peinture est dans la ville qui a été détruite et a fait beaucoup de victimes, les hommes, les femmes et les enfants. Les figures humaines sont métamorphosées, comme si elles souffraient dans leur chair de la situation du pays. Mais le peuple libanais garde l'espoir de bâtir un nouveau pays, paisible et beau, stable comme le grand cèdre, l'arbre typique du pays, qui se trouve au fond de l'image. Cet arbre est le symbole de la Nature protectrice, de la liberté et de la culture libanaise. Avec mon amitié. » - Manabu Kochi, 13.08.2020.Lettre à Claude Lemand.« Cher Claude, j'ai changé le dessin du deuxième croquis. A présent, les figures humaines ne sont pas mortes, elles sont vivantes mais expriment la complainte, la souffrance, la colère, mais aussi l'espoir en regardant le grand Cèdre libanais. J'ai enlevé l'oiseau et je l'ai remplacé par l'arbre, qui est le symbole du grand peuple libanais. J'espère que tu l'aimes. » - Manabu Kochi, 15.08.2020. Lettre à Claude Lemand.« Dès notre première rencontre à Paris en décembre 1988, il m'avait dit : Je suis plus pour l'harmonie que pour le conflit, pour l'harmonie entre tous les êtres vivants, qui sont une richesse ; la recherche de la pureté est illusoire, car elle aboutit au fanatisme ». Cette réflexion est une manifestation de sa philosophie pacifiste, opposée à toute dictature et à toute guerre qui ne peuvent qu'engendrer la destruction, la mort et le malheur, comme ce fut le cas au Japon et sur l'île d'Okinawa dont il est originaire. » - Claude Lemand'Dear Claude. I drew preparatory studies on the tragedy and the hope of Lebanon. I drew two watercolour paintings from it. The first is the image of the explosion and destruction of the city: the buildings are destroyed, the boat sank, but the spirit of the Lebanese stands like the Phoenix. And then there are the landscapes of the famous mountain ranges, which always embrace and protect the Lebanese people so beautifully.The second painting is in the city which was destroyed and claimed many lives, men, women and children. The human figures are metamorphosed, as if they suffered physically from the turmoil of the country. But the Lebanese people still hopeful to build a new country, peaceful and beautiful, stable like the great cedar, the national tree of the country, which is at the bottom of the composition. This tree is the symbol of the protective nature and liberty of the Lebanese culture. With my friendship. - 13.08.2020.'Dear Claude. I changed the drawing of the second sketch. Now, the human figures are not deceased, they are alive but express lament, suffering and anger, but also hope glazing at the great Lebanese Cedar. I removed the bird and replaced it with the tree, which is also a symbol of these great and resilient people. Hope you like it' 08/15/2020-Manabu Kochi's letters to Claude LemandBorn in 1954 in Okinawa, Japan, Manabu Kochi completed his training in Italy and came to live in Paris in 1981. Working in the fields of sculpture, painting and engraving, he has succeeded in creating a personal link between Primitive Arts and the most innovative trends in European Modern Art. His works are full of philosophy, humour, colour and harmony. Since October 2018, the museum of the Institut du Monde Arabe in Paris now houses a very important collection of works by Manabu Kochi, thanks to the Claude and France Lemand Donation.From the moment we first met in Paris in December 1988, he told me, 'I tend to be an advocate of harmony rather than conflict, of the harmony amongst all living beings, who represent such resources; seeking for purity is illusionary as it ends up in fantasy'. This comment translates the artist's pacifist philosophy, that opposes all types of dictatorship and war that can only lead to destruction, death and tragedy, as was the case for Japan and on the island of Okinawa, the place where he is born.-Claude LemandClick for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Chaouki Choukini (Liban, né en 1947)To Beirut - A Beyrouth - Li Bayrût bois d'irokosignéexécuté en 2020153 x 65 x 30 cmiroko woodsignedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeChaouki Choukini est né en 1946 à Choukine, au sud du Liban. Il suit la formation de l'Ecole supérieure des Beaux-Arts de Paris de 1967 à 1972 et remporte le Prix de la Jeune Sculpture en 1978.De 1985 à 1987, il occupe le poste de professeur de sculpture à l'Université libanaise de Tripoli, et de 1989 à 1991, il est professeur de sculpture à l'Université jordanienne de Yarmouk. Depuis, il vit et travaille en France. Chaouki Choukini est exposé lors de nombreuses expositions, dont celle de l'Institut du Monde Arabe en 1991. Il obtient le Prix de la Fondation Taylor en 2010 et participe avec 7 de ses sculptures à l'exposition de l'IMA, Le corps découvert, de mars à août 2012.En 2015, l'Académie Française des Beaux-Arts lui décerne le Prix Pierre Gianadda de la Sculpture, pour récompenser l'ensemble de son oeuvre.'Ce libanais venu en France directement depuis son village du Liban-Sud, sculptait alors dans le bois d'étranges constructions, imaginaires et sobrement baroques, dont l'évidence formelle, pourtant à la limite de l'onirisme, s'imposait : c'était tout à la fois des monuments chimériques, des damiers pour jeux de hasard anthologiques, des figurines imbriquées et impliquées dans une sorte de 'grand jeu' métaphysique. La musique muette des sculptures de Choukini est un défi à l'absurde canon qui tonne ici ou là pour tuer, mais il n'y parviendra pas, l'âme et le corps du Liban, montagne dure et tendre comme les sculptures et le sculpteur dont je parle.'- Salah Stétié'When I was younger, I used to go to my grandfather's house during school holidays in a village called Choukine in the south of Lebanon, where I would contemplate mountains, trees, valleys, wells — unlike the views of Beirut. This led me to develop my love of nature, which influences my work. My expression of a landscape is not an exact representation of nature — I'm turning it into something metaphysical, imaginary and with an element of mystique.'- Chaouki ChoukiniChaouki Choukini's sculpture offers a window back to what he refers to as the 'landscape of childhood', to people and places, and to memories of South Lebanon. Choukini piles block upon block on top of each other, creating cityscapes and mountains, and revealing abstracted, silent faces. It is this tension – between corners and edges, form and function, and, most importantly, positive and negative space – that has come to define his work.Born in 1946 in Choukine, Lebanon, Chaouki Choukini received his degree from the Ecole Nationale Superieure des Beaux-arts de Paris, in 1972. He was awarded the Prix de la Jeune Sculpture in 1978 followed by the Taylor Foundation Prize in 2010. Most recently in 2015 he was awarded the Prix de la Fondation Pierre Gianadda, from the Academie De Beaux-Arts de l'Institut de France.Choukini has participated in various solo and group exhibitions including Beloved Bodies, Barjeel Art Foundation, Sharjah, UAE (2017), Poetry in Wood, Green Art Gallery, Dubai, UAE, (2016), Portrait of The-Non-Existent-Bird, Museum of Issoudun, France (2014); Tajreed (Arab Abstract Art), Contemporary Art Platform, Kuwait (2013); Le Corps decouvert, Arab World Institute, Paris, France (2012); International Aswan Sculpture Symposium, Cairo Biennial, Egypt (1997); Paris Sculpture, Centre de Sculpture Contemporaine, Paris, France (1973). His works are in several important collections including Musee d'Art Contemporain de Val-de-Marne, France; Arab World Institute, France, Mathaf, Arab Museum of Modern Art, Doha, Centre National Des Arts Plastique, France, Barjeel Art Foundation, Sharjah, UAE and Sharjah Art Foundation. He lives and works in Paris, France.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

A GROUP OF CERAMICS AND GLASSWARES, to include Copeland Spode's Italian 22cm diameter bowl and oval tray (crazing and large chip to reverse of tray), modern Spode's Italian pin tray and candlesticks, two Copeland Spode Chinese Rose dinnerplates, Royal Doulton Gone Away D6531 character jug, green glass Art Deco style dressing table set, large blue and white case (sd), royal commemoratives, etc (qty) (Condition:- some pieces chipped/missing pieces, generally good condition)

A BOX AND LOOSE LAMPS AND SHADES, ETC, to include a glass Art Deco style lamp, electric oil style lamp, metal and blown glass shades, modern table lamps still in protective wrapping, vintage lamps, etc

A reproduction Art Nouveau patinated metal wall hanging depicting the bust of a maiden, 41cm by 24cm; a reproduction Art Deco patinated metal figure of a female dancer, 45cm high; and a modern patinated metal figure of a female dancer on a circular base, 3.5cm high (3).

BATMAN: KILLING JOKE - (2 in Lot) - (1988 - DC) - KEY Modern Batman Book - First Printings - Both DC & Titan Books Editions - The Joker cripples Barbara Gordon (Batgirl) who becomes Oracle + More detailed Joker origin - Alan Moore story with Brian Bolland cover and interior art - Flat/Unfolded

SANDMAN: MASTER OF DREAMS #1 - (1989 - DC) - KEY Modern Book - Pre-Vertigo - First appearance of Morpheus + appearance by Wesley Dodds, the original Golden Age-era Sandman + A Netflix TV series is currently in production - Neil Gaiman story, Dave McKean cover with Sam Kieth interior art - Flat/Unfolded - a photographic condition report is available on request

BATMAN ADVENTURES #12 - (1993 - DC) - First appearance of Harley Quinn in comics + Low initial print run only adds to the factors making it one of the most desirable comics of the 1990s + Currently valued at #5 on Overstreet's Top 20 Modern Age Comics list - Mike Parobeck cover and interior art - Flat/Unfolded - a photographic condition report is available on request