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Artist: Andrew Wyeth (American, 1917-2009). Title: "Brinton's Mill". Medium: Color offset lithograph. Date: Composed 1958. Printed 1963. Dimensions: Overall size: 11 1/8 x 15 9/16 in. (283 x 395 mm). Image size: 8 7/16 x 13 1/4 in. (214 x 337 mm).Lot Note(s): Signed in pencil, lower right; annotated lower left. A proof from the edition of unknown size (c300?). Cream wove paper. Wide margins. Fine impression. Fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. Image copyright © The Estate of Andrew Wyeth. [27965-3-225]

Artist: Roy Lichtenstein (American, 1923-1997). Title: "Paper Plate [exhibition variation]". Medium: Original color screenprint, in yellow, red, and blue, on white paper plate. Date: Composed 1969/1977. Dimensions: Image size: (Diameter): 10 1/4 in. (260 mm).Lot Note(s): Signed in pencil, lower center, recto. Dated and copyrighted with artist's name "Roy Lichtenstein" printed on verso. Distribution text verso. The original 1969 edition was c5,000, of which very few were used for the 1977 exhibition. Fine impression. Very good condition. Literature/catalogue raisonne: Corlett III.45. Comment(s): According to 'Gordon's Art Reference' the auction record for another impression (signed) of this plate is $2,360 at Ivey-Selkirk, St. Louis, 11/12/2011, lot #393. Our impression is rare as it is stamped verso "Distributed in conjunction with the exhibition 'Roy Lichtenstein: Ceramic Sculpture' February 21 - March 20, 1977, California State University, Long Beach." Corlett notes that "Many of these plates have been autographed by the artist" (Mary Lee Corlett, "The Prints of Roy Lichtenstein: A Catalogue Raisonne, 1948-1993," pg. 286). In the permanent collection of the Museum of Modern Art. The plates were commercially printed and wrapped in clear cellophane for sale at Bert Stern's "On 1st" store. Correspondence found in the artist's records indicates that the plates may have been fabricated at Artmongers Manufactory, New York. "Paper Plate" is related to other designs the artist produced for dishware, such as the limited edition place settings produced by Jackson China Co. for Durable Dish Company in 1966, and the tea service designed for Rosenthal China in 1984. Image copyright © Estate of Roy Lichtenstein. [23415-13-800]

Artist: Andy Warhol (American, 1928 - 1987). Title: "Marilyn Monroe I Love Your Kiss Forever Forever". Medium: Color lithograph. Date: Composed 1964. Dimensions: Overall size: 16 1/8 x 22 1/2 in. (410 x 571 mm).Lot Note(s): Signed in pencil, lower right. Edition of 2,000. White wove paper. The full sheet. Fine impression with fresh colors. Very good to fine condition; two sheets as issued, joined; conservation backing. Literature/catalogue raisonne: Feldman/Schellmann II.5. Comment(s): Our example is from the edition of 2,000, which was unsigned, hence the signature is a complimentary one. For Walasse Ting's "1¢ Life." Prints from the One Cent Life portfolio are in most major and public collections worldwide including MoMA (New York), Tate Modern (London), Museum of Contemporary Art (Montreal) and the Andy Warhol Museum (Pittsburg). Image copyright © 2001 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [26821-4-3000]

Artist: Andrew Wyeth (American, 1917-2009). Title: "Helga Nude [AW inventory #2941]". Medium: Color offset lithograph. Date: Composed 1978. Printed 1987. Dimensions: Overall size: 11 1/2 x 15 7/16 in. (292 x 392 mm). Image size: 9 7/16 x 13 in. (240 x 330 mm).Lot Note(s): Signed in pencil, lower right; signed in the plate, lower right. Edition unknown. Cream wove paper. Wide margins. Fine impression. Very good to fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. [28299-3-600]

Artist: Andrew Wyeth (American, 1917-2009). Title: "Early October". Medium: Color offset lithograph. Date: Composed 1961. Printed 1963. Dimensions: Overall size: 14 11/16 x 11 1/8 in. (373 x 283 mm). Image size: 11 1/2 x 7 5/16 in. (292 x 186 mm).Lot Note(s): Signed in pencil, lower right; annotated lower left; signed in the plate, lower left. A proof from the edition of unknown size (c300?). Cream wove paper. Wide margins. Fine impression. Fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. Image copyright © The Estate of Andrew Wyeth. [27968-3-400]

Artist: Andrew Wyeth (American, 1917-2009). Title: "The Corner". Medium: Color offset lithograph. Date: Composed 1953. Printed 1963. Dimensions: Overall size: 11 1/4 x 17 in. (286 x 432 mm). Image size: 8 11/16 x 13 1/4 in. (221 x 337 mm).Lot Note(s): Signed in pencil, lower right; annotated lower left; signed in the plate, lower right. A proof from the edition of unknown size (c300?). Cream wove paper. Wide margins. Fine impression. Very good condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. [27976-3-300]

Artist: Andrew Wyeth (American, 1917-2009). Title: "Teel's Island". Medium: Color offset lithograph. Date: Composed 1954. Printed 1963. Dimensions: Overall size: 10 15/16 x 17 in. (278 x 432 mm). Image size: 5 1/2 x 13 3/16 in. (140 x 335 mm).Lot Note(s): Signed in pencil, lower right; annotated lower left; signed in the plate, lower left. A proof from the edition of unknown size (c300?). Cream wove paper. Wide margins. Fine impression. Fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. [27974-3-400]

Artist: Andrew Wyeth (American, 1917-2009). Title: "Study for Easter Sunday [Helga]". Medium: Color offset lithograph. Date: Composed 1975. Printed 1987. Dimensions: Overall size: 11 3/8 x 15 5/16 in. (289 x 389 mm). Image size: 9 7/16 x 13 3/16 in. (240 x 335 mm).Lot Note(s): Signed in pencil, lower right; signed in the plate, upper left. Edition unknown. Cream wove paper. Wide margins. Fine impression. Very good to fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. [28308-3-300]

Modern art deco style large lady table lamp.

Artist: Guillermo Meza (Mexican, 1917 - 1997). Title: "Vendra una Gran Guerra [plate 08 from: "Guillermo Meza, Impressiones, 11 Litografias, Presentacion de Jaled Muyaes y Raul Kamffer, Nota Bibliografica de Carlos Payan." Sub-title: "Impressiones Subjectivas sobre el Libro Sagrado de los Antiguos Mayas. Chilam Balam de Chumayel."]". Medium: Lithograph in brown ink. Date: Composed 1962. Dimensions: Overall size: 13 3/4 x 17 7/8 in. (349 x 454 mm). Image size: 12 1/4 x 16 5/8 in. (311 x 422 mm).Lot Note(s): Signed in ink, lower right; numbered in ink, lower left. From the edition of 300 (of which all were printed?). Cream wove paper. Full margins. Fine impression. Condition: scattered foxing in top margin, else fine. Provenance: Estate of Jaled Muyaes, one of the collaborators. Comment(s): Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez. Prints by Meza are scarce. His work is in the collections of the Museo de Arte Moderno, Mexico City, the Museum of Modern Art, New York, the Art Institute of Chicago, and the San Francisco Museum of Modern Art. His 'expressionist - surrealist' paintings, with themes often drawn from Indian mythology, are often associated with artists such as Frida Kahlo and Agustín Lazo. [24470-3-225]

Artist: Joel-Peter Witkin (America, b.1939). Title: "Harvest". Medium: Original vintage photogravure. Date: Composed 1984. Printed 1985. Dimensions: Overall size: 10 3/4 x 11 in. (273 x 279 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): According to “Gordon’s Photography Prices” the auction record for a silver print of this image is $22,800 realized at Sotheby's, New York, 10/11/2005, lot #198. Witkin’s controversial and carefully constructed photographs frequently depict macabre, often grotesque scenes, with images including torture, cadavers, hermaphrodites, dwarfs, etc. His works can be found in the collections of The Museum of Modern Art in New York City, the J. Paul Getty Museum in Los Angeles, the National Gallery in Washington, D.C., the Victoria and Albert Museum in London, and the Centre Georges Pompidou in Paris. Image copyright © Joel-Peter Witkin. [29679-2-800]

Artist: Guillermo Meza (Mexican, 1917 - 1997). Title: "Habia en Ellos Sabiduria [plate 01 from: "Guillermo Meza, Impressiones, 11 Litografias, Presentacion de Jaled Muyaes y Raul Kamffer, Nota Bibliografica de Carlos Payan." Sub-title: "Impressiones Subjectivas sobre el Libro Sagrado de los Antiguos Mayas. Chilam Balam de Chumayel."]". Medium: Lithograph in brown ink. Date: Composed 1962. Dimensions: Overall size: 17 7/8 x 13 11/16 in. (454 x 348 mm). Image size: 13 3/8 x 9 5/8 in. (340 x 244 mm).Lot Note(s): Signed in ink, lower right; numbered in ink, lower left. From the edition of 300 (of which all were printed?). Cream wove paper. Full margins. Fine impression. Very good condition. Provenance: Estate of Jaled Muyaes, one of the collaborators. Comment(s): Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez. Prints by Meza are scarce. His work is in the collections of the Museo de Arte Moderno, Mexico City, the Museum of Modern Art, New York, the Art Institute of Chicago, and the San Francisco Museum of Modern Art. His 'expressionist - surrealist' paintings, with themes often drawn from Indian mythology, are often associated with artists such as Frida Kahlo and Agustín Lazo. [24463-3-225]

Artist: Guillermo Meza (Mexican, 1917 - 1997). Title: "Tigre de los Pueblos [plate 03 from: "Guillermo Meza, Impressiones, 11 Litografias, Presentacion de Jaled Muyaes y Raul Kamffer, Nota Bibliografica de Carlos Payan." Sub-title: "Impressiones Subjectivas sobre el Libro Sagrado de los Antiguos Mayas. Chilam Balam de Chumayel."]". Medium: Color lithograph. Date: Composed 1962. Dimensions: Overall size: 13 3/4 x 17 7/8 in. (349 x 454 mm). Image size: 11 5/16 x 16 3/8 in. (287 x 416 mm).Lot Note(s): Signed in ink, lower right; numbered in ink, lower left. From the edition of 300 (of which all were printed?). Cream wove paper. Full margins. Fine impression. Very good condition. Provenance: Estate of Jaled Muyaes, one of the collaborators. Comment(s): Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez. Prints by Meza are scarce. His work is in the collections of the Museo de Arte Moderno, Mexico City, the Museum of Modern Art, New York, the Art Institute of Chicago, and the San Francisco Museum of Modern Art. His 'expressionist - surrealist' paintings, with themes often drawn from Indian mythology, are often associated with artists such as Frida Kahlo and Agustín Lazo. [24465-3-400]

Artist: Everett Shinn (American, 1876-1953). Title: "The Ballerina Ingovar". Medium: Oil on canvas. Date: Composed c1922. Dimensions: Image size: 32 x 24 in. (813 x 610 mm).Lot Note(s): Signed and titled, lower left. Condition: Original untouched condition. Several patches (see images). A few scratches in image. Unframed. Provenance: Through Ernest Lawson; Private Collection, Lake Forest, Illinois. Comment(s): Portraits by Shinn are rare and seldom seen, a little known aspect of his oeuvre. While he is commonly associated with lower-class urban themes, he was enchanted with the more glamorous aspects of urban life. Shinn was an American realist painter and member of the Ashcan School, also known as 'The Eight,' the youngest member of the group of modernist painters who explored the depiction of real life. He is most famous for his numerous paintings of New York and the theater and of various aspects of luxury and modern life inspired by his home in New York City. It has been pointed out that unlike most members of the Eight, Shinn was not attracted to art focused on “people sleeping under bridges.” In fact, he loved the glamour of Uptown, fashionably dressed ladies, and above all, Shinn wanted to depict the excitement of the theater. [25243-15-3000]

Artist: Kiki Kogelnik [kiki o.k.] (Austrian, 1935-1997). Title: "Rocket Ship". Medium: Color lithograph. Date: Composed 1963. Dimensions: Overall size: 16 x 23 1/8 in. (406 x 587 mm). Image size: 15 3/4 x 22 in. (400 x 559 mm).Lot Note(s): Signed with the initial in the plate, lower right. Edition of 2,000. White wove paper. The full sheet. Fine impression with fresh colors. Joined sheets as issued; conservation backing. Comment(s): For Walasse Ting's "1¢ Life." Prints from the One Cent Life portfolio are in most major and public collections worldwide including MoMA (New York), Tate Modern (London), Museum of Contemporary Art (Montreal) and the Andy Warhol Museum (Pittsburg). [26803-4-300]

Artist: Guillermo Meza (Mexican, 1917 - 1997). Title: "Que porque Eran Niños [plate 04 from: "Guillermo Meza, Impressiones, 11 Litografias, Presentacion de Jaled Muyaes y Raul Kamffer, Nota Bibliografica de Carlos Payan." Sub-title: "Impressiones Subjectivas sobre el Libro Sagrado de los Antiguos Mayas. Chilam Balam de Chumayel." Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez]". Medium: Lithograph in brown ink. Date: Composed 1962. Dimensions: Overall size: 17 7/8 x 13 11/16 in. (454 x 348 mm). Image size: 16 5/16 x 10 5/8 in. (414 x 270 mm).Lot Note(s): Signed in ink, lower right; numbered in ink, lower left. From the edition of 300 (of which all were printed?). Cream wove paper. Full margins. Fine impression. Very good condition. Provenance: Estate of Jaled Muyaes, one of the collaborators. Comment(s): Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez. Prints by Meza are scarce. His work is in the collections of the Museo de Arte Moderno, Mexico City, the Museum of Modern Art, New York, the Art Institute of Chicago, and the San Francisco Museum of Modern Art. His 'expressionist - surrealist' paintings, with themes often drawn from Indian mythology, are often associated with artists such as Frida Kahlo and Agustín Lazo. [24466-3-225]

§ William Ratcliffe (British 1870-1955) The Red Curtain, circa 1916 signed (lower right), oil on canvas(48.5cm x 49cm (19in x 19.3in))Footnote: Exhibited:The Goupil Gallery, London, The London Group, 1916, no.114.See R. Allwood, William Ratcliffe: paintings, prints and drawings, North Hertfordshire, 2011. The intimate domestic space and atmosphere in The Red Curtain instantly places this work amongst the Camden Town Group and their distinctive palette. As the critic Frank Rutter noted:'tainted with the disease of purplitis. Messrs. Spencer Gore, Robert Bevan, William Ratcliffe, and many others of this group of artists, who attach themselves with real passion to the pictorial interpretation of their own daily surroundings and of modern life, all look up on the world with purple spectacles.'(Frank Rutter, The Observer, 14 July 1912, p.9.)Born near King’s Lynn, Ratcliffe grew up in Manchester where his father worked in the Mills. After leaving school Ratcliffe attended Manchester School of Art, partly studying under Walter Crane and by 1901 he was working as a wallpaper designer. The family moved to the new Garden City of Letchworth by 1906, perhaps tempted by the social idealism that was a central tenet of this new society and an emphasis on cooperative working. In 1908, the artist Harold Gilman (1876-1919) and his family moved to Letchworth as a neighbour of the Ratcliffe's and soon after Gilman became a mentor to Ratcliffe. By 1910, Gilman had introduced Ratcliffe to the members of the Fitzroy Street Group, and persuaded him to abandon his career as a pattern designer at the Wallpaper Manufacturers Combine, propelling him to a professional artist. When the Fitzroy Street Group had been succeeded by the Camden Town Group, Ratcliffe was nominated by Gilman and ended up exhibiting in all three Camden Town exhibitions.In The Red Curtain the heavy impasto handling of paint and compositional form of the interior particularly show the influence of Gilman, who alongside Charles Ginner had been investigating the use of thickly applied paint and a pronounced impasto throughout their Camden Town works. The curtains, wall hanging, and patterned rugs also hark back to his time as a wallpaper designer. The result in The Red Curtain is a harmony of colours, touches of green, next to pinks, purples and blues heightening the cool tone of the interior, with strokes of orange adding warmth. As a whole it produces a work clearly indebted to the Post-Impressionist movement that was sweeping through the British avant-garde art scene at this particular moment in time.Ratcliffe was constantly on the move, living an itinerant existence and altering his lodgings almost on a yearly basis, periodically staying with family and friends, which makes pinning down the exact location of most of his domestic works difficult. However, in this work there are close compositional similarities to The Artist’s Room, Letchworth in The Tate Gallery collection, with similar furnishings, curtains, wall hangings, rugs and art & crafts furniture, and a day bed running underneath the hanging which suggest that the present work shows the sitting room where Ratcliffe stayed at 102 Wilbury Road in Letchworth Garden City, the home of Stanley and Signe Parker. This could in fact be a more finished example of the Tate Gallery’s work, although taken from a different angle.102 Wilbury Road was designed in the arts and crafts tradition for the Parker family in 1908, by Stanley Parker’s brother Barry Parker (1867-1947) and his partner Raymond Unwin (1863-1940), who were the quintessential arts & crafts architects of Letchworth, and Wilbury Road is considered a major and complete example of their best work in the Arts & Crafts idiom. The arts and crafts elements of the interior are clearly evident in The Sitting Room, including a Clissett ladderback armchair, an oak circular table (a similar model table can also be found in Cottage Interior, circa 1914, also identified in a photograph of the Interior of the Parker’s home, circa 1909), and overall the scene depicted reflects a relaxed and simple life that many of the occupants of the Garden City aspired to.Like Ratcliffe, Stanley Parker had also studied at the Manchester School of Art, and it was possible that they became friends at this point. Ratcliffe is noted as staying with the Parkers at Wilbury Road at least twice, between 1930-2 and 1946-54, but the fragmentary nature of Ratcliffe’s life and the particular colour palette make it possible that The Sitting Room was painted on an earlier stay. It is remarkable and a reflection on Ratcliffe’s talents as an artist, that although he was perpetually on the move without a home of his own, he manages to create a warmth and intimacy in The Sitting Room, and an authentic depiction of a domestic space that also positions him as a significant painter in the Camden Town grouping. As N. D. Deuchar noted in the artist’s obituary '...his subjects were quiet and perhaps almost tame, but he had such exactitude and care in handling the shapes of building and apparatus, as well as great skill in laying his colour, that he was marked out as a true artist.' (N.D.Deuchar, The Citizen, 21 January 1955)

§ Alan Davie C.B.E., R.A., H.R.S.A. (British 1920-2014) Pair of Earrings, circa 1955 stamped maker's mark 'JAD'(the drop 5.4cm (2.2in))Footnote: Provenance: Given to the current vendor in 1955. Although primarily considered a painter, through the 1940s and 1950s, Alan Davie was also renowned as an avant-garde jewellery designer, and it is through the making and selling of silver jewellery designs that he supported some of his early painting career. From 1953 to 1956 he taught on the Design course at the Central School of Arts and Crafts in London. The principal of the Central School, Edward Johnston, asked Davie to teach on the jewellery course, with the aim of influencing the students to take a more artistic approach to their work. Prior to this point, Davie had already shown interest in the field, having studied painting and silversmithing at Edinburgh College of Art, where he won a travelling scholarship to Italy. Throughout the period Davie was influenced by early Renaissance art and had an appreciation for pre-Columbian goldwork which came through in the strong and simple forms of his jewellery designs. His works were clearly successful, and sold through shops such Aspreys and Harrods, as well as to private clients. Alongside this he also made the jewellery worn by Vivien Leigh for the production of Anthony and Cleopatra . Davie went on to exhibit his work at the ground-breaking International Exhibition of Modern Jewellery , organised by the Company of Goldsmiths and the V&A in 1961. The exhibition aimed to establish jewellery as an artistic form and position makers as ‘artist-craftsmen’ to 'stimulate public interest in jewellery as an art and to encourage British designers in this field', something that Davie and his jewellery accomplished.

Gustavo Pérez (Mexican 1950-) Vessel, 2013 initialled, dated and numbered '13-123', stoneware(23cm x 28cm x 22cm (9in x 11in x 8.7in))Footnote: “I want to be forgotten, only that my pots survive” Gustavo Pérez is considered Mexico’s leading contemporary ceramic artist, whose aim has always been to create forms that serve as three-dimensional canvases, with sophisticated surface treatments that transcends simple patterning bringing his work into the realm of the sculptural object alongside showing influence of ancestral traditions of Asia and Meso-America. Pérez’s ceramics have now achieved international recognition and were the subject of a major retrospective at the Museum of Modern Art in Mexico City. His work is represented worldwide, including the Los Angeles County Museum of Art, The Museum of Contemporary Ceramic Art, Shiga, Japan; The Museum of Fine Arts, Quebec, Canada and Keramikmuseum Westerwald, Hohr-Grenzhausen, Germany.

§ David Nash O.B.E. R.A. (British 1945-) Birch Bowl, 1993 signed and dated 'David Nash / Otoineppu 93', birch(122cm high (48in high))Footnote: Provenance: Annely Juda Fine Art, London; Christie's, London, 16 December 2009, lot 163; Private Collection, UK. Exhibited: Hokkaido, Asahikawa Museum of Art, David Nash , June - July 1994: this exhibition travelled to Nagoya City Art Museum, July - September 1994; Ashiya City Museum of Art and History, November - January 1995; Saitama, The Museum of Modern Art, April - May 1995; Kamakura, The Museum of Modern Art, May - June 1995; and Ibaraki, Tsukuba Museum of Art, June - July 1995. Literature: David Nash, David Nash Otoineppu , Spirit of Three Seasons, Sapporo, 1994, p. 80 (illustrated); Norbert Lynton (ed.), David Nash , Thames & Hudson, London, 2007, p.104 (illustrated). Birch Bowl was created by David Nash when he was in Otoineppu, Hokkaido, Japan in 1993. He made several works in Otoineppu and the theme of the six exhibitions there was ’Spirit of Three Seasons’. In his own words the artist describes the special nature of the Otoineppu village as a place 'where the crafts and arts are very much alive’. ‘The village is alive with the art of growing and carving wood...All these factors...created a very special environment in which we could realise this project through the seasons of Spring, Summer and Winter 1993-94.' (See D.Nash, David Nash Otoineppu Spirit of Three Seasons , Sapporo, 1994). In conversation with the art critic Richard Cork in 2010, he asked Nash what he hoped to achieve with his work: ‘It’s got to be accessible and welcome visitor’s into it. I start with people’s familiarity with wood, through doors, floors, tables and domestic items. Most people are aware of how trees change during the seasons. The material is embedded into our daily lives. Then I enter into the deep history of trees and their culture. But I try to touch the wood as little as possible. I’m not interested in over-carving, polishing and craft. I don’t mind splinters, and I want it to crack. Trees stand for me as a threshold into the huge world of the environment.’ (Royal Academy Magazine, Summer 2010)

Sir Basil Spence O.M. O.B.E. R.A. (British 1907-1976) for H. Morris & Co. Allegro armchair, laminated wood and leather upholstery(87cm x 47cm x 45cm (34.2in x 18.5in x 17.7in))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 (similar example illustrated); Long, Philip and Thomas, Jane (ed.), Basil Spence , Architect National Galleries of Scotland in Association with RCAHMS, Edinburgh 2008, p. 52 and p. 54, fig 55 (similar example illustrated). Sir Basil Spence was one of the leading British architects 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 (1954-1962), 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 he was working on, 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, 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 development of plywood furniture in the 20th century is focussed on wartime innovation. The American designers Ray and Charles Eames designed prize-winning furniture for the Organic Design in Home Furnishings competition at the Museum of Modern Art in New York in 1941. Their work displayed the new technique of wood moulding, originally developed Alvar Aalto in Finland, that Eames would go on to develop in many moulded plywood products, including splints and stretchers for the US Navy during World War II. From this work many of their iconic furniture designs were developed. The manufacture of the 'Allegro' range also found its origins in wartime innovation. The Southampton-based manufacturer of helicopter Ciervarva 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 wiphenoformaldehydeyde, 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.

§ Percy Wyndham Lewis (British 1882-1957) for The Rebel Art Centre or Omega Workshops Rare hand-blocked print on silk and linen, with hand-stitched woolwork line details(255cm x 180cm (100.4in x 71in))Footnote: Literature: Rayner, Geoffrey, Chamberlain, Richard and Stapleton, Annamarie, Artist's Textiles 1949-1976 , pp.14-15, plates 4a and 4b (similar example illustrated); Mallams, Oxford, Design & Modern British Art , 8 December 2017, lot 620 for an example of the textile made into a dressing robe. The Omega Workshops, established in 1913, was a design enterprise founded by members of the Bloomsbury Group. In 1914, Lewis set up The Rebel Art Centre as a workshop for the applied arts, and it is likely that this handblocked bedspread was designed for one of these. The same design is visible on an embroidered and block-printed silk robe created by Lewis in 1914. This design was seen by the authority on the Omega Workshops and Rebel Art Centre, Dr. Judith Collins, who identified this design as the work of Wyndham Lewis. Although closely related to Lewis’s slightly earlier applied designs for The Omega Workshops and The Cabaret Theatre Club, Dr. Collins considered it to dated from 1914 and the period of Lewis’s involvement with the Rebel Art Centre.

§ Alan Reynolds (British 1926-2014) for Edinburgh Weavers Crystalline Image, 1961 Jacquard woven cotton and rayon(233.5cm  x 114cm (92in x 44.75in))Footnote: Literature: Fine Art Society ''Austerity to Affluence: British art and design 1945-1962'', 1977p. 47, pl. T37; Jackson, Leslie ''Alastair Morton and Edinburgh Weavers: Visionary Textiles and Modern Art'' pub V&A 2012, pl. 404. “The horizontal and the vertical remain in Alan Reynolds’ pictures the elemental structures. They are always emphasised. It is the horizontal that defines the horizon…The horizontal makes for stability; the vertical expresses growth and direction towards life’. (Critic J. P.Hodin, quoted in Lesley Jackson, Edinburgh Weavers ). Crystalline Image was based on a watercolour August Image – Crystalline , dating back to 1958-9 and presents a jewel-like image transformed from the original into a notable Jacquard weave. Technically it is quite a feat, with an astounding range of techniques, weave structures and colours and like Frink’s Warriors was one of the most expensive textiles produced by Edinburgh Weavers (£5 15s 6d), signifying the richness and complexity of the work.

§ Dame Elisabeth Frink (British 1930-1993) for Edinburgh Weavers Warriors, 1960 tapestry woven wool(122cm long x 91cm high (48in long x 36in high))Footnote: Literature: Lesley Jackson, Alaistair Morton and Edinburgh Weavers , V&A Publishing, 2012, p.223 (illustrated). At the point of commissioning of Warriors Elizabeth Frink was one of the rising stars of British art, and one of the textiles was exhibited alongside the original watercolour at Modern Art in Textile Design at the Whitworth Art Gallery, Manchester in 1962. The frieze like composition, evokes classical relief sculpture, a subject that was of particular inspiration to Frink and which she returned to on a number of occasions in differing media. Warriors was one of the most expensive fabrics in the artists’ textile series by Edinburgh Weavers at £6 a yard, this took into account the difficulty of the weave and the choice of expensive woollen yarns. Evidently Frink must have favoured the design, as curtains made from Warrior fabric were in use at her Dorset home until at least 1982.

Josef Albers (American, 1888-1976)Study for Homage to the Square 1965 signed with the artist's monogram and dated 65; titled, dated V 65 and extensively inscribed on the reverse oil on masonite61 by 61 cm.24 by 24 in.Footnotes:This work will be included in the forthcoming catalogue raisonné currently being prepared by The Josef and Anni Albers Foundation, under no. JAAF 1976.1.674.This work is accompanied by a photo-certificate of authenticity issued by The Josef and Anni Albers Foundation, Bethany.ProvenanceThe Estate of Josef Albers, New HavenThe Josef and Anni Albers Foundation, BethanyWaddington Custot Galleries, LondonPrivate Collection, SwitzerlandAcquired directly from the above by the present ownerExhibitedBologna, Museo Morandi, Josef Albers Omaggio al quadrato. Una retrospettiva, 2005, p. 123, no. 62, illustrated in colourLondon, Waddington Galleries, Josef Albers: Works on Paper and Paintings, 2007 p. 69, no. 29, illustrated in colourFew artists produce a body of work as groundbreaking as Josef Albers' Homage to the Square. Amounting to a passage in the artist's career that began at Yale in 1950 at the age of 62, and would continue until his death in 1976, it came to pave the way for geometric abstraction at large in the postmodern period. Amongst prints, drawings, tapestries and paintings, truly exceptional examples of Albers' Homage are instantly recognisable and highly sought-after; hand-painted in rich oils over masonite, their colours exude a warmth and spatiality that is teeming and concrete. The present work, Study for Homage to the Square, from 1965, is such a painting. Constructed in his signature tri-partite composition, the florid green over two lustrous greys create a pulsating window of colour that superbly demonstrates the visual and phenomenological games that Albers experimented with throughout his career.A professor at the Bauhaus between 1923 and '33 – before moving to Black Mountain College where Josef and Anni Albers led the arts programme following their departure from Nazi Germany – his influence as a teacher and luminary to generations of artists that would follow him is without equal. A central figure of the revolutionary school that was at the centre of burgeoning European Modernism in art, architecture and design, Albers set about examining the compositional and formal effects of colour and shape, fascinated as he was by the versatility and fragility of perception. In Albers own words, 'every perception of color is an illusion [...] We do not see colors as they really are. In our perception they alter one another. [...] This play of colors, this change in identity, is the object of my concern. It leads me to change my color tool, my palette, from one picture to the next' (the artist in: Eugen Gomringer, Josef Albers, New York 1967, p. 104).It was at the midpoint of the Twentieth Century, shortly after joining the Yale faculty, that Albers began his definitive Homage to the Square series. What may initially be read as a fairly narrow compositional framework, this body of work allowed Albers to explore the finite, expressive potentials of colour and their intrinsic relationships. Entirely based on a mathematically determined format of several squares, each element appears to overlap and nestle within one another, both as an autonomous shape and integral part of a complete system. The geometric abstraction that Albers had conceived of was a scientific and aesthetic method of exploring the subjective experience of colour. Albers' deliberate use of adjacent complimentary and combative colours and their effects on one another, combined with the flat planes of his compositions that appear to be staggered in a field of vision in the interior of the work, engaged an entirely novel visual style; one chiefly concerned with the experience of looking. In 1965, the artist wrote: 'they all are of different palettes, and, therefore, so to speak, of different climates. Choice of the colours used, as well as their order, is aimed at an interaction - influencing and changing each other forth and back. Thus, character and feeling alter from painting to painting without any additional 'hand writing' or, so-called, texture. Though the underlying symmetrical and quasi-concentric order of squares remains the same in all paintings – in proportion and placement – these same squares group or single themselves, connect and separate in many different ways' (the artist in: Josef Albers, Study for Homage to the Square, 1964, December 2012, Tate, online). Not only is his influence on the timeline of modern art largely unparalleled, but Albers' legacy endured in the artists he taught, shared ideas with, and guided through the early years of their career, influencing the emergence of Colour Field Painting, Geometric Abstraction and Op Art. In his work at the Bauhaus, Black Mountain College, and Yale, his students would include Cy Twombly and Robert Rauschenberg, the formidable Eva Hesse, Sheila Hicks and Richard Serra. In short, Albers' role as a mentor and his significance as an artist can be traced through the pantheon of American artists and global artistic movements. In the present work, the qualities that made Albers such a stalwart of the modern period are evident in abundance. His exceptional aesthetic sense plays out between the simplicity of his composition and colours, and in turn produces a work of outstanding, complex beauty. With comparable green paintings from the 1960s in the Tate Collection, London, the Museum of Modern Art and the Metropolitan Museum, New York, the present Study for Homage to the Square is a museum-quality painting that is a truly immaculate example of Albers' superlative aesthetic sense and globally celebrated oeuvre.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

Banksy (British, b. 1975)Weston Super Mare 1999 taggedacrylic on canvas76.5 by 76.5 cm.30 1/8 by 30 1/8 in.This work was executed in 1999.Footnotes:This work is accompanied by a certificate of authenticity issued by Pest Control Office.ProvenancePrivate Collection, UKSale: Sotheby's, Olympia, Contemporary Art, 19 June 2006, Lot 560Acquired directly from the above by the present ownerLiteratureRobin Banksy, Banging your head against a brick wall, London 2001, n.p., illustratedBanksy's best works always have at their heart his distinctive, often brutal sense of humour. So much of his early work focuses on that peculiarly British characteristic that celebrates the mundane and the ordinary, in the tradition of the kitchen sink painters such as Stanley Spencer of the mid-Twentieth Century. Banksy often plays with this national personality trait, repurposing twee landscapes and inserting shocking images in the Crude Oil series, or, as in the case with the present lot, memorialising a town synonymous with drabness and faded glamour and building the composition on the image of a lonely figure sitting on a bench. The sheer unsuitability of this as a subject for a major work of art is where the humour lies and yet it also gives a glimpse into the personality of this mercurial artist. Weston-Super-Mare is a seaside town near Banksy's native Bristol and the location of his 2015 theme park Dismaland. Best known as the site of the once celebrated Tropicana Lido, closed since 2000, Weston-Super-Mare is not the obvious choice for a new amusement park and so it would have immediately appealed to Banksy's post-modern sense of irony. This is also a political choice; by celebrating the hinterland and indeed the degraded, disenfranchised figure at the heart of the composition of the present lot, Banksy is using his platform to drag focus away from traditional art world contexts. Always a self-confessed outsider, so much of Banksy's art exists to poke fun at traditional hierarchies and, in light of his astonishing success, also at himself. If everyone is fair game for mockery in Banksy's world then no one is more so than he himself and in that sense the figure on the bench can be seen as a self-portrait, revealing his own sense of ordinariness and feeding into the theme of being an imposter that features so often in his work. Weston Super Mare can therefore be seen as a work of searing honesty and self-revelation; a very personal painting that gives a clear, if very rare, insight into the artist's background and personality. Executed in 1999, this work is one of the earliest and most significant canvases by the artist to come to auction.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Howard Hodgkin (1932-2017)For Edward 1984 debossed with the artist's initials and dated 1984acrylic and gouache on card laid on cardboard in found frame20 by 27.2 cm.7 7/8 by 10 11/16 in.Footnotes:A frontispiece cut from the exhibition catalogue Howard Hodgkin: Forty Paintings, 1973-1984, Whitechapel Gallery, London 1985, with a dedication written by the artist in pencil, 'For Edward Love from Howard 1985', was found inside the frame of the picture, which was discovered posthumously. This work will be included in the forthcoming catalogue raisonné being compiled by The Estate of Howard Hodgkin.ProvenancePrivate Collection, UKAcquired from the above by the present owner circa 1995A work that was only recently re-discovered and is completely fresh to market after having remained almost entirely unseen since the artist gifted the painting to its namesake in 1985, For Edward is a veritable lost treasure, which will be included in the forthcoming catalogue raisonné compiled by the artist's estate. It is amongst those rare paintings that embody the spirit of an artist at his zenith – negotiating scale, composition and colour with outstanding tact. With paintings residing in museums internationally, including the Museum of Modern Art, New York, the Museu de Arte Contemporanea de Sao Paulo, Brazil, and the Centro de Arte Moderna, Lisbon, this represents an opportunity to acquire a work of exceptional quality with unique provenance, by one of the most prominent and celebrated painters of the post-war period. Upon encountering Howard Hodgkin's paintings, the transcendent quality and extensive appeal of his style is palpable and evident. Mastering an orchestral sweep and dapple of the brush, Hodgkin's paintings are harmonic in their affect, and none quite so precisely composed as in the present work, For Edward, from 1984 – the same year Hodgkin stepped up to the international stage exhibiting in the British Pavilion at the Venice Biennale, before he would go on to win the Turner Prize in 1985. Hodgkin's virtuosic brushwork is exquisite and hypnotizing, and the present work is a truly compelling and succinct example of the artist's talent as it translates into his expressive mark. Emerging from the Bath Academy of Art at Corsham in 1954 under the pupilage of William Scott, Hodgkin was an influence unto himself. Early inspiration came in The New American Painting exhibition of Abstract Expressionist artists at the Tate Gallery in 1959, and the significance of Rothko's planes of colour is never far. Yet he shunned the flatness of American Modernism, pushing the painting out of its frame and creating abstract depths of field that translate as windows onto a vivid and luscious landscape. As his close friend, the acclaimed writer Julian Barnes once wrote: 'H.H.'s paintings are not narratives. Mostly, they are memories. But it is not a case of emotion recollected in tranquility. Rather, it is emotion recollected in intensity. In that sense his pictures are operatic' (Julian Barnes, Keeping an Eye Open, London: Jonathan Cape, 2015, 260). Produced in a hugely important year for Hodgkin, For Edward is exemplary of the later period of his career that the artist was entering in the mid-1980s. As hasty as the paintings appear, he was in fact renowned for the meticulous and slow nature of his work, with many paintings taking years to complete. In For Edward, the refined brushwork and teeming chromatic scales of green and orange are a delight to behold at such an elegant scale, and wonderfully speak to the Hodgkin's lifelong appreciation for Indian art and culture.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Anselm Kiefer (German, born 1945) Sefiroth 2002 titledmixed media on photograph laid on canvas157.5 by 88.6 cm.62 by 34 7/8 in.This work was executed in 2002.Footnotes:ProvenanceGagosian Gallery, New YorkPrivate Collection, Italy (acquired directly from the above in 2002)Sale: Sotheby's, London, Bear Witness, 10 March 2015, Lot 141Acquired directly from the above by the present ownerExhibitedNew York, Gagosian Gallery, Anselm Kiefer - Merkaba, 2002, p. 49, illustated in colourAnselm Kiefer's work is a rare achievement in that it produces an immediate effect while leaving a lasting impression. Born into a landscape of rubble and irreconcilable guilt, Kiefer is part of the generation known as the Nachgeborenen, a term used for those in Germany born immediately after the war. Associated with the disparate Neo-Expressionist group, Kiefer's work was deemed controversial, signaling a return to Germany's embarrassing past, his figurative work out of place in an art world dominated by the post-painterly movement. However, it is Kiefer's bold vision that has arguably given expression to the spiritual plight of humanity in the twentieth century. First exhibited at Gagosian Gallery in 2002, Sefiroth is part of a larger body of work dealing with Kabbalist literature and the after-life. A mystical school of thought within Judaism, Kabbalah is understood to be the Jewish response to historical trauma. Issuing from the expulsion of the Jews from Spain in 1492, Kabbalah uses historical trauma and suffering as a vehicle for redemption through a mystical story of creation and destruction. In the present work, Kiefer combines Kabbalistic symbols with mystically suggestive imagery: at its centre the mystical tree of life, the Sefiroth, is imprinted on a snowy backdrop of a staircase, which rather than ascending to heaven appears to fall back to earth. Representing the ten emanations or illuminations of God's eternal light, the Sefiroth can be divided into three categories: conscious emotion, conscious intellect and the super-conscious or 'Kether' representing God at the top of the axis, which Kiefer has inscribed into the work. Through its soft palette of greys and whites, Sefiroth transmits a mesmerizing and enigmatic melancholy, which emanates the secret knowledge of Kabbalah, representing for the artist 'a paradox of logic and mystical belief. It's part scholarship, part religion, part magic. For me, it is a spiritual journey anchored by images' (the artist in 'Heaven and Earth', Anselm Kiefer, exh. cat., Guggenheim Museum, Bilbao, 2007, p. 339).Kiefer's preoccupation with Judaism and more specifically with Kabbalah can be understood within his own wider aesthetic concerns with Germany's National Socialist history and the Holocaust. According to Lisa Saltzman, 'it would seem that on a very basic level Kiefer's work suggests a memorializing impulse, an anamnetic impulse, an impulse to reintroduce, if not into the visual, at least into the linguistic and acoustic, landscape of postwar Germany, the absent other, the Jew, signified in the foreign sounds of the Hebrew language.' (Lisa Salzman, Anselm Kiefer and Art After Auschwitz, Cambridge 1999, p. 43). Through his use of Kabbalistic symbols of destruction and rebirth, Kiefer simultaneously addresses Germany's own preoccupation with the destruction of culture and specifically Jewish culture during the Holocaust. Through his work, Kiefer allowed for a dialogue to be opened regarding National Socialism simultaneous appropriation and destruction of German culture and identity. From Wagner and the Brothers Grimm to the Rhine and the German forest itself, National Socialism sought to adopt those signifiers of German culture as a means to embed and justify their racist and antisemitic world view.Kiefer's work has the unique ability of creating a universal language that speaks directly to our shared humanity, it is through his extensive use of symbols that the artist is able to create both visual and metaphorical bridges between complicated and often problematic imagery, suggestive of our shared histories. Kiefer's work has been celebrated in numerous retrospectives at some of the world's leading institutions including Louisiana, Humlebæk, Royal Academy, London, Guggenheim, Bilbao and Centre Pompidou, Paris, with his work also found in the permanent collections of the Tate Modern, London, Museum of Modern Art, New York, the Metropolitan Museum of Art, New York, the Tel Aviv Museum of Art and the Albertina in Vienna among many others.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A. R. Penck (German, 1939-2017)Standart TTABTTT 5 1984 signed and titledacrylic on canvas160 by 130 cm.63 by 51 3/16 in.This work was executed in 1984.Footnotes:ProvenanceWaddington Galleries, LondonPrivate Collection, New YorkSale: Sotheby's, New York, Impressionist, Modern and Contemporary Paintings, Drawings and Sculpture, 8 October 1986, Lot 95Germans Van Eck Gallery, New York (AP102)Guy Pieters Gallery, KnokkeAcquired directly from the above by the present owner circa 1987ExhibitedLondon, Waddington Galleries, A.R. Penck, 1984Teeming with the symbols, cyphers and metaphors embedded in A.R. Penck's practice and executed at a pivotal moment in his career, Standard TTABTTT 5 is consummate example from the artist's celebrated oeuvre. Having remained in the same collection for over thirty years, the present work is a rare opportunity to acquire a painting, not only entirely fresh to the market, but also permeated with the intense atmosphere and raw vitality found in all of the artists best known and most coveted works in private and institutional collections.Born in Dresden in 1939, Ralf Winkler was old enough to see and remember the city burning in 1945. The traumatic experience and his life in a war-torn and soon to be separated Germany would influence his life and work profoundly. Taking the decision to remain in East Berlin after the wall had been erected in 1961, Winkler experienced artistic isolation, surveillance and censorship by the secret police. In 1957 he began a lifelong friendship with Georg Kern (later to become Baselitz) and after meeting the Gallerist Michael Werner in 1968, he started illicitly exhibiting in the West. To avoid the unwanted attention of the state and facilitate smuggling his paintings across the border Winkler used a variety of pseudonyms, including 'Mike Hammer', 'Theodor Marx', 'a. Y' and just 'Y'. It was 'A.R. Penck', adopted after reading the work of the geographer and geologist Albrecht Penck that eventually stuck.Penck's iconic 'Standart' works employ a lexicon of pictograph-like marks he referred to as building blocks. First developed in the 1960s and derived from the words 'standard' and 'art', with an echo of the German word 'Standarte', signifying a banner or flag, the term represented a universally accessible aesthetic, a standard art for all, which would transcend language, boundaries and borders and addressed complex, socio-political themes. Penck claimed never to have heard of conceptualism at the start of his career which would go on to span five decades, but whilst his art developed more or less in isolation behind the wall, it soon found wide spread appreciation in the West especially in the New York art scene that welcomed him with open arms. In 1980, Penck was forced to emigrate to the West and became part of a milieu of Neo-Expressionist painters which included Markus Lüpertz and Jörg Immendorff. In New York he met likeminded artists such as Jean-Michel Basquiat with whom he shared a great mutual respect and artistic exchange that is visible in both artists' works from that time. In 1984, Penck payed homage to his friend with a poem that was published in Basquiat's exhibition catalogue of the same year.In Standard TTABTTT 5 a monumental, almost life-sized central stick figure, part man, part abstract primitive deity, is surrounded by the rudimentary shapes and symbols that form Penck's artistic language. Executed in the vibrant colours Penck began to use more after emigrating to the West, the work conveys a vibrant energy and confident execution of an artist at the height of his career. Whilst this phase of his life coincided with a period of disillusionment caused by the major upheaval in his life, it was also a time of significant artistic recognition. The theme of duality in Standard TTABTTT 5, red against blue, a figure split by use of subtle colour variations, seems highly politically charged and appears to echo the strained relations between the Federal and Democratic Republics, two entirely opposed ideologies of Soviet Communism and Western Capitalism. The fluid, vibrant brush strokes and rhythmic composition pay homage to the artists love of Jazz music; Penck himself was a drummer and played in the band Triple Trip Touch in the late 1980s. Whilst Penck is often described as one of the fathers of Graffitism, his work is difficult to put into any category and his legacy is yet to be fully evaluated. Whilst his work is often associated with Keith Haring and Jean-Michel Basquiat, Penck's inspirations were manifold, ranging from Ernst Ludwig Kirchner to ancient cave paintings. His colourful pictorial language represents a constant dialogue between Primitivism and Art Brut, between painting and Street Art. Penck's work was included in the ground-breaking Zeitgeist show at the Martin-Gropius-Bau, Berlin (1982), A New Spirit in Painting at the Royal Academy of Arts (1981) and New Art, Tate (1983). Penck went on to participate in the 1984 Venice Biennale, the same year Standard TTABTTT 5 was painted, as well as in four editions of Documenta. His work fell out of favour after the heyday of the 1980s, but in recent years regained relevance and is seen as a significant influence on many contemporary artists. Today, his works are held in the collections of the Art Institute of Chicago, The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Kunstmuseum Basel, and the Städel Museum in Frankfurt.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Christo (American, Bulgaria 1935-2020)Store Front (Project) 1964 signed, titled and dated 64; signed, titled, dated 1964 and inscribed 1 Lampe 25w on the reverseenamel, pencil, charcoal, plywood, electric light, metal wire and plexiglas mounted on wood60 by 85 by 10 cm.23 5/8 by 33 7/16 by 3 15/16 in.Footnotes:This work is registered in the Christo & Jeanne-Claude archive.ProvenancePrivate Collection, Europe (acquired directly from the artist)Sale: Dorotheum, Vienna, Contemporary Art, 25 November 2009, Lot 3Acquired directly from the above by the present ownerOn the same day in June 1935, Christo and Jeanne-Claude were born into very different worlds – Christo Valdimirov Javacheff in Bulgaria and Jeanne-Claude Guillebon in French Morocco. Meeting in Paris in 1958, their personal and professional lives would be forever intertwined, eventually becoming the most important artist-duo of the second half of the 20th century. Their unique vision would bring their wrapped works and large-scale installations to cities and landscapes across the globe, including a final work to be presented in Paris in September 2021, L'Arc de Triomphe, Wrapped, posthumously in accordance with the artists' wishes. It is however in the artists' earlier Store Fronts and Store Front Projects where we can really begin to see this initial scaling-up of their unique aesthetic. A series of works that were initiated after their move to New York City in 1964, the present work Store Front (Project) from the same year is a delicate and thoughtful example of his preparatory works from this landmark series.After fleeing communist Bulgaria via Czechoslovakia and Vienna, Christo made his way to the French capital, where his quintessential style of wrapping cans, bottles and everyday domestic items was immediately established. In Paris, Christo gravitated towards the Nouveau Réalisme movement, joining the ranks of Yves Klein, Martial Raysse and Niki de Saint Phalle however soon after his marriage to Jeanne-Claude and the birth of their son, the young family decide to emigrate to New York. Initially installing themselves at the Chelsea Hotel, renown home-from-home for many artists, they would eventually move to a loft in downtown Manhattan, gifting the Chelsea Hotel owner with one of his Store Front Projects as collateral for the bill. To-scale shop façades created from wood and painted in a variety of colours, each Store Front was preceded by detailed architectural maquette-like sketches, typical of Christo's lifelong working process. The present work is a rare and intricate example of these preparatory works, with every detail of the eventual Store Front replicated: from the precise to scale measurements to the metal grill on the windows and the internal lights illuminating the colourful interior. Born from the Show Cases Christo was already creating from found medicine cabinets in Paris in 1963, the Store Fronts should be understood as their scaling-up. Similar to the evolution of the early Wrapped Cans or Packages, which would eventually evolve into projects such as The Pont Neuf Wrapped (1979), the Store Fronts recall the imposing architecture of New York City. 'The result was enigmatic, architectonically elusive, evocative: Store Fronts were of great beauty, possessed of quiet melancholy and a sense of loneliness that recalled the work of American painter Edward Hopper or the boxes of Joseph Cornell. The pervasive sense of mystery [leaving] the observer wondering what was behind the façades' (Jacob Baal-Teshuva, Christo and Jeanne-Claude, New York 2001, p. 27). If the Show Cases are understood as the precursor to the Store Fronts, the Store Fronts are understood by the artist as precursors to the Valley Curtains in Colorado (1972) and the Running Fence in California (1976). It is in the Store Fronts that the concept of internal and external space is initially explored, 'the store fronts radiate a kind of suspense, as if the blocked windows or the closed door might admit one if you only knew the hours of opening. However, our perceptual and physical links are arrested as the invitation stays unfulfilled. What Christo [and Jeanne-Claude have] done is to turn physical space into psychological response, as the façade becomes a wall, absolutely cancelling the inside... [They] cancel the internal space that we anticipate and define space as what is between us and the glass. The spectator's investigative, voyeuristic impulse is converted into an experience of himself, as an object in space' (Lawrence Alloway, Christo, New York 1969, p. VII). The Store Fronts act as a vehicle for our conceptual understanding of space in direct relation to our surroundings. Diverging from the work of the Minimalists, Christo's approach to space is specifically architectural, addressing our every-day interactions to the world around us and how we manipulate and manoeuvre within that space daily. Like the wrapping of the Pont Neuf or the Valley Curtain, the Store Fronts force the viewer to renegotiate their relationship to that space both physically and psychologically. The familiarity of these buildings and spaces is ruptured by the artist's intervention forcing us to confront our own physicality.While as much technical drawings as they are works of art in their own right, the preparatory works represent a lasting testament to the fleeting nature of their monumental culminations. The present work is a rare example within the Store Front Projects in its inclusion of internal light-fittings, its internal illumination bringing the potential of this project to life. The precise architectural nature of the Store Front Projects is evidence of Christo and Jeanne-Claude's unique vision as sculptors but also as visionaries who have made the world's cities and landscape their canvas. Christo's work has been celebrated in the world's most important museums with his Store Fronts and Store Front Projects found in some prominent collections including the Museum of Modern Art, New York, the Hirsshorn Museum, Washington D.C., the Kaiser Wilhelm Museum, Krefeld, Germany and the Museum of Contemporary Art, Los Angeles. His work can also be found in the collections of the Art Institute of Chicago, the Tate Modern, London and the Centre Pompidou, Paris, where the artist's work is currently being exhibited in a landmark retrospective, where an entire room has been dedicated to the extraordinary Store Fronts and Store Front Projects.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Frank Auerbach (British, born 1931)J.Y.M. Seated in the Studio VI 1988 oil on canvas55.9 by 50.8 cm.22 by 20 in.This work was executed in 1988.Footnotes:ProvenanceMarlborough Gallery, London (no. 38919.6)Acquired directly from the above by the present ownerExhibitedBonn, Kunstmuseum; London, Tate Britain, Frank Auerbach, 2015-2016, p. 113, illustrated in colour LiteratureFrank Auerbach and Mel Gooding, Frank Auerbach, Recent Work, London 1990, p. 34, no. 2c, illustrated in black and whiteWilliam Feaver, Frank Auerbach, New York 2009, p. 306, no. 603, illustrated in colourFrank Auerbach's style is inimitable, sensual, studied, and timeless. The ambition of his gesture and profundity of his artistic pursuit cannot be overstated. His sitters have been a constant subject of engagement and experimentation, and for four decades, 'J.Y.M.' – Juliet Yardley Mills – was a central protagonist in the work of the German-born émigré. Depicted here by Auerbach in 1988, J.Y.M. Seated in the Studio VI is a definitive example of the artist's exquisite and accomplished style, selected by Auerbach himself for inclusion in his seminal Tate Britain retrospective in 2015. Auerbach has stood at the vanguard of painterly practice since his emergence in the 1950s, and remains today a period-defining artist who renewed the deep tradition of portrait painting with unrivalled vigour over the course of his career. Born in Berlin in 1931, the artist arrived in Britain a refugee in 1939. Coming of age in the war-torn London of the 1950s, Auerbach emerged alongside Francis Bacon, Lucian Freud, David Hockney and Leon Kossoff as a chief member of, what has popularly been termed, the School of London; a label coined by R.B. Kitaj in the 1970s to describe the preeminent painters of the post-war period in the United Kingdom. In the midst of a close friendship with Freud – who was himself an avid collector of Auerbach's works – the two painters shared an unrelenting fascination with the live sitter. As Freud was so often cited as describing his passion for the flesh and corporeality of his subject, Auerbach instead sought to capture a likeness that evoked the intimacy of his relationship with his human focal point; the materialisation of a psychic image. Placing the realisation of his subject at the heart of his practice, this lifelong project to produce a work of autonomous energy is described by Auerbach as 'a set of sensations of conflicting movements and experiences, which somehow one hopes has congealed or cohered or risen out of the battle into being an image that stands up for itself' (the artist in: 'Frank Auerbach at Tate Britain: Images in Flux,' Jackie Wullschlager, Financial Times, October 16, 2015, online). Across the variegated surface of J.Y.M. Seated in the Studio VI, the luscious coiled peaks of chromium yellow give way to level flourishes of ochre, claret, and deep cerulean blue, amounting to a virtuosic feat of artistry that rends form in passages of sculpted colour. The scrupulous and agile nature of Auerbach's style is never quite so immaculately realised as in the present work, whose curlicues of paint and unambiguous edges generate a forceful image of his sitter as a commanding, statuesque presence. An artist whose use of colour, form, and composition is fearless and original, Auerbach's major retrospective at the Tate Britain in 2015 was a compelling, cumulative vision of an artist striving for a perfect synthesis of the material and metaphysical. Auerbach personally selected the paintings to represent six decades of his career, of which J.Y.M. Seated in the Studio VI was one of them. Writing for the Financial Times, Jackie Wullschlager commented, 'this retrospective at Tate Britain is an exhilarating mix of joy and desperation, architectonic splendour and a rush of fleeting moments [...] Many magnificently memorable images stand up for themselves in this great show' (Ibid.). Few artists will have the honour of a major, career-long survey at the Tate Britain, fewer still in their lifetimes – it is an affirmation of the importance of Auerbach's career and this present work that it should be selected to hang in the U.K.'s premier art museum as a benchmark of his oeuvre. A definitive image of one of his most important sitters, the present work was painted in a period of great accomplishment for Auerbach, winning the prestigious Golden Lion at the Venice Biennale, representing Britain in 1986. An artist of sterling reputation and respect amongst academic, critical and commercial circles, there are few painters whose work is so universally admired. In the raw, freshly applied, impasto surfaces of his most astute works, there is a clarity of vision and feeling that is palpable and electric. Held in museums around the world that includes the Museum of Modern Art, New York, the Louisiana Museum of Modern Art, Humlebaek, and the National Gallery of Australia in Canberra, Auerbach remains one of the most prolific and collectible artists currently working. J.Y.M. Seated in the Studio VI is a testament to a truly great painter who has long since earned his place in the canon of art history.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Barry Flanagan, R.A. (British, 1941-2009)Acrobats 1988 incised with the artist's monogram, stamped with the foundry mark AA and numbered 4/5 bronze303.8 by 88.9 by 69.9 cm.119 5/8 by 35 by 27 1/2 in.This work was executed in 1988, and is from an edition of five numbered versions and 3 artist's casts.Footnotes:ProvenanceJohn Berggruen Gallery, San FranciscoAcquired directly from the above by the present owner in 1992ExhibitedLondon, Waddington Galleries and The Economist Plaza, 1990, p. 19, no. 8, another example illustrated in colour New York, The Pace Gallery, Barry Flanagan, 1990, np., no. 8, another example illustrated in colourBerlin, Haus am Waldsee, Animalia: Stellvertreter, 1990, p. 50, another example illustrated in colourFréjus, Musée Temporaire, Foundation Daniel Templon: La Sculpture Contemporaine après 1970, 1991, p. 89, another example illustrated in colourNew York, Paul Kasmin Gallery, Barry Flanagan: Sculptures, 2004, another example exhibitedLiteratureRichard Dorment, 'First catch your hare' in: The Daily Telegraph, 29 May 1990, another example illustratedTowering at nearly 10 feet tall, Barry Flanagan's Acrobats is undoubtably one of the late Welsh artist's most significant works. First appearing in 1979, the figure of the hare dominated Flanagan's practice ever since, and is represented in institutional collections and beloved public sculptures around the world. When asked about this particular choice of subject, Flanagan stated: 'I find that the hare is a rich and expressive form that can carry the conventions of the cartoon and the attributes of the human into the animal world. So I use the hare as a surrogate or as a vehicle to entertain in a way. The abstract realm that sculpture somehow demands is a very awkward way to work, so I abstract myself from the human figure, choosing the hare to behave as a human occasionally.' (the artist in: Barry Flanagan: Sculpture 1965-2005, exh. cat., Irish Museum of Modern Art, Dublin, 2006, p. 65)In the 1970s, Flanagan moved away from his earlier conceptual work towards a more figurative practice. He started modelling the human form and a range of different animals in bronze, but the motif of the hare is really the one that stuck in the collective mind and came to symbolise his practice. Allegedly inspired by both a hare he watched hopping happily across the English countryside in the late 1970s, and by George Ewart Evans' book The Leaping Hare published in 1972, Flanagan first represented the animal in his now-seminal work Leaping Hare from 1979. A study of the hare's significance around the world in folklore, poetry, mythology and art throughout history, George Ewart Evans' delightfully light-hearted book fuelled Flanagan's interest for the remainder of his artistic practice. The subject of the present work, two anthropomorphised hares balanced on top of each other, first appeared in a smaller format in 1981 which was shown in the very first exhibition of Flanagan's bronzes at Waddington Galleries in London that same year. A resounding success, the exhibition of Flanagan's sculptures truly propelled his career, and he represented Britain at the Venice Biennale in 1982.Flanagan's most iconic sculptures, of which Acrobats is a quintessential example, all succeed in conveying a sense of movement and physical tension whilst remaining wonderfully playful. One can't help but smile at the comical representation of humanlike hares engaging in sporting activities, such as boxing or acrobatics, which unlocks childhood memories of absolute freedom and whimsy. As author Paul Levy puts it, 'nothing is more free, vital, spontaneous and alive – from Aesop's hare outrun by the tortoise to Bugs Bunny – than a capering hare. In France and most of Central Europe, it is the hare that lays eggs at Easter and so promises renewal. In fact, Flanagan's hares do not carry much of this historic symbolic freight; they simply frolic freely and expressively. They don't symbolise life, they live it.' (Paul Levy, Barry Flanagan: Linear Sculptures in Bronze and Stone Carvings, exh. cat., Waddington Galleries, London, 2004)The present work was acquired over 25 years ago by prominent American collector and philanthropist Gerard L. Cafesjian, and remained in his Estate's collection until now. Born in 1925 in Brooklyn to Armenian immigrant parents, Mr. Cafesjian became a highly successful editor at West Publishing - a firm specialising in legal materials - and spearheaded the launch of the annual 'Art and the Law' exhibition, for which he received the prestigious Business in the Arts Award. Mr. Cafesjian's passion for collecting began with a childhood fascination with geology and gemstones, which later branched into fine art. Over the years, he patroned and developed personal relationships with world-renowned sculptors and ultimately assembled an impressive collection of both lapidary and fine works of art.Upon his retirement, Mr. Cafesjian committed his time to art and charity, as he founded the Cafesijan Family Foundation to support mostly Armenian causes. He founded the Scottsdale Museum of Contemporary Art in Arizona in 1999, and, in the early 2000s, he set his sights on an enormous, unfinished and crumbling Soviet structure in Armenia's capital city as the site for a private museum. The building's ambitious renovation and expansion resulted in the creation of the Cafesjian Center for the Arts, which, upon its inauguration in 2009, was touted by the New York Times as being a modern-day 'Hanging Gardens of Armenia' and is best known for its world-class sculpture garden.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lots denoted with a 'TP' 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

Niki de Saint Phalle (French, 1930-2002)Winged Owl Chair 1999 stained glass, formed glass, Murano glass and mirror on teak wood 176 by 132 by 84 cm.69 5/16 by 51 15/16 by 33 1/16 in.This work was executed in 1999 and is unique.Footnotes:ProvenanceYoko Shizue Masuda Collection, JapanPrivate Collection, Japan (by descent from the above)Acquired from the above by the present ownerExhibitedTokyo, The National Art Center, Niki de Saint Phalle, 2015, p. 174, no. 151, illustrated in colourSeoul, Hangaram Art Museum, Niki de Saint Phalle: works from the Masuda collection, 2018Niki de Saint Phalle, born Catherine-Marie-Agnès Fal de Saint Phalle to French-American parents in the wealthy Parisian suburb of Neuilly-Sur-Seine, would come to be known as one of the most widely recognised artists in the world. Popular with collectors the world over, Saint Phalle is known for her joyous and fantastical larger-than-life sculptures of women, animals and mythical creatures in an unabashedly vivid rainbow palette. The aesthetic incarnation of pure extasy, Saint Phalle joined the Nouveau Réalisme movement in the early 1960s – the only female member, her unique vision aligned itself with the disparate aesthetic and founding principals of the group. The present work, Winged Owl Chair, 1999, which held pride of place in the artist's home in La Jolla, California, is an exquisite example of the artist's fantastical vison.Raised in a wealthy conservative Catholic family, Saint Phalle would later go onto describe her upbringing as hellish. Having suffered terrible abuse at the hands of both her parents, the trauma of her upbringing went on to influence much of her adult life and artistic output. Desperate to escape the abuse and the rigid rules of bourgeois society, Saint Phalle married her childhood friend Harry Matthews in 1949, giving birth to their first child two years later. Living a transitory and Bohemian lifestyle, Saint Phalle soon began to realise that the domestic reality of family life had only replicated the same bourgeois confines and conventions she had originally hoped to escape. This realisation resulted in a severe psychological breakdown and after a failed suicide attempt Saint Phalle turned to painting as a form of therapy. In 1954 the young family moved to Majorca and Saint Phalle travelled extensively throughout Spain where she was first introduced to Antoni Gaudí's work. Struck by the Parc Güell in Barcelona, Gaudí's work would open Saint Phalle to unimagined artistic possibilities and would go onto strongly influence her work and specifically her sculpture gardens.Fascinated by the spiritual, Saint Phalle rebelled against her Catholic upbringing searching for a higher existence outside of the confines of the Christian faith. This search reveals itself in the numerous works inspired by Egyptian, Mesopotamian and Indian deities, which after her move to California in 1994, would lead to an interest in Native American spirituality and Mesoamerican cosmology. Created towards the end of the artist's life while living in La Jolla, California, the Winged Arm Chair incorporates many of these influences. Crafted from teak and coloured glass, including Murano glass, the present work speaks to both the artist's past and present. The coloured glass and specifically the Murano glass recalls the artist's relationship to Italy and the Tarot Garden more specifically, while Saint Phalle's use of wood in conjunction with the totemic nature and the symbolism of the Owl recalls both Native American and Mesoamerican spiritual traditions. Saint Phalle would continue to explore these historical Californian and central American traditions in her work, which would culminate in the creation of Queen Califa's Magical Circle , her final sculpture garden in Kit Carson Park, Escondia. Sadly Saint Phalle would never see this final iteration of her vision come to life, dying the year before it opened in 2003.Niki de Saint Phalle's work has the unique ability of penetrating all aspects of 20th century visual culture. Her unique style is universally recognised, with her public sculptures found across three continents and her works collected in museums across the globe including the Louisiana Museum of Art, Humlebaek, Modern Museet, Stockholm, the Tate Gallery, London, the Metropolitan Museum of Art, New York and the National Museum of Art, Osaka among many others, with the present work included in a landmark exhibition at the National Art Centre, Tokyo in 2015.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lots denoted with a 'TP' 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

A RUTILATED QUARTZ BROOCH, BY JOHN DONALD, 1970 The faceted rutilated quartz, set within a textured surround of radiating square 18ct gold tubes, maker's mark JAD, UK hallmark (Dimensions: Length: 5.0cm)(Length: 5.0cm)Footnote: John Donald (1928-) In his half-century as a working jeweller John Donald has been feted as an idealist, a pioneering designer, and as a craftsman. Part of a select group who revolutionised jewellery design in the early 1960s, he went on to establish a successful business and an international reputation. His work captures the late twentieth century ideals of glamour and modernity. Born in 1928 John Donald attended art college as a compromise between sport and university. He studied graphic design at Farnham, and in 1952 he was offered the chance to enrol in the Metalwork Department of the Royal College of Art. This change of direction was essentially a pragmatic one, as he was keen to experience London. But he soon discovered an affinity for working with metal that would shape the rest of his life. At college John Donald shared digs in Chelsea with fellow metalwork students Robert Welch and Gerald Benney. All three friends would later become famous for their silver and jewellery designs. However it was several years before he could establish himself as a jeweller. He entered five pieces in the seminal International Exhibition of Modern Jewellery 1890-1961, held at Goldsmiths' Hall, and by 1964 he could number Princess Margaret and the Queen Mother among his patrons. John Donald's designs perfectly caught the mood of freedom and excitement which swept Britain during the 1960s. Using simple materials such as gold rod and uncut crystal, he created expressive, abstract pieces free from the conventions of shape and style which had constrained earlier jewels. He was one of a small group of craftsmen whose radical entries to the International Exhibition ushered in a new era of modern jewellery.

AN AMETHYST AND TURQUOISE BROOCH, BY JOHN DONALD, 1965 The central oval-cut amethyst, within an abstract border of radiating textured round 18ct gold tubes, accented with collet-set cabochon turquoise, UK hallmark, maker's mark JAD, maker's case (Dimensions: Length: 5.0cm)(Length: 5.0cm)Footnote: John Donald (1928-) In his half-century as a working jeweller John Donald has been feted as an idealist, a pioneering designer, and as a craftsman. Part of a select group who revolutionised jewellery design in the early 1960s, he went on to establish a successful business and an international reputation. His work captures the late twentieth century ideals of glamour and modernity. Born in 1928 John Donald attended art college as a compromise between sport and university. He studied graphic design at Farnham, and in 1952 he was offered the chance to enrol in the Metalwork Department of the Royal College of Art. This change of direction was essentially a pragmatic one, as he was keen to experience London. But he soon discovered an affinity for working with metal that would shape the rest of his life. At college John Donald shared digs in Chelsea with fellow metalwork students Robert Welch and Gerald Benney. All three friends would later become famous for their silver and jewellery designs. However it was several years before he could establish himself as a jeweller. He entered five pieces in the seminal International Exhibition of Modern Jewellery 1890-1961, held at Goldsmiths' Hall, and by 1964 he could number Princess Margaret and the Queen Mother among his patrons. John Donald's designs perfectly caught the mood of freedom and excitement which swept Britain during the 1960s. Using simple materials such as gold rod and uncut crystal, he created expressive, abstract pieces free from the conventions of shape and style which had constrained earlier jewels. He was one of a small group of craftsmen whose radical entries to the International Exhibition ushered in a new era of modern jewellery.

A PAIR OF AMETHYST EARRINGS, BY JOHN DONALD, 1973 Each oval-cut amethyst within an 18ct gold half surround of pierced and hammered finish, post fittings, maker's mark JAD, UK hallmark, maker's case (Dimensions: Length: 1.8cm)(Length: 1.8cm)Footnote: John Donald (1928-) In his half-century as a working jeweller John Donald has been feted as an idealist, a pioneering designer, and as a craftsman. Part of a select group who revolutionised jewellery design in the early 1960s, he went on to establish a successful business and an international reputation. His work captures the late twentieth century ideals of glamour and modernity. Born in 1928 John Donald attended art college as a compromise between sport and university. He studied graphic design at Farnham, and in 1952 he was offered the chance to enrol in the Metalwork Department of the Royal College of Art. This change of direction was essentially a pragmatic one, as he was keen to experience London. But he soon discovered an affinity for working with metal that would shape the rest of his life. At college John Donald shared digs in Chelsea with fellow metalwork students Robert Welch and Gerald Benney. All three friends would later become famous for their silver and jewellery designs. However it was several years before he could establish himself as a jeweller. He entered five pieces in the seminal International Exhibition of Modern Jewellery 1890-1961, held at Goldsmiths' Hall, and by 1964 he could number Princess Margaret and the Queen Mother among his patrons. John Donald's designs perfectly caught the mood of freedom and excitement which swept Britain during the 1960s. Using simple materials such as gold rod and uncut crystal, he created expressive, abstract pieces free from the conventions of shape and style which had constrained earlier jewels. He was one of a small group of craftsmen whose radical entries to the International Exhibition ushered in a new era of modern jewellery.

A LADY'S 18CT GOLD MANUAL WRISTWATCH, BY JOHN DONALD, 1965 The square textured gold dial, with black enamel dot quarters and hands, within a similarly-designed bezel, to an openwork bracelet composed of abstract textured cubes, UK hallmark, maker's mark JAD, maker's case (Dimensions: Length: 17.0cm)(Length: 17.0cm)Footnote: John Donald (1928-) In his half-century as a working jeweller John Donald has been feted as an idealist, a pioneering designer, and as a craftsman. Part of a select group who revolutionised jewellery design in the early 1960s, he went on to establish a successful business and an international reputation. His work captures the late twentieth century ideals of glamour and modernity. Born in 1928 John Donald attended art college as a compromise between sport and university. He studied graphic design at Farnham, and in 1952 he was offered the chance to enrol in the Metalwork Department of the Royal College of Art. This change of direction was essentially a pragmatic one, as he was keen to experience London. But he soon discovered an affinity for working with metal that would shape the rest of his life. At college John Donald shared digs in Chelsea with fellow metalwork students Robert Welch and Gerald Benney. All three friends would later become famous for their silver and jewellery designs. However it was several years before he could establish himself as a jeweller. He entered five pieces in the seminal International Exhibition of Modern Jewellery 1890-1961, held at Goldsmiths' Hall, and by 1964 he could number Princess Margaret and the Queen Mother among his patrons. John Donald's designs perfectly caught the mood of freedom and excitement which swept Britain during the 1960s. Using simple materials such as gold rod and uncut crystal, he created expressive, abstract pieces free from the conventions of shape and style which had constrained earlier jewels. He was one of a small group of craftsmen whose radical entries to the International Exhibition ushered in a new era of modern jewellery.

A LONGCHAIN, BY JOHN DONALD, 1978 Set at regular intervals with oval openwork 9ct gold links of hammered finish, between cable-link chain connections, UK hallmark, maker's mark JAD, maker's case (Dimensions: Length: 90.0cm)(Length: 90.0cm)Footnote: John Donald (1928-) In his half-century as a working jeweller John Donald has been feted as an idealist, a pioneering designer, and as a craftsman. Part of a select group who revolutionised jewellery design in the early 1960s, he went on to establish a successful business and an international reputation. His work captures the late twentieth century ideals of glamour and modernity. Born in 1928 John Donald attended art college as a compromise between sport and university. He studied graphic design at Farnham, and in 1952 he was offered the chance to enrol in the Metalwork Department of the Royal College of Art. This change of direction was essentially a pragmatic one, as he was keen to experience London. But he soon discovered an affinity for working with metal that would shape the rest of his life. At college John Donald shared digs in Chelsea with fellow metalwork students Robert Welch and Gerald Benney. All three friends would later become famous for their silver and jewellery designs. However it was several years before he could establish himself as a jeweller. He entered five pieces in the seminal International Exhibition of Modern Jewellery 1890-1961, held at Goldsmiths' Hall, and by 1964 he could number Princess Margaret and the Queen Mother among his patrons. John Donald's designs perfectly caught the mood of freedom and excitement which swept Britain during the 1960s. Using simple materials such as gold rod and uncut crystal, he created expressive, abstract pieces free from the conventions of shape and style which had constrained earlier jewels. He was one of a small group of craftsmen whose radical entries to the International Exhibition ushered in a new era of modern jewellery.

A PAIR OF RUBY EARRINGS, BY JOHN DONALD, 1992 Each designed as a curved 18ct gold wirework leaf, accented with a trio of oval-cut rubies, post fittings, UK hallmark, maker's mark JAD (Dimensions: Length: 2.1cm)(Length: 2.1cm)Footnote: John Donald (1928-) In his half-century as a working jeweller John Donald has been feted as an idealist, a pioneering designer, and as a craftsman. Part of a select group who revolutionised jewellery design in the early 1960s, he went on to establish a successful business and an international reputation. His work captures the late twentieth century ideals of glamour and modernity. Born in 1928 John Donald attended art college as a compromise between sport and university. He studied graphic design at Farnham, and in 1952 he was offered the chance to enrol in the Metalwork Department of the Royal College of Art. This change of direction was essentially a pragmatic one, as he was keen to experience London. But he soon discovered an affinity for working with metal that would shape the rest of his life. At college John Donald shared digs in Chelsea with fellow metalwork students Robert Welch and Gerald Benney. All three friends would later become famous for their silver and jewellery designs. However it was several years before he could establish himself as a jeweller. He entered five pieces in the seminal International Exhibition of Modern Jewellery 1890-1961, held at Goldsmiths' Hall, and by 1964 he could number Princess Margaret and the Queen Mother among his patrons. John Donald's designs perfectly caught the mood of freedom and excitement which swept Britain during the 1960s. Using simple materials such as gold rod and uncut crystal, he created expressive, abstract pieces free from the conventions of shape and style which had constrained earlier jewels. He was one of a small group of craftsmen whose radical entries to the International Exhibition ushered in a new era of modern jewellery.

A DIAMOND-SET BROOCH, BY JOHN DONALD, 1971 The circular brooch of 18ct gold openwork radiating design, accented with two tapered lines of baguette-cut diamonds, UK hallmark, maker's mark JAD, maker's case (Dimensions: Length: 5.5cm)(Length: 5.5cm)Footnote: John Donald (1928-) In his half-century as a working jeweller John Donald has been feted as an idealist, a pioneering designer, and as a craftsman. Part of a select group who revolutionised jewellery design in the early 1960s, he went on to establish a successful business and an international reputation. His work captures the late twentieth century ideals of glamour and modernity. Born in 1928 John Donald attended art college as a compromise between sport and university. He studied graphic design at Farnham, and in 1952 he was offered the chance to enrol in the Metalwork Department of the Royal College of Art. This change of direction was essentially a pragmatic one, as he was keen to experience London. But he soon discovered an affinity for working with metal that would shape the rest of his life. At college John Donald shared digs in Chelsea with fellow metalwork students Robert Welch and Gerald Benney. All three friends would later become famous for their silver and jewellery designs. However it was several years before he could establish himself as a jeweller. He entered five pieces in the seminal International Exhibition of Modern Jewellery 1890-1961, held at Goldsmiths' Hall, and by 1964 he could number Princess Margaret and the Queen Mother among his patrons. John Donald's designs perfectly caught the mood of freedom and excitement which swept Britain during the 1960s. Using simple materials such as gold rod and uncut crystal, he created expressive, abstract pieces free from the conventions of shape and style which had constrained earlier jewels. He was one of a small group of craftsmen whose radical entries to the International Exhibition ushered in a new era of modern jewellery.

Y A NEPHRITE AND CORAL BRANCH BROOCH, BY JOHN DONALD, 1980 The coral branch, corallium rubrum, wrapped with 18ct gold wire, decorated with gold flowerheads and carved nephrite leaves, maker's mark JAD, UK hallmark (Dimensions: Length: 7.0cm)(Length: 7.0cm)Footnote: John Donald (1928-) In his half-century as a working jeweller John Donald has been feted as an idealist, a pioneering designer, and as a craftsman. Part of a select group who revolutionised jewellery design in the early 1960s, he went on to establish a successful business and an international reputation. His work captures the late twentieth century ideals of glamour and modernity. Born in 1928 John Donald attended art college as a compromise between sport and university. He studied graphic design at Farnham, and in 1952 he was offered the chance to enrol in the Metalwork Department of the Royal College of Art. This change of direction was essentially a pragmatic one, as he was keen to experience London. But he soon discovered an affinity for working with metal that would shape the rest of his life. At college John Donald shared digs in Chelsea with fellow metalwork students Robert Welch and Gerald Benney. All three friends would later become famous for their silver and jewellery designs. However it was several years before he could establish himself as a jeweller. He entered five pieces in the seminal International Exhibition of Modern Jewellery 1890-1961, held at Goldsmiths' Hall, and by 1964 he could number Princess Margaret and the Queen Mother among his patrons. John Donald's designs perfectly caught the mood of freedom and excitement which swept Britain during the 1960s. Using simple materials such as gold rod and uncut crystal, he created expressive, abstract pieces free from the conventions of shape and style which had constrained earlier jewels. He was one of a small group of craftsmen whose radical entries to the International Exhibition ushered in a new era of modern jewellery.

Elizabeth Adela Stanhope Forbes, ARWS (Canadian, 1859-1912)The Gipsy signed and indistinctly dated 'EAFORBES.' (lower left); signed and inscribed ''The Gipsy'/Mrs Elizabeth Stanhope Forbes/Trewarveneth/Newlyn/Penzance' (on a label attached to the frame) oil on canvas96.5 x 122.5cm (38 x 48 1/4in).Footnotes:Provenance(possibly) CD Morton Esq., by 1906.(possibly) Sotheby's 22 February 1972.1Property of a deceased's estate.ExhibitedLondon, Royal Academy, 1901, no. 315.Literature'Women's Studios', The Gentlewoman, 6 April 1901, p. 40.Royal Academy Illustrated, 1901, p. 22.Pall Mall Magazine 'Extra', Pictures of 1901, 1901, p. 64 (illustrated).'The Royal Academy – Second Notice', The Times, 24 May 1901, p. 13.The Royal Academy – Supplement to the Illustrated London News, 18 May 1901, p. IV (illustrated). 'The Royal Academy – Final Notice', Pall Mall Gazette, 16 May 1901, p. 2.Gladys B Crozier, 'Elizabeth Stanhope Forbes', The Art Journal, 1904, p. 383.Mrs Lionel Birch, Stanhope A Forbes ARA and Elizabeth Stanhope Forbes ARWS, 1906, Cassell & Co, p. 80 (illustrated).Austin Chester, 'The Art of Mrs Stanhope Forbes', Windsor Magazine, vol XXVIII, November 1908, p. 628. Judith Cook, Melissa Hardie and Christiana Payne, Singing from the Walls, The Life and Art of Elizabeth Forbes, 2000, Sansom & Co, no 4.97, p. 181.By 1900 the radical first phase of Newlyn School painting had passed, and many original 1880s founders of the colony had left west Cornwall. The recent news that Stanhope and Elizabeth Forbes had opened an art school however, initiated a new phase for the artists' colony that would, in the early years of the century, see the emergence of a distinguished cast of young artists that included Harold Harvey, Dod and Ernest Procter, and Laura and Harold Knight. The continuing success of the colony however, depended upon the Forbes's ability to diversify – to expand its focus on the heroic fisherman and encompass, in Elizabeth Forbes's case, child-lore, chivalric romance, and tales of fairies and woodland sprites. For these, the woods behind Trewarveneth, her home on the hilltop above the town, provided, as Austin Chester noted, 'the inspiration'.2 Depicted with the dedication of a devotee of Bastien-Lepage, according to E Bonney Steyne in The Studio, works such as At the Edge of the Wood (1894, Wolverhampton Art Gallery), demonstrate the use of 'square brush' technique that persists in the treatment of trees in the present lot.3 Painted over the winter of 1900-1, the canvas was not the first modern representation of gypsies. Forbes's husband, Stanhope Alexander Forbes, had addressed the subject in Their ever-shifting home, the progress of which he reported to Elizabeth, then his fiancé, in 1887.4 This stern piece of social realism casts the Romany family as penniless vagrants, viewed with suspicion by local cottagers. In the ensuing decade, the factual reporter in Stanhope left poetic fancy to Elizabeth. When, in 1900, a gypsy girl entered her woodland it signified a moment when serious interest in the origins and lifestyle of the Romany was growing. Within a year of the showing of Their ever-shifting home, the Gypsy Lore Society had been formed and although in its first incarnation it lasted only a few years, the interest was maintained by enthusiasts such as John Sampson, the librarian at University College, London, who took Augustus John, then a Slade student and arch-bohemian, under his wing. As the society, and its journal revived in the early years of the century, many bourgeois travellers inspired by Matthew Arnold's Scholar Gypsy took to the open road. Although lampooned by Jerome K Jerome in the character of 'Mr Toad', these renegades from the suburbs would form the membership of the Caravan Club. In this social and cultural phenomenon, Forbes's The Gipsy, and her husband's Nomads, (Royal Academy 1903, no. 258, unlocated) have been neglected. The work's re-appearance at this moment is therefore significant. The characterisation of Forbes's young woman is also of great interest. Clearly not one of the downtrodden of the earth, she sports a striped skirt and red bandana and by her side is her fiddle. Dance and song, as musicologists and composers were currently discovering, defined the Romany. Her life, unlike that portrayed by Forbes's husband, was to be envied, not pitied, and as the artist indicates, her music comes directly from the natural world, from the birds that surround her. One enthusiastic onlooker, who ironically credited Elizabeth Forbes's work to her husband, read the picture's clues: 'Here The Gypsy[sic] touches actuality as Sinfi Lovell, or the dauntless women of Borrow's wanderings touched a more commonplace present. But this gypsy, alone, with fiddle mute beside her, listening in a pause of her own music to the lyrical pipe of a robin in the leafless woods has a more plaintive charm.5 This unidentified reviewer touched upon the possible sources of the work. While George Borrow's classics, Lavengro (1851) and The Romany Rye (1857) remained in print, Theodore Watts-Dunton's Aylwin published in December 1898, was very much current when Forbes began her painting. A lengthy novel which draws on gypsy lore it tells the tale of the young Hal Aylwin who enlists the assistance of Sinfi Lovell – a 'sublime creation' according to critics – while in search of his true love, Winifred. Sinfi's 'dukkeripen' (fortune-telling in Romany) was the fount of ancient wisdom. Forbes does not of course identify a specific literary source for her work, and gypsies in Cornwall were not an unusual sight, but this young woman asserts more solidity and as much spiritual power as Will-o-the-wisp (1900), in the triptych she had recently shown at the Women's Exhibition at Earl's Court. In the following years, Forbes would return to the celebration of child lore in her Leicester Galleries exhibition of 1904, but it was the emblematic Gipsy that would resonate in the wanderings of Augustus John, the joyful gypsy parades of Alfred Munnings, and the dark-eyed Romany girls of Laura Knight. We are grateful to Professor Kenneth McConkey for compiling this catalogue entry. 1 Cook and Hardie 2000 indicate that two pictures, and possibly three, bear the title, Gypsy, or The Gypsy. They cite a work sold at Newlyn Art Gallery in 1906 for £10, in addition to that owned by CD Morton. At such a low price, the former may be no more than a drawing for the present work which, as contemporary illustrations confirm, is that which appeared at the Royal Academy. 2 Austin Chester, 'The Art of Mrs Stanhope Forbes', Windsor Magazine, vol XXVIII, November 1908, p. 628.3 EBS, 'The Paintings and Etchings of Mrs Stanhope Forbes', The Studio, vol IV, 1894, p. 188. 4 See Caroline Fox and Francis Greenacre, Artists of the Newlyn School, 1880-1900, 1979, exhibition catalogue, Newlyn, Plymouth and Bristol Art Galleries, pp. 83-4.5 EWR, 'The Royal Academy – Local Exhibits', The Western Daily Press, 20 May 1901, p. 3.For further information on this lot please visit Bonhams.com

NO RESERVE British Art.- Powers (Alan) & others. British Murals & Decorative Painting 1920-1960: Rediscoveries and New Interpretations, Bristol, 2013 § Watney (Simon) English Post-Impressionism, 1980 § Harris (A.) Romantic Moderns: English Writers, Artists and the Imagination from Virginia Woolf to John Piper, 2010 § Spalding (Frances) John Piper, Myfanwy Piper: Lives in Art, Oxford, 2009 § Inglis (Lucy) & others. Elsa Vaudrey, Bristol, 2018, illustrations, many colour, original boards, all but the last with dust-jackets; and c.45 others on modern British art, mostly catalogues, 4to & 8vo (c.50)

NO RESERVE French Art.- Gauthier (Maximilien) Achille et Eugène Devéria, modern cloth, original printed wrappers bound in (lightly spotted), Paris, 1925 § Gustave Courbet, original wrappers, Paris, 2008 § Tinterow (G.) & others. Manet/Velázquez: The French Taste for Spanosh Painting, original wrappers, New York, 2003 § Wilson-Bareau (J., editor) Manet by himself, 1991 § Ribeiro (A.) Ingres in Fashion, New Haven & London, 1999, plates and illustrations, some colour, the last two original boards with dust-jackets; and c.25 others on nineteenth century French art, 4to & 8vo (c.30)

NO RESERVE Modern Art.- Baskin (Leonard) Sculpture, Drawings & Prints, 1970 § Hughes (Ted) Cave Birds: An Alchemical Cave Drama, 1978; Season Songs, 1975 § Jaffe (Irma B.) The Sculpture of Leonard Baskin, 1980, all first or first American editions, all inscribed by Leonard Baskin to Adrian Eeles on front free endpaper, illustrations, some by Baskin, original cloth or boards with dust-jackets, very slightly rubbed and browned, New York, 4to & oblong 4to (4)

NO RESERVE Modern Art.- Cowart (Jack) & Dominique Fourcade. Henri Matisse: The Early Years in Nice 1916-1930, Washington D.C. & New York, 1986 § Berggruen (O.) & others. Picasso and the Theater, Frankfurt, 2006 § Kornfeld (E.W.) Ernst Ludwig Kirchner: Nachzeihnung seines Lebens, Bern, 1979 § Klein (Mason) Modigliani unmasked, New Haven & London, 2017 § Brodie (J.) & Andrew Robison. A Century of Drawing: Works on Paper from Degas to LeWit, Washington DC, 2001 § Lucie-Smith (E.) Art Today: From Abstract Expressionism to Superrealism, second impression, Oxford, 1986, illustrations, many colour, original cloth or boards, all but the fourth with dust-jackets; and c.55 others on modern art, 4to & 8vo (c.60)

NO RESERVE Modern Art.- Faille (J.-B. de la) The Works of Vincent van Gogh: His Paintings and Drawings, 1970 § Tralbaut (Marc Edo) Vincent van Gogh, 1979 § Suh (H.Anna, editor) Vincent van Gogh: A Self-Portrait in Art and Letters, New York, 2006 § Pickvance (Ronald) Van Gogh in Arles, New York, 1984 § Feilchenfeldt (W.) "By Appointment Only": Schriften zu Kunst und Kunsthandel Cézanne und Van Gogh, Wädenswil, 2005 § Ives (Colta) & others. Vincent van Gogh: The Drawings, original wrappers, New York, 2005, illustrations, many colour, all but the last original cloth or boards with dust-jackets; and 7 others on Van Gogh, v.s. (13)

NO RESERVE Prints.- Cooper (Douglas) Henri de Toulouse-Lautrec, 1988 § Castleman (Riva) Jasper Johns: A Print Retrospective, New York, 1986 § Ives (Colta) & others. Pierre Bonnard: The Graphic Art, New York, 1989 § Cooke (Gordon) The Ruth and Joseph Bromberg Collection of Sickert Prints and Drawings, 2004 § Getscher (R.H.) The Stamp of Whistler, Oberlin, Oh., 1977 § Gillis (Eric) James Ensor: A Collection of Prints, 2002 § Lowe (Ian) The Etchings of Wilfred Fairclough, Aldershot, 1990, illustrations, the first and last original cloth or boards with dust-jackets, the rest original wrappers; and a small quantity of others on modern prints, mostly catalogues, 4to & 8vo (c.50)

NO RESERVE Tapestries & Textiles.- Cleland (Elizabeth) & others. Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry, New York, 2014 § Campbell (T.P.) Tapestry in the Renaissance: Art and Magnificence, New York, 2002; Henry VIII and the Art of Majesty: Tapestries at the Tudor Court, New Haven & London, 2007 § Woolley (Linda) Medieval Life and Leisure in the Devonshire Hunting Tapestries, 2002 § Browne (C.) & others. English Medieval Embroidery: Opus Anglicanum, New Haven & London, 2016 § Day (Lewis F.) William Morris and his Art, Easter Art Annual Art Journal Extra Number, 1899 § Seligman (G.S.) & Talbot Hughes. Domestic Needlework, one of 500 copies, light damp-staining to lower outer corner of first few leaves, modern cloth preserving part of original upper cover, [1926], plates and illustrations, many colour, all but the last original cloth or boards, the sixth rubbed and marked, the first five with dust-jackets; and c.15 others on tapestries and textiles, 4to & folio (c.20)

Ragheb Ayad (Egyptian 1892-1982)The processionMixed mediaSigned and dated c. 1948 lower right39.5 x 55.5cm (15½ x 21¾ in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present ownerRagheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots xx-xx come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and farmers. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he became director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. Slight undulation to the sheet. A small tear to the right hand edge approx. 15cm up from the bottom. Surface scratch to the upper right quadrant with an associate hole. Another surface scratch to the upper edge. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)The water carriersMixed mediaSigned and dated c. 1962 lower left36.5 x 52.5cm (14¼ x 20½ in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. In original condition. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)The water carriersMixed mediaSigned and dated c. 1965 lower right69 x 49cm (27 x 19¼ in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. Slight undulation to the sheet. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)The ceremonyMixed mediaSigned and indistinctly dated c. 19?? lower right69 x 49cm (27 x 19¼ in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. Slight undulation to the sheet. Surface scratches throughout, a number of tears to the left edge with holes to the upper left and upper right corners. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)The Holy supperMixed mediaSigned and dated c. 1966 lower left69 x 49cm (27 x 19¼ in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. Slight undulation to the sheet. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)Three holy men in a landscapeMixed mediaSigned and dated c. 1965 lower right49 x 69cm (19¼ x 27 in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. Slight undulation to the sheet and handling creases. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)Three figures and a childMixed mediaSigned and dated c. 1961 lower right48.5 x 33.5cm (19 x 13 in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: In original condition. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)The musicians Mixed mediaSigned and dated c. 1960 lower right49 x 69cm (19¼ x 27 in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. Slight undulation to the sheet. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)Unloading the cart Mixed mediaSigned and dated c. 1964 lower right49 x 69cm (19¼ x 27 in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. Slight undulation to the sheet. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)The camel ride Mixed mediaSigned, inscribed Cairo and dated 1977(?) upper right31 x 23cm (12 x 9 in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. Undulation to the sheet, caused by the watercolour. Condition Report Disclaimer

Ragheb Ayad (Egyptian 1892-1982)Oxen Mixed mediaSigned and dated c. 1965 lower left49 x 69cm (19¼ x 27 in.)Provenance:Purchased in Cairo between 1974-1984Thence by descent to the present owner Ragheb Ayad (1892-1982) was a pioneer in Egyptian modern art. Ayad chose to record everyday life on the streets of Cairo and the cafes and souks in villages and small towns. Lots 170-186 come from a private collection purchased in Cairo during the 70s & 80s. This collection of works depicts intimate religious ceremonies, townspeople and animals. Ayad was born in Cairo in 1892 and was one of the first students to attend the School of Fine Arts at its opening in 1908. Ayad went on to study in both France and Italy before returning to Cairo in 1930 where he become director of the decorative department of the Faculty of Applied Arts. His long career in teaching paired with his strong, distinctive and expressionistic style was greatly admired amongst Egyptian artists and served as a great influence on his contemporaries and students. Condition Report: Under glass, unexamined out of glazed frame. Slight undulation to the sheet. Condition Report Disclaimer