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Click here to subscribeA crackleware porcelain square covered dish, with cast brass rose head finial handle, the dish with all-over foliate decoration in blue, green and gilt on an off-white ground and raised on cast brass base and paw feet, modern. 20 x 20 x 16cm high (7¾ x 7¾ x 6¼'') Provenance: With Jorgensen Fine Art, Dublin.
Lots 1-13The following thirteen lots are from the estate of Robin and Patricia Pickard. A further twenty-five lots from the estate are to be sold by Sworders in the Modern British and 20th Century Art Sale Part 2, a timed online auction running from 9 October-1 November 2020.*Edward Bawden RA (1903-1989)'Aesop's Fables: The Gnat and the Lion'linocut printed in colours, 1970, signed, titled and numbered Artist's Proof 7/50 in pencil, on wove paper, with margins image 42.5 x 56cm*Artist's Resale Right may apply to this lot.Condition report: Not viewed out of glazed frame. A little crease to lower right edge. Some staining to extreme edge of mounts in upper left area.
Lots 250-265The following sixteen lots are from the Studio of William and Pamela Chard. A further fifty lots from the studio are to be sold by Sworders in the Modern British and 20th Century Art Sale Part 2, a timed online auction running from 9 October-1 November 2020.*William Chard (b.1923)Self Portraitoil on canvas25 x 15cm*Artist's Resale Right may apply to this lot.Condition report: Paint losses to edges of canvas
A fantastic, antique, Chinese, red coral, Apsara, flying in heaven with a ladle for holly water. Beautifully carved, fine details, and very dynamic creation of the robed Apsara. Her hair style, earrings and face are almost modern in an art deco style. Yet, the set of her robe reminds us of western depiction of angels. The clouds engulfed in her robe, are very traditional Chinese. A well carved fine wooden base, depicting bats and clouds, inlaid with fine metallic wire. Size net 30x11.5 cm, with stand 16 cm.
1995 Ferrari 456 GT CoupéCoachwork by PininfarinaRegistration no. F1 FCCChassis no. ZFFSP44C000100729*Delivered new in the UK*Manual transmission*Exceptionally well maintained*Full specialist service historyFootnotes:Not since the 412's demise in 1989 had Ferrari offered a '2+2' and when the 456 GT debuted at the Paris Salon in October 1992 it was obvious that the long awaited newcomer eclipsed all Maranello's previous four-seat Grand Tourers. Although new from stem to stern, the 456 GT incorporated elements familiar to generations of Ferrari cognoscenti - front-mounted four-cam V12, rear transaxle, tubular steel spaceframe chassis and all-independent suspension - while making an appearance for the first time were electronically-controlled adaptive suspension and a six-speed gearbox (there was also an optional automatic).Essentially a de-tuned version of that powering the 550 and 575, the new 5.5-litre V12 unleashed no less than 442bhp at a lowly 6,250rpm, yet remained smooth and tractable from idling speed to red-line thanks to its state-of-the-art engine management system. F40 excepted, the 456 was the most powerful road car developed by Ferrari up to that time, yet despite delivering supercar performance this relatively unstressed engine has proven to be very reliable.For the 456 Pininfarina worked its magic once more to create a subtly beautiful curvaceous body contrasting with the hard edges of its predecessor. Although bereft of extraneous aerodynamic devices, the 456 remained stable up to its maximum of around 190mph, a figure that made it the world's fastest production four-seater passenger car. Acclaimed on its debut, the 456's styling has not dated and is a tribute to Pininfarina's farsightedness in creating one of most successful designs of modern times. An air-conditioned interior, sumptuous Connolly leather trim, perfectly weighted power steering and Porsche-rivalling build quality all combined to make the 456 GT a worthy competitor for Bentley, Aston Martin and Mercedes-Benz.A rare and desirable manual transmission model, this Ferrari 456 GT was sold by Maranello Concessionaires, Egham on 6th January 1995 to the Singaporean billionaire hotelier Kwek Leng Beng and registered to his Millennium & Copthorne Hotel Group's South Kensington address. Subsequently the Ferrari was owned between 2000 and 2011 by Sir Bruce MacPhail, Managing Director of P &O. This car's service history is reassuringly comprehensive, there being no fewer than 18 services recorded with recognised specialists (mainly Graypaul) between 21st October 1996 at 6,905 miles to 14th June 2018 at 64,440 miles (the current odometer reading is 64,839 miles). Recent works include refreshment of the paintwork and sills, etc between and 2018 and 2019 by Fiennes Restoration at cost of circa £20,000, and various electrical and mechanical works by Kent High Performance prior to last MoT in October 2019 at a cost of circa £6,000. Described by the private vendor as in good condition throughout, this exceptionally well maintained Ferrari 456 GT comes complete with its leather service folder, owner's manual, leather case and tools, history file, V5C document, and current MoT.For further information on this lot please visit Bonhams.com
2016 Miller Racing Special Re-creation 'The Craftsman'Registration no. UN 7132Chassis no. H8900*Unique tribute to Harry Miller*Built by Lamb Engineering*4.3-litre Ford V8 'flat head' engine*Completed circa 2018*Circa 200 miles since builtFootnotes:This unique tribute to the Indianapolis racers built by the great Harry Miller in the 1920s/1930s is the work of Lamb Engineering of South Newton, Salisbury, a company well known in the motorcycle world for producing world class custom machines. For the last four years the Lamb team has been devoted to building its 'Harry Miller Indy Tribute Car', known as 'The Craftsman', to honour Miller and his associates Leo Goossen and Fred Offenhauser.Born in 1875, Harry Miller worked for the Yale Automobile Company and then as a race mechanic at Oldsmobile before setting up shop as a carburettor manufacturer in Los Angeles. Self-taught and once described as 'a genius rather than an engineer', he was soon involved in racing again, relying on his draftsman Leo Goossen and shop foreman Fred Offenhauser to bring his advanced concepts to reality. First of these was the Miller straight-eight engine, a state-of-the-art design featuring twin overhead camshafts and four valves per cylinder. Installed in a Duesenberg chassis, it brought Miller his first Indianapolis 500 victory in 1922 with Jimmy Murphy driving. Following Duesenberg's lead, Miller adopted supercharging and progressed to building complete cars, some with front-wheel drive transmission. Between 1923 and 1928, Miller cars accounted for over 80% of the Indianapolis 500 entries. By 1939, cars powered by Miller engines had won at the 'The Brickyard' on 12 occasions, which included seven consecutive victories between 1927 and 1934.Harry Miller had gone bankrupt in 1933 and his company was purchased by Fred Offenhauser. He then formed a partnership with automobile entrepreneur Preston Tucker, setting up Miller & Tucker Inc in 1935 to build racing cars. The fledgling firm's first commission was from the Ford Motor Company, which wanted to showcase its new 'flat head'V8 engine on the racetrack. Five cars were built for the Indy 500 and all retired with steering box failure caused by the boxes being mounted too close to the exhaust, a fault that surely would have been cured had there been more time for development. These Ford-powered Millers had proved competitive in qualifying and later ran successfully in the hands of privateers. Although inspired by Miller's Ford V8 racers, this car is by no means meant to be a replica, as Lamb Engineering wanted to combine modern design with old-school thinking. For example: the rear dampers are friction plates from a Honda but fitted with small hydraulic cylinders to make adjustments, while the speedometer was designed by Mike Wilkins for Lamb using Nixie tubes, which were used in aircraft in the 1950s and '60s. All the bodywork is aluminium alloy (of 1.5mm thickness) and the front axle, brakes, hubs, etc have all been made in-house. Miller was well known for its front-wheel and four-wheel drive racing cars, and although this car is rear-wheel driven, Lamb designed a geared Watts linkage for the front axle as a nod towards Miller's FWD designs. The steel chassis has a 108' wheelbase and rolls on 18' Bentley wheels, while the rear axle is from a Volvo. Powering this wonderful creation is a 4.3-litre Ford V8 'flat head' engine built around an over-bored original 24-stud block and incorporating various performance components including a stroked crankshaft, high-lift camshaft, gas-flowed ports, etc. The gearbox is a five-speed manual. Built with no expense spared rather than to a fixed budget, the Miller project consumed at least 4,000 hours and Lamb Engineering can be proud of their achievement in showing off old-world craftsmanship at its very best. Finished a couple of years ago and road registered, this unique vehicle never fails to pull an appreciative crowd wherever it goes. Only some 200 miles have been covered since the build was completed ad the Miller is presented in commensurately excellent condition.For further information on this lot please visit Bonhams.com
Offered from The Chester Collection1954/86 Mercedes-Benz 300 SL Gullwing Coupé EvocationRegistration no. 479 UYSChassis no. 11202110008954Footnotes:*Built by Anton 'Tony' Ostermeier of the Gullwing Car Company*One of an estimated 50 made*Mercedes-Benz E-Class 3.0-litre six-cylinder twin-cam engine*Manual transmissionThe Mercedes-Benz 300 SL debuted in the 1952 Mille Miglia, finishing 2nd and 4th overall. Wins in the Carrera Pan-Americana and at Le Mans followed, and the 300 SL was firmly established as part of motor sporting legend. Max Hoffman, the Mercedes-Benz importer for North America, believed a market existed for a road-going version and managed to convince the factory that such a car would be a success. The first racers were open-topped but before the '52 season's end the distinctive 'Gullwing' doored Coupé had appeared. Launched in 1954, the production 300 SL retained the racer's spaceframe chassis and was powered by a 2,996cc, overhead-camshaft, inline six canted at 45 degrees to achieve a lower, more aerodynamic bonnet line. Using innovative direct fuel injection by Bosch, this state-of-the-art power unit produced 215bhp at 5,800rpm. An all-synchromesh four-speed gearbox transmitted power to the hypoid bevel rear axle, while suspension was independent all round by wishbones and coil springs at the front and swing axles and coil springs at the rear. This stunning 300 SL Evocation was built by former Mercedes-Benz employee Anton 'Tony' Ostermeier, whose Gullwing Car Company was based in Gardena, California. Ostermeier's Gullwings were built on a modern Mercedes-Benz 300E chassis and thus featured a modern drive train, suspension, and brakes, making them very practical road cars. Moulds were made from the body of an original 300 SL Gullwing to ensure accuracy, while the panels were made of aluminium reinforced with glassfibre and steel. Indeed, Obermeier's remanufactured components were of such high quality and accuracy that they have been used on authentic 300 SL coupés and roadsters. Mercedes-Benz in Germany was one of his customers. The E-Class 3.0-litre six-cylinder twin-cam engine produces 177bhp and is mated to a manual transmission. There are disc brakes all round and the car rolls on Rudge wheels. It is believed that Ostermeier built only 50 of these Gullwings, most of which were delivered to either Japan or Germany. The V5C Registration Certificate records the date of this car's first registration as January 1954 and the date of UK registration as July 2016. The vendor purchased the car from its first UK owner in July of that year, since when it has been carefully stored at a professional facility and checked over regularly by his own mechanic. Currently displaying a total of 31,257 kilometres on the odometer, this car represents a wonderful opportunity to own a convincing recreation of the iconic Mercedes-Benz 300 SL Gullwing at a mere fraction of the cost of the genuine article.For further information on this lot please visit Bonhams.com
Offered from the estate of the late Michael Patrick Aiken, MBE1939 Lagonda V12 Drophead CoupéCoachwork by LagondaRegistration no. 324 XUJChassis no. 14069*One of only 189 V12s built*Known ownership history*Restored in the USA in the 1990s*Present ownership since 2007*Professionally maintained with no expense spared*Class winner at Pebble Beach in 1997Footnotes:'In making an evaluation of the better British cars, the Lagonda V12 certainly must be considered an excellent design and one that contributed to raising the state of the art - not forgetting, of course, that it probably should be considered W O Bentley's masterpiece.' - Road & Track, October 1978. A quite remarkable piece of automotive engineering, the W O Bentley-designed Lagonda V12 was one of the outstanding British models of its day and one of the exclusive handful of 1930s road cars that could exceed 100mph in standard tune. Not only that, but the magnificent, 4½-litre, V12 engine produced sufficient torque to endow the car with a walking-pace-to-maximum capability in top gear. Approximately 185 V12s of all types were built before the coming of WW2 prematurely ended production.For Lagonda, the year 1935 had brought with it bankruptcy and rescue, its benefactor being a young solicitor named Alan Good. Good reorganised the company and recruited W O Bentley, by then disillusioned with life at Rolls-Royce, which had acquired Bentley in 1931. Bentley succeeded in refining the muscular, Meadows-engined Lagondas while working on a vastly more-advanced design that many consider the great man's finest.First seen in 1936, the Lagonda V12 did not commence deliveries until 1938 and only 189 had been built before the coming of WW2 ended production. The advanced chassis employed double-wishbone independent front suspension and was available with a varied choice of coachwork, including limousine. Frank Feeley, stylist of Aston Martin's post-war 'DB' cars, was responsible for the elegant factory bodywork. As usual, the short-chassis Rapide roadster provided even more performance.The V12's announcement demonstrated that the revitalised company was very much back in business, an impression Lagonda's decision to enter the 1939 Le Mans 24-Hour Race can only have enhanced. The marque already possessed a creditable Le Mans record, a short-chassis 4½-Litre driven by John Hindmarsh and Luis Fontes having won the endurance classic outright in 1935. In October 1938, Earl Howe had set a new national record by covering 101.5 miles at Brooklands in a single hour, despite having to stop to change a burst tyre.This magnificent achievement, together with other high-speed tests during which the Lagonda V12 had shown complete reliability, indicated that it would be a highly suitable candidate for reviving British prestige at Le Mans. Accordingly, it was decided to enter a two-car team in 1939 with the aim of securing valuable data, and then to mount a full-strength challenge the following year. In the race the two streamlined two-seater Lagondas fared better than expected, Messrs Brackenbury and Dobson finishing in third place with Lords Selsdon and Waleran fourth. Had a less conservative race strategy been employed, then either might have won. By the time the outbreak of war halted production, only 189 of the fabulous cars had been produced; sadly, the V12 was not revived when peace returned.A wonderful example, chassis number '14069' is fitted with the factory's Frank Feeley-designed drophead coupé coachwork, and according to the Lagonda Club was first registered on 31st March 1939. The first owner's name is illegible but the records show that this short-chassis car was supplied finished in jewelescent grey with red leather interior and burr walnut woodwork. The supplying agent was University Motors in London and the Lagonda was first registered as 'MG 6448', a Middlesex mark.The second owner, immediately after WW2, was Eric B Fox of the Fox's Glacier Mints company based in Leicester. Immediately prior to his ownership the Lagonda had been used by the manufacturer in its advertising, appearing in a Lagonda factory magazine, Photo World, dated April 1945 and in an Autocar magazine advertisement in May of that year. These advertisements were captioned thus: 'In Due Course: A new, less expensive and smaller LAGONDA will carry the name into markets hitherto unacquainted with all LAGONDA has signified to discerning motorists for over 40 years'. Why Lagonda chose to use the far from cheap V12 to promote a forthcoming smaller and less expensive model is a mystery.'MG 6448' was last serviced at the factory in 1947 while still in Mr Fox's ownership. The next record is dated 1960 when the car is recorded with one R Nicholson in Kent and a few years later with W G V Hall in Southwest London. Subsequently the Lagonda was exported to the USA, and in 1968 was owned by famous collector Jack Nethercutt. In 1987 Mr Nethercutt sold it to another respected and discerning collector, General William Lyon. The Lagonda was next owned by Pebble Beach Concours Judge, Mark Tuttle, passing in 1993 to William Roberts of Bainbridge Island, Washington State. The latter then commissioned an extensive restoration, with the paint and bodywork entrusted to recognised specialist Walter Johnson of Bainbridge Island, a craftsman with numerous Pebble Beach concours winners to his credit.The engine was fitted with new Jahns pistons, Carrillo con-rods, and Crower camshafts with a modern profile, while the internals were updated for improved performance and reliability. An enthusiastic owner/driver, the then owner made every effort to keep the Lagonda as original in appearance as possible, the only non-original items visible being the dipstick and separate reservoir for the Bijur lubrication system.The interior was re-trimmed throughout with finest American leather, colour matched to the coachwork, while the wood was re-veneered to original specification by a master violin maker, and a new high-quality soft-top made. All the considerable work and expense was rewarded when the Lagonda was awarded 1st Prize in the Open European Classic class at the Pebble Beach Concours d'Elegance in 1997.Since deceased, the present owner, Michael Patrick Aiken MBE, purchased the car in 2007 at the Amelia Island auction. A successful businessman who achieved boardroom-level appointments in the brewing and shipping industries, Michael Aiken was CEO and owner of Wightlink Ferries, and received his MBE in 2013 for services to National Heritage. In his hands since its acquisition in 2007, the Lagonda has been meticulously maintained by recognised specialists including Blakeney Motorsport, Harwoods, BishopGray, etc).W O Bentley's Lagonda V12 is one of the most sophisticated, attractive, and exclusive cars of the pre-war era and this fine example, with its well-chronicled provenance, is an opportunity not to be missed.For further information on this lot please visit Bonhams.com
2006 Aston Martin DB9 Volante ConvertibleRegistration no. RO06 BOFChassis no. SCFAC02A6GB05600•One of the world's fastest soft-tops•Automatic transmission•Only 48,808 miles from new•Full service history Footnotes:'The Aston Martin DB9 is a thoroughbred sports car with GT levels of comfort and refinement. Combining Aston Martin's unique character with an uncompromising design philosophy, the DB9 was borne out of a synthesis of traditional craftsmanship, high-tech manufacturing, modern components and use of the finest materials.' - Aston Martin.Launched in 2003 as successor to the DB7, the DB9 is historically significant as the first model to be built at Aston Martin's new factory at Gaydon, Warwickshire. Like its predecessor, the DB9 was styled by Ian Callum, with finishing touches applied by Henrik Fisker. State-of-the-art manufacturing techniques were employed in making the aluminium/composite body, which was robotically assembled using a combination of self-piercing rivets and adhesive. Although some 25% lighter than that of the DB7, this advanced bodyshell possesses double the structural stiffness. The DB9 is powered by a development of the 5.9-litre, 48-valve, V12 engine found in the DB7 Vantage, which produces 450bhp, an output sufficient to propel the aerodynamic coupé to a top speed of 305km/h (189mph) with 60mph attainable from a standing start in a neck-snapping 4.6 seconds. The aluminium engine is mounted as far back as possible in the chassis while the transmission/final drive is positioned ahead of the rear axle, resulting in 85% of the car's mass being sited between the axles and a perfect 50/50 front/rear weight distribution. Transmission options are a six-speed manual or six-speed 'Touchtronic 2' Automatic.Inside the DB9 one finds the typically elegant, luxurious and supremely comfortable hand crafted interior traditionally associated with Aston Martin, featuring primarily wood and leather trim as well as the latest in modern technology, subtly deployed. Although scheduled for a slightly higher production level than previous Aston Martins, the DB9 remained an exclusive product affordable only by a privileged few. Its price at launch was £111,000, with the Volante convertible some £14,000 more. This DB9 Volante is finished in Aston Martin Titanium Silver with Phantom Grey leather interior and has the fully automatic transmission. Reflecting careful ownership, it has been serviced at the regulation intervals from delivery up to the present day, there being 14 services recorded, the most recent carried out in March 2020 at 47,508 miles. Described by the vendor as in good working order throughout, this desirable DB9 Volante comes with current MoT, a V5C document, and the aforementioned service records. For further information on this lot please visit Bonhams.com
Formerly the property of the Sultan of Brunei1997 Ferrari 456 GTA CoupéRegistration no. R394 VRHChassis no. ZFFWP50L0000109951*Delivered new in the UK*Approximately 660 miles from new (see text)*Present ownership since July 2015Footnotes:'The first completely new car from the Modena manufacturer since the 348 of 1990 and arguably the most evocative front-engine coupé since the fabled 365 GTB/4 Daytona of the early '70s. Its ancestors read like a who's who in the Great Book of Grand Touring – 330 GTC, 365 GTC, 365 GTC/4 – and, for good measure, it was the last new project Enzo Ferrari saw before he died in 1988.' – Autocar. Not since the 412's demise in 1989 had Ferrari offered a '2+2', and when the 456 GT debuted at the Paris Salon in October 1992 it was obvious that the long awaited newcomer eclipsed all Maranello's previous four-seat Grand Tourers. Although new from stem to stern, the 456 GT incorporated elements familiar to generations of Ferrari cognoscenti - front-mounted four-cam V12, rear transaxle, tubular steel spaceframe chassis and all-independent suspension - while making an appearance for the first time were electronically-controlled adaptive suspension and a six-speed gearbox. Essentially a de-tuned version of that powering the 550 and 575, the new 5.5-litre V12 unleashed no less than 442bhp at a lowly 6,250rpm yet remained smooth and tractable from idling speed to red-line thanks to its state-of-the-art engine management system. F40 excepted, the 456 was the most powerful road car developed by Ferrari up to that time, yet despite delivering supercar performance this relatively unstressed engine has proven to be very reliable.For the 456, Pininfarina worked its magic once more to create a subtly beautiful curvaceous body contrasting with the hard edges of its predecessor. Although bereft of extraneous aerodynamic devices, the 456 remained stable up to its maximum of around 190mph, a figure that made it the world's fastest production four-seater passenger car. Acclaimed on its debut, the 456's styling has not dated and is a tribute to Pininfarina's farsightedness in creating one of most successful designs of modern times. An air-conditioned interior, sumptuous Connolly leather trim, perfectly weighted power steering, and Porsche-rivalling build quality all combined to make the 456 GT a worthy competitor for Bentley, Aston Martin, and Mercedes-Benz in the luxury Gran Turismo marketplace. An automatic transmission version, known as the 456GT A, became available for 1997 and then two years later the model was given its one-and-only makeover, re-emerging as the subtly restyled and improved 456 GT M (Modificata). Rare and desirable, this automatic transmission Ferrari 456 GTA was delivered new to the UK and then returned to Maranello to have mirror glass and extra-soft leather fitted before being shipped to New Zealand. Used infrequently, the Ferrari returned to the UK in December 2014 with approximately 1,000 kilometres recorded and was re-commissioned by a Ferrari main dealer. A new MPH speedometer was fitted at that time, since when the car has covered only 50 miles. Finished in black metallic with matching interior, this low-mileage Ferrari 456 is offered with five expired MoTs, a V5C document and fresh MoT.For further information on this lot please visit Bonhams.com
Francis Bacon (1909-1992) ''Second Version, Triptych'' Each signed and inscribed E.A, lithographs printed in colours, 1989, epreuves d'artistes aside from the edition of 60, printed by Art Estampe, Paris, published by Michel Archimbaud for the Librairie Seguier for IRCAM-Centre Pompidou, on Arches paper, with full margins, 68cm by 52cm (3) Provenance: Dreweatts & Bloomsbury Auctions London: Modern and Contemporary Prints, Thursday, July 3, 2014 Lot 00126 Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration Born in Dublin to wealthy middle-class parents, the young Francis was shy and sensitive which caused great strain between child and parents. After being ostracised from the family home, Bacon travelled around Europe, flitting between the nightclubs of London, Paris and Berlin. He began to draw and paint after seeing a Picasso exhibition in 1927 in Paris. Bacon is undeniably one of the most engaging artists to emerge from the post war era and his twisted, contorted, pulsating images of blood and flesh perfectly capture the zeitgeist of a Europe so recently brutalised by war. Taking his cue from Old Masters like Velazquez and Breughel as well as modern masters like Picasso and Dali, Bacon's works are held by many of the great collections across the world.
ALFRED KUBIN (1877-1959)Der Mann im Mond signed 'Kubin' (lower right)brush, pen, ink and wash with Spritztechnik on paper27.3 x 22cm (10 3/4 x 8 11/16in).Executed in 1903 - 1904Footnotes:Dr. Annegret Hoberg has kindly confirmed the authenticity of this work.The authenticity of this work has kindly been confirmed by Dr. Peter Assmann.ProvenanceAlois Samhaber Collection, Wernstein (gifted by the artist).Rosa Samhaber Collection, Wernstein (bequeathed by the above).Galerie Altnöder, Salzburg.Galerie Corso, Vienna.Private collection, US (acquired from the above in 1992); their sale, Christie's, London, 24 June 2004, lot 404.Private collection, London (acquired at the above sale).ExhibitedSalzburg, Galerie Altnöder, Alfred Kubin (10.4.1877 - 20.8.1959), Zur Wiederkehr des 30. Todestages, 1989.Innsbruck, Galerie Bloch, Perle und Tarockanien, Alfred Kubin und Fritz von Herzmanovsky-Orlando, 28 February – 27 March 1980.Alfred Kubin was a founding member of the Spiritualist art movement Der Blaue Reiter and a foremost Symbolist artist. Inspired by the nihilist philosophy of Nietzsche and Schopenhauer, Kubin's work drew upon the dark interior realms of his subconscious and the anxiety of the human condition. His works from 1898 – 1903, from which Der Mann im Mond issues, are the most powerful renderings of his engagement with these psychoanalytical and philosophical ideas and are considered the most important of his entire oeuvre.Depicting a solitary man on the moon standing on an outcrop and silhouetted against the sky, the present work acts as a Symbolist re-imagining of Caspar David Friedrich's Romantic 19th century masterpiece, Der Wanderer über dem Nebelmeer. While Friedrich's protagonist displays a sense of awe and command of the landscape, Kubin's lonely figure appears to be engulfed by his wild, other-worldly surroundings. The work depicts a familiar subject of Kubin's – 'the eternal wanderer', and encapsulates the alienation of modern man as described by Nietzsche.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
SALVADOR DALÍ (1904-1989)Couple aux têtes pleines de nuages signed, inscribed and dated 'Gala Salvador Dalí 1937' (lower right on the left panel); signed, inscribed and dated 'Gala Salvador Dalí 1937' (lower right on the right panel)oil on two panels within the artist's frames94.5 x 74.5cm (37 3/16 x 29 5/16in) (left panel, including the artist's frame) 87.7 x 65.8cm (34 1/2 x 25 7/8in) (right panel, including the artist's frame)Painted in 1937Footnotes:Please note that online bidding is not available for lot 14. If you wish to bid on this lot, please contact the department to arrange a room paddle, telephone bid or an absentee bid by emailing impressionists@bonhams.com or on +44 (0) 20 7468 8328, or our Client Service Office by emailing bids@bonhams.com or on +44 (0) 20 7447 7447.Provenance(Possibly) Paul Éluard Collection, Paris.Giacinto Scelsi Collection, Rome.Fondazione Isabella Scelsi Collection, Rome (bequeathed by the above in 1987).ExhibitedVenice, Palazzo Grassi, Dalí, The Centenary Retrospective, 12 September 2004 – 16 January 2005, no. 155 (later travelled to Philadelphia).Rovereto, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Cent'anni 1900 - 1950. Opere dalla collezione permanente del MART, 2008 - 2009.Rovereto, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Tra avanguardia e tradizione 1912 - 1945 e oltre. Opere dalla collezione permanente del MART, 2009 - 2010.Stockholm, Moderna Museet, Dalí Dalí featuring Francesco Vezzoli, 19 September 2009 - 17 January 2010, no. 18.Milan, Palazzo Reale, Salvador Dalí, il sogno si avvicina, 22 September 2010 – 30 January 2011.Vienna, Kunsthalle, Le Surréalisme, c'est moi! Hommage an Salvador Dalí, 22 June - 23 October 2011.Rome, Complesso Monumentale del Vittoriano, Dalí, un artista un genio, 9 March - 1 July 2012, no. 25.Dublin, Irish Museum of Modern Art, What We Call Love, From Surrealism to Now, 12 September 2015 - 14 February 2016.London, Royal Academy of Arts, Dalí/Duchamp, 7 October 2017 - 3 January 2018, no. 137.Barcelona, Museu Nacional d'Art de Catalunya, Gala Salvador Dalí, A Room of One's Own at Púbol, 7 July - 14 October 2018.LiteratureL. Martinis, 'A proposito di un dittico di Dalí', in I suoni, le onde. Rivista della Fondazione Isabella Scelsi, no. 9, Rome, April - June 2002 (illustrated on the front and back covers). Fundació Gala-Salvador Dalí (eds.), Catalogue Raisonné of Paintings by Salvador Dalí, online catalogue, 2004, no. P 508 (illustrated).R. Descharnes & G. Néret, Salvador Dalí 1904 - 1989, The Paintings, Vol. I, 1904 – 1946, Cologne, 2007, no. 612 (illustrated p. 272; dated '1936').M. Draguet, W. Jeffett & D. M. Johnson, Dalí & Magritte, exh. cat., Brussels, 2019 (illustrated p. 69).'How can one forget that constant play between the interior and exterior worlds created by the large windows facing out on the ruins of the Imperial Forum; the palm in front of the French windows; the American vine on the facade, its fiery red colour in autumn ... The exterior creeping in, regularly interspersed with musical instruments, the creative disorder of the scores and books on the piano and on the tables, the drawers overflowing with recording tapes, the ancient objects, the portraits of the Yoga Masters and the Ascetics – a corner of mysterious Icons - the discreet tapestries, the worn rugs and, on the sofa in a visual axis with the palm, under two golden silhouettes, Giacinto Scelsi' -Luciano Martinis (translated from 'A proposito di un dittico di Dalí', in I suoni, le onde. Rivista della Fondazione Isabella Scelsi, no. 9, Rome, April - June 2002).For the fortunate visitor to Giacinto Scelsi's home in the historic centre of Rome, the sight of Salvador Dalí's Surrealist masterpiece Couple aux têtes pleines de nuages would have been an unforgettable one. In the midst of the composer's many scattered instruments, notes, recording tapes and antiquities, hung these exceptional panels in hand-carved shaped gilt frames: a couple, leaning contemplatively towards each other, their torsos filled with the unmistakable dreamscapes of the Spanish painter's finest work. The enigmatic and revolutionary composer Giacinto Scelsi Conte d'Ayala Valva (1905-1988) dedicated his life to writing innovative music, only achieving critical acclaim a few years prior to his death. Scelsi was born into a noble family in the South of Italy, and started playing the piano at the early age of three. After studying composition and harmony in Rome, Scelsi travelled abroad extensively and moved within Europe's avant-garde elite. Whilst living in Paris in the 1920s he encountered the Surrealists. Notable among these artists, writers and poets was Paul Éluard, the first husband of Gala Dalí and to whom, according to Scelsi, Dalí's stunning diptych Couple aux têtes pleines de nuages first belonged. He recounted to his biographer Luciano Martinis that the work had been gifted to Éluard by Dalí as a wedding present, and that he had in turn acquired the diptych from the French poet. Scelsi keenly followed the currents of Surrealism, and wrote Surrealist poetry in French – he often declared his love of Éluard's poetry to close friends and maintained links to the group, spending time with Salvador Dalí and Gala during their travels in Italy during the Spanish Civil War.Scelsi was a true innovator, and developed an idea of a 'spherical' sound which he translated through microtonal elements in his music. Much like the Surrealists before him, Scelsi was fascinated by the concept of automatic and intuitive improvisation, which he used to create works such as La nascita del Verbo (1948), Quattro pezzi su una nota sole (1959) and String Quartet No. 4 (1963), recorded séance-like on a tape recorder. He collaborated with American composers such as John Cage, Morton Feldman and Earle Brown, and became a source of inspiration for Ennio Morricone's Gruppo di Improvvisazione di Nuova Consonanza. However, Scelsi remained largely unknown for most of his career and he stopped composing in the late 1970s. The Parisian group Itinéraire declared Giacinto Scelsi the father of the avant-garde in 1982, and a series of concerts in the late 1980s debuted many of his pieces to great acclaim shortly before the composer's death. The impact caused by the late discovery of Scelsi's works was described by Belgian musicologist Harry Halbreich: 'A whole chapter of recent musical history must be rewritten: the second half of this century is now unthinkable without Scelsi [...] He has inaugurated a completely new way of making music, hitherto unknown in the West' (Halbreich quoted in P. A. Castanet, Giacinto Scelsi aujourd'hui: actes des journées européennes d'études musicales consacrées à Giacinto Scelsi (1905-1988), Paris, 2005, p. 191). In 1987, Scelsi founded the Isabella Scelsi Foundation and presided over it until his death in 1988. He named the Foundation after his sister Isabella, to whom he had remained close throughout his life. The Foundation is dedicated to the study and dissemination of his work, and the support of new music. Issuing from the height of his Surrealist period, Couple aux têtes pleines de nuages foregrounds some of the most iconographic elements of Salvador Dalí's best-known works. Painted at a time of huge personal and political change, the innovative format of the present work and the fascinating provenance place it as one of the most important works by this extraordinary artist ever to appear at auction.The Catalan artist's involvement with the Surrealist movement and his passionate relationship with his future wife Gala both began in the same year, and from then on, his romantic life and his practice would forever ... 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
RAOUL DUFY (1877-1953)Le retour des régates signed, inscribed and dated 'Deauville Raoul Dufy 1933' (lower left)oil on canvas46.7 x 110cm (18 3/8 x 43 5/16in).Painted in Deauville in 1933Footnotes:ProvenanceM. Bignou Collection (by 1936).Perls Galleries, New York, no. 3311.Anon. sale, Christie's, New York, 8 May 2002, lot 300.Kunsthandel Frans Jacobs, Amsterdam.Private collection, The Netherlands (acquired from the above on 24 October 2002). ExhibitedToledo, The Toledo Museum of Art, European Section of the Thirty Third Carnegie International Exhibition of Paintings, 1 March – 19 April 1936, no. 78. LiteratureM. Laffaille, Raoul Dufy, catalogue raisonné de l'oeuvre peint, Vol. II, Geneva, 1973, no. 864 (illustrated p. 351).Le retour des régates was executed in Deauville in 1933 and stems from one of Raoul Dufy's most iconic subjects. Boat races were painted by the artist on numerous occasions throughout both France and Great Britain: in fact, the subject first appeared in Dufy's work in 1907 and remained an important theme throughout his practice. Executed on a canvas measuring over a metre long, Les retour des régates is one of the largest regatta scenes ever to appear at auction and was painted at the height of the artist's career.In the early twentieth century, Deauville developed into a go-to resort for high society due to its proximity to Paris. With a racecourse, a casino and a harbour, the small town provided entertainment throughout the year. The many festivities that were held established an influx of tourists and formed the ideal environment for Dufy to paint en plein air. The artist could observe the pastimes of the French upper-class from behind the easel, and the joyous and dynamic atmosphere allowed him to experiment with movement and colour. Born on the northern coast of France in the city of Le Havre, the artist was fascinated by the ocean from a young age as he would stand on shore watching the activities around the water's edge. Dufy considered the sea as a backdrop for lively spectacles, and it formed the ultimate location to observe the ever changing light effects: 'Unhappy the man who lives in a climate far from the sea, or unfed by the sparkling waters of a river!...The painter constantly needs to be able to see a certain quality of light, a flickering, an airy palpitation bathing what he sees' (Dufy, quoted in D. Perez-Tibi, Dufy, New York, 1989, p. 158).Dufy scrutinised the boat racing theme over the course of his career, which resulted in an array of works on the subject. It allowed the artist to experiment with various structures and colour arrangements in his compositions and he mastered a uniquely free and dynamic style. In the present painting Le retour des régates, the viewer observes the sailing boats returning to the harbour after racing on a sunny day at sea. Dufy captures the scene as seen through the eyes of the sailors in the advancing boats, giving the viewer the sensation that they too are within the composition. With the wind blowing in their sails, the boats navigate towards maritime flags situating the harbour with the shore emerging in the background. Instead of carefully delineated details, Dufy employed bold and rigorous brushwork to create stylized forms on the two-dimensional picture plane. A dazzling palette of blue hues accentuate the sky and sea, evoking the atmospheric climate of his lively design. The present work is proof of the artist's masterful colour technique. In an interview with Pierre Courthion, Dufy elaborated on his choice of colour: 'Blue is the only color which keeps its own individuality across the spectrum. Take blue with its different nuances, from the darkest to the lightest; it will always be blue, whereas yellow darkens in shadow and fades out in lighter parts, dark red becomes brown and when diluted with white, it isn't red any more, but another color: pink' (Dufy quoted in P. Courthion, Raoul Dufy, Geneva, 1951, p. 52).Le retour des régates captures the spirit and influence of the Fauves, with whom Dufy exhibited following his encounter with Henri Matisse's seminal work Luxe, Calme et Volupté at the Salon des Indépendants in 1905. Being exposed to such daring work encouraged the young artist to experiment with a wider palette. As Dufy himself emphasised: 'colour captures the light that forms and animates the group as a whole. Every object or group of objects is placed within its own area of light and shade, receiving its share of reflections and being subjected to the arrangement decided by the artist' (Dufy quoted in D. Perez-Tibi, op. cit., p. 150).The 1930s are regarded as the apex of Dufy's career, as his work started to receive institutional attention and was widely acknowledged across continents. In 1932 the Musée de Luxembourg in Paris acquired one of his works for their permanent collection, and by 1936 Dufy received several important public commissions in Paris, most notably the mural for the Exposition Internationale des Arts et Techniques dans la Vie Moderne. In the same year, the present painting Les retour des régates was included in the thirty-third edition of the prestigious Carnegie International exhibition, held in the Toledo Museum of Art in Ohio. This show was initiated in 1896 by industrialist and philanthropist Andrew Carnegie and was the first exhibition with an international allure in North America. In 1936 the show served as an annual survey to identify international trends in avant-garde art to inspire and educate the public. Dufy's work was exhibited alongside paintings by artists such as George Braque and Pierre Bonnard. Other participants of the Carnegie International included Camille Pissarro, Salvador Dalí and Jackson Pollock.Raoul Dufy's spirited and bright compositions remain intrinsic to the art historical discourse of today, particularly his regatta paintings. Comparable works to Les retour des régates can be found in major public collections including the Musée d'Arte Moderne de la Ville in Paris, the Tate Modern in London and the National Gallery of Victoria in Melbourne.For further information on this lot please visit Bonhams.com
LÉONARD TSUGUHARU FOUJITA (1886-1968)Poule, nid et trois oeufs signed 'Foujita' and further signed in Japanese (lower left)oil on canvas22 x 16.3cm (8 11/16 x 6 7/16in).Painted in 1898Footnotes:ProvenancePrivate collection, Paris.Private collection, Paris (a gift from the above in the 1930s).Thence by descent to the present owners.ExhibitedParis, Galerie d'Art contemporain, 1926 - 1930.Paris, Musée de Montmartre, Léonard Tsuguharu Foujita et l'Ecole de Paris, 10 April - 23 June 1991, no. 1 (later travelled to Tokyo).Dinard, Palais des Arts du Festival, Foujita, le maître japonais de Montparnasse, 27 June - 25 September 2004, no. 1.Paris, Musée Maillol, Foujita, peindre dans les années folles, 7 March - 15 July 2018, no. 1.LiteratureS. Buisson, Léonard Tsuguharu Foujita, Vol. II, Paris, 2001, no. 98.01 (illustrated p. 140).The present work was painted by Foujita at the age of twelve and is known to be the first oil painting he ever made. Passionate about Western art and a precocious draughtsman from a remarkably early age, the young Foujita had previously drawn a multitude of small Chinese inks on sheets of rice paper. Upon starting college however, his father, to whom he confessed his vocation as a painter, offered him his first oil paints, leading to Poule, nid et trois oeufs, which was painted in Tokyo, a modern and westernized city. 'When I came back from school, I admired for a long time all the shop windows on my way home. On the way home, I would copy the pictures of the boxes of European biscuits.'This little painting is a youthful work inspired by a box of biscuits given to him by his father, marking the first step in Foujita's artistic career and inspiring the young artist to learn French in order to attain his goal of one day exercising his eye and his hand as a modern artist in France.In the present work Foujita does not try to render the exact truth of the subject, but rather enjoys the sensual handling of the brushes and the soft, malleable, new material that is oil colour. A great freedom softly animates the gestures and stains. The rhythmic shades of the white background already prefigure those compositions which will garner Foujita acclaim in Paris, while the theme of the hen and eggs recur in several later works, as if the memory of this first experience remained idyllic, unique and very important. The label of Galerie d'Art contemporain on the reverse of this painting also indicates that Foujita chose to include this early work in one of his first solo exhibitions in Paris.Text by Sylvie Buisson, Specialist on the works on Léonard Tsuguharu Foujita and member of the Union française des experts.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
Eight fishing books, to include Broughton Grayling, the fourth game fish. 1989 dw price clipped, The Compleat Angler Walton dw Weathervane books New York copy of Rackham edition, Fishing reels Waller vols i & ii reprint 2001 paperbacks, Barker- the Art of Angling modern paperback, Where to fish 1967 1968, Armistead Trout Waters 1920, Hughes Fly and Bait Casting 1924
Axel Einar HjorthSet of four dining chairs, model no. 36106, and pair of armchairs, model no. 36105, from the 'Typenko' series, designed 1931, produced 1935-1936Birch, fabric upholstery.Each dining chair: 84 x 47 x 45 cm Each armchair: 85 x 57 x 55.5 cm Produced by AB Nordiska Kompaniet, Stockholm, Sweden. Underside of each with manufacturer's brass label impressed NK MADE IN SWEDEN and inventory labels impressed NK R36106 - C14 3 36, NK R36105 - C22 11 35, NK R361 - C22 11 35 respectively. Footnotes:LiteratureChristian Björk, Thomas Ekström and Eric Ericson, Axel Einar Hjorth: Möbelarkitekt, Stockholm, 2009, n.p.Bonhams wishes to thank Christian Björk for his assistance with cataloguing the present lot.Axel Einar Hjorth (1888-1959)Little known until recently, even in his home country, the work of Swedish furniture designer Axel Einar Hjorth, has found a new generation of admirers amongst designers, antique dealers, gallery owners and collectors. His eclectic designs did not fit comfortably into the strict tenets of European Modernism. More importantly, during the peak of his output in the 1930s, Hjorth had an uneasy relationship with Svenska Slöjdföreningen, the Swedish Society of Crafts and Design now called Svensk Form, whose aim was to encourage the production of well-designed 'beautiful everyday goods' aimed at the mass market. Hjorth's furniture was produced primarily for the wealthiest clients in Sweden.One of the key events which has brought Hjorth's name to the fore was an exhibition organised by influential French interior designer, Pierre Yovanovitch, in September 2006. He put together a collection of Hjorth furniture and the Swedish decorative movement of the 1920s for a show in his apartment on the Quai Anatole France in Paris. Yovanovitch has written appreciations of Hjorth and Hjorth's furniture can be seen in many of the designer's much-publicised interiors.Hjorth came from a very humble background. Born on 7 March 1888 in Krokek, Sweden, he was brought up by a single mother. At the age of 12, he was adopted by a wealthy family and, at the age of 20, went to Stockholm to study at the College of Arts. When his foster-father died leaving him no inheritance, however, he had to abandon his education and earn his living in the furniture-making industry. He worked for a number of companies including, for a short time, the furniture design office of Nordiska Kompaniet in Stockholm. In 1918, Hjorth also began designing furniture and interiors for Stads Hantverks Förening for the city of Stockholm.Established in 1915, Nordiska Kompanient (NK) was Sweden's first department store and, today, it remains the most exclusive store in the country. To cater for its wealthy clientele, NK set up a cabinetmaking workshop and, in 1927, Hjorth became head of the store's furniture department. He now had the opportunity to give his design talent free reign, producing furniture in a wide range of styles. To begin with, he was heavily influenced by Swedish neo-classical furniture, what became known as Swedish Grace, a style which was on show at the Swedish pavilion at the 1925 international exhibition in Paris where it was highly praised by international critics. In the 1930s, he produced luxury furniture in the French Art Deco style using exotic veneers with lacquer decoration and pewter inlay as well as more severe geometric functional pieces in collections such as Typenko.In complete contrast were the ranges of furniture designed for the weekend cottages of Stockholm's elite. In 1930, the Social Democrats in Sweden legislated to make a two-week vacation mandatory for the country's workers, increasing the popularity of the summer houses scattered around the islands of Stockholm's archipelago. Made from natural pine, the furniture, has a simple primitive quality, Cubist in style, which is much admired by today's collectors of modern design. The ranges, branded Sportstugemöbler – 'furniture for holiday houses' – and named after some of the archipelago islands, were displayed alongside the sleek Art Deco furniture at the NK store and a series of national and international exhibitions for which Hjorth curated the displays.As early as 1923, Hjorth was responsible for the influential Jubilee Exhibition in Stockholm. Six years later, he took charge of the NK stand in the Swedish pavilion at the 1929 International World Fair in Barcelona, an event made famous by the innovative modernist German pavilion designed by Mies van der Rohe. Hjorth also played a key role at the international exhibition in Stockholm in 1930, an event which established European Modernism; most countries adopted the Modernist style giving the pavilions an uncharacteristic unity. Swedish design continued to be celebrated at the series of world fairs which followed: Chicago (1933), Brussels (1935), Paris (1937) and New York (1939).In February 1938, Hjorth left NK to set up his own business. He suffered a bitter disappointment when his prize exhibition piece was inadvertently left out overnight in the rain at the 1939 New York World Fair. Worse was to come as the Second World War brought a halt to the production of luxury furniture. After the war, Hjorth's business struggled and, in the late 1940s, he took a job at Aski, a company making office furniture. He died on 21 June 1959 in Stockholm.© Richard WilcockThis lot is subject to the following lot symbols: TPTP 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
Alvar AaltoTwo chairs, model no. 21, circa 1925Painted birch-veneered bent plywood, bent laminated birch.82 x 48.2 x 60.6 cm and 77 x 43 x 65.5 cmManufactured by O.y. Huonekalu-ja Rakennustyötehdas A.b., Turku, for Artek, Finland. Underside of each leg impressed 1, and 11, respectively. Footnotes:ProvenanceSotheby's, Paris 'Design in Situ' 27 June 2018, lot 136Acquired from the above, post-sale, by the present ownerLiteratureDecorative Art, The Studio Year Book, 1937Alvar Aalto: Architecture and Furniture, The Museum of Modern Art, exh. cat., New York, 1938, p. 26'Finmar: Furniture Of The Future For The Home Of To-day', Finmar, London, 1939, p. 7Mobilier et Décoration, March 1957, p. 39Eva B Ottillinger, Alvar Aalto, Möbel: Die Sammlung Kossdorff, Wien, 2002, p. 33, fig. 12Pirkko Tuukkanen, ed., Alvar Aalto: Designer, Vammala, 2002, p. 168Thomas Kellein, Alvar & Aino Aalto; Collection Bischofberger, Zurich, 2005, p. 89This lot is subject to the following lot symbols: TPTP 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
Finn JuhlArmchair, model no. FJ 46, designed 1946Brazilian rosewood, original leather.83 x 63 x 59.6 cmExecuted by master cabinetmaker Niels Vodder, and retailed by Illums Bolighus, Copenhagen, Denmark. Underside impressed NIELS VODDER CABINETMAKER/COPENHAGEN DENMARK/DESIGN: FINN JUHL and with retailer's metal label printed ILLUMS BOLIGHUS/KØBENHAVN.CITES license no. 0010810-02Footnotes:ProvenanceIllums Bolighus, CopenhagenPrivate collection, Copenhagen Acquired from the above by the present ownerLiteratureNyt Tidsskrift For Kunstindustri Dansk Kunsthaandværk, no. 5, May 1948, p. 160'Un negozio esemplare', Domus, no. 250, September 1950, p. 45Svend Erik Møller and Viggo Sten Møller, Dansk Møbelkunst, Københavns snedkerlaugs møbeludstilling 1927-1951, Copenhagen, 1951, p. 82Domus, no. 315, February 1956, p. 44Niels Vodder Furniture, Copenhagen, 1959, pp. 16-17Illums Bolighus, Center of Modern Design, Copenhagen, 1961, cat. 10127Grete Jalk, ed., Dansk Møbelkunst gennem 40 aar, Volume 2: 1937-1946, Copenhagen, 1987, pp. 320-21Patricia Yamada, ed., Finn Juhl Memorial Exhibition, exh. cat., Osaka, 1990, pp. 24, 36, 132Esbjørn Hiort, Finn Juhl: Furniture-Architecture-Applied Art, Copenhagen, 1990, pp. 10, 26, 69'Finn Juhl: la sua casa', Abitare, no. 339, April 1995, pp. 184, 186Arne Karlsen, Danish Furniture Design: in the 20th Century, Volume 2, Copenhagen, 2007, p. 104Per H. Hansen, Finn Juhl and His House, Ostfildern, 2014, pp. 4, 14, 32, 186Anne-Louise Sommer, Watercolors by Finn Juhl, Berlin, 2016, p. 124The present model armchair was first exhibited at the 'Copenhagen Cabinetmakers' Guild', Kunstindustrimuseet, Copenhagen, 27 September–13 October 1946, on stand 24.This lot is subject to the following lot symbols: TP YTP 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.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
TAPIO WIRKKALAVase, model no. 3825, from the 'Jäävuori' (Iceberg) series, 1956-1969Still-mould blown crystal glass.21 x 20 x 18 cm Produced by Iittala, Finland. Underside incised TAPIO WIRKKALA IITTALA 3825.Footnotes:ProvenancePrivate collection, FinlandBukowskis Modern and Contemporary Design, 23 August 2014, lot 260Gallery Lemmetti, HelsinkiAcquired from the above by the present ownerLiteratureDomus, no. 256, March 1951, p. 40Benedict Zilliacus, Finnish Design, Helsinki, 1955, n.p.The Finnish Glass Museum, Glass manufacturers' brochures from the 1950s, Riihimäki, 1994, front cover, pp. 4, 6, 13, 30Marianne Aav, Rosa Barovier Mentasti and Gordon Bowyer, et al., Tapio Wirkkala - eye, hand and thought, exh. cat., Museum of Art and Design, Helsinki, 2000, p. 307Marianne Aav and Eeva Viljanen, eds., 125 Years of Finnish Glass Complete History with all Designers, Helsinki, 2006, pp. 62-63, 246For further information on this lot please visit Bonhams.com
JAMES L CALLAHAN (American XX) Five late 1960's/early 70's watercolour christmas cards painted with San Francisco scenes including The Golden Gate Bridge, plus fashion examples, made by 'Jim' to Mary Laing (of Walberswick Collection) while she was working in the Metropolitan Museum of Modern Art in New York.
A mixed lot comprising a modern Art Nouveau style pendant set with an amber cabochon on chain both marked '925', two pendant locks on chains each marked '925', a ring set with an amber cabochon and a hallmarked 9ct gold pendant set with orange red garnets on chain unmarked wt. 4.36g and a yellow metal locket.
A pair of modern Art Deco style white metal (stamped 14k), ruby and diamond set drop screw back earrings, 32mm, gross 4.9 grams.CONDITION: One of the small diamonds has a tiny nick to the table facet. One of the rubies has a hairline crack to the table facet, two small hairlines to two of the crown facets and a small chip to the culet and the other ruby has a couple of nibbles to the table facet edge. Overall condition is otherwise good.
* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), HUTS AND HEN HOUSES mixed media on card, signed and dated 2001; titled in pencil verso 41cm x 50cm Framed and under glass. Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career.
* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003), LOVERS AND HOVERING BIRD oil on canvas 109cm x 93cm Framed Label verso: The Piccadilly Gallery, 16a Cork Street, London Exhibited: London, The Piccadilly Gallery, 'Neil Dallas Brown'. 23rd September - 15th October, 1969. Note: Neil Dallas Brown was born in Elgin, Moray and studied at Dundee College of Art, Patrick Allan Fraser School of Art in Arbroath and the Royal Academy Schools. He won a travelling scholarship to the continent and a number of notable awards and prizes. In 1967 he visited New York with a Scottish Arts Council bursary; in 1970 took part in the Arts Council of Northern Ireland Open winning a major prize; and in 1981 won a bursary to the Scottish Arts Council studio in Amsterdam. From 1968-78 he was visiting lecturer at Dundee's Duncan of Jordanstone College of Art, then joined Glasgow School of Art where he taught for some 20 years. He lived in Fife until his death in 2003. Dallas Brown participated in dozens of group shows but also had a series of prestigious solo shows, notably at Compass Gallery in Glasgow, a series in the late 1960s at Piccadilly Gallery in London, a touring retrospective in 1975 from Stirling University, Perth Art Gallery 1987, Thackeray Gallery London in 1989 and Glasgow School of Art 1998. Birds and humans featured in Dallas Brown's pictures, which are tinged with mystery, menace and surrealism. He said ''Painting is love. Painting is an affectionate devotion''. More than 50 of Neil Dallas Brown's paintings are held in major public collections in the UK including at Glasgow Museums & Galleries, Fife Council, Hospitalfield, The Glasgow School of Art, Edinburgh City Collection, Nottingham Art Gallery, The Walker Art Gallery (Liverpool), Aberdeen Museums & Galleries, Dundee Museums & Galleries, The Fleming Collection (London), Paisley Museums & Galleries and The Scottish National Gallery of Modern Art.
Oil paint on canvas depicting motherhood "Study for the drama of a mother", Trento Longaretti (Treviglio, 1916 - Bergamo, 2017). Cm 70x60. Signed lower left. Dated 1977-78 on the back. "The debut in the art world of Trento Longaretti dates back to the late '30s through participation in the" Littoriali dell'Arte "and won numerous awards such as the Mylius Prize and the Prize Stanga, also he participates in the first and second edition of the Bergamo Prize. it reaches international recognition in 1942 exposing the Venice Biennale and the "Exhibition of the artists in arms" at the Palazzo delle Esposizioni in Rome. in 1952 he was invited to the national Quadrennial in Rome and the following year won the national competition for the Carrara Academy of Bergamo direction along the painting Chair, a position that will last until 1978. The themes dear to Longaretti such as motherboards, the world of the humble and the human condition, are reported through the use of an existentialist painting, which renews the figurative tradition, giving ethereality and warmth, making us feel instinctively that feeling of melancholy and loneliness, that permeates the entire production. We can see the intense creative process, through the pictorial study that presents the framework in question, grimy and frenetic brushstrokes hide in fact, a careful and thorough investigation of light and shadow, creating a scene full of drama and tragedy. His works are in the Vatican, in Milan Cathedral, the Basilica of Sant'Ambrogio, the Duomo di Novara. His paintings are in the Museum of Modern Art in Basel, in the Vatican Museums, the Ricci Oddi Gallery of Piacenza, in the Pinacoteca Carrara in Bergamo, in the Civic Gallery of Gallarate, in the Modern Art Gallery in Milan, the Museo della Permanente in Milan." ASOR Studio
SHEPARD FAIREY (B. 1970) 'Untitled' signed in pencil to the margin, screen print, 61.25cm x 45.25cm (unframed). American illustrator and graphic designer Frank Shepard Fairey first emerged from the skateboarding scene with his seminal 'Andre the Giant has a posse' (...OBEY...) sticker campaign while attending the Rhode Island School of Design (RISD). He became widely known during the 2008 U.S. presidential election for his Barack Obama 'Hope' poster. The Institute of Contemporary Art, Boston has described him as one of the best known and most influential street artists. His work is included in the collections at The Smithsonian, the Los Angeles County Museum of Art, the Museum of Modern Art in New York City, the Museum of Contemporary Art San Diego, the National Portrait Gallery in Washington, D.C., the Virginia Museum of Fine Arts in Richmond, and the Victoria and Albert Museum in London.
* Severn (Walter, 1830-1904). Nearing Home, 1861, etching on chine appliqué, published by Day & Son, December 1st 1861, as issued in Passages for Modern English Poets, illustrated by the Junior Etching Club (1862), plate size 18.8 x 23.5 cm (7.5 x 9.3 ins), stained oak frame with gilt inner slip, glazed, with Maas Gallery label to verso, together with Clayton (J.N., 19th century). Mother's Love, etching, published by Day & Son, December 1st 1861, as issued in Passages for Modern English Poets, illustrated by the Junior Etching Club (1862), 102 x 130 mm (4.1 x 5.2 ins) mount aperture, period stained wood frame with gilt inner slip, glazed, with Maas Gallery label to verso, plus Horsley (John Callcott, 1817-1903), Madame se chauffe, 1872, etching on chine appliqué, as published in Etchings by the Etching Club, published by the Art Union of London (1872), plate size 20 x 15 cm (8 x 6 ins), period black and gilt frame, glazed, with Maas Gallery label to versoQty: (3)
* Chadwick (Tom, 1915-1942). The Introduction, 1935, wood engraving on cream simile Japan paper, with full margins, from the published edition of 60 impressions, signed, titled and numbered 8/60 in pencil, a few light spots (generally in excellent, clean condition), image size 195 x 253 mm (7.7 x 10 ins), sheet size 280 x 377 mm (11 x 14.8 ins), framed and glazedQty: (1)NOTESTom Chadwick studied at the Grosvenor School of Modern Art under William Kermode and Iain Macnab, the latter regarding him as his most brilliant student. The present woodcut, The Introduction, depicting cockfighters on the island of Bali, was exhibited at the Society of Wood Engravers in 1935 when the artist was just 20 years old. Chadwick was tragically killed at the Battle of El Alamein in 1942. All of Chadwick's prints are rare, the present work especially so, as the intended edition of 60 published proofs was never completed.
Alexander 'Skunder' Boghossian (Ethiopian, 1937-2003)Untitled, 1966 signed and dated 'SKUNDER 66' (lower right)oil on canvas60 x 48.5cm (23 5/8 x 19 1/8in).Footnotes:One of the continent's most highly regarded Modernist artists, Boghossian won a scholarship from the Ethiopian government in 1955, which allowed him to enrol at the prestigious Slade School of Fine Art in London. In 1957, he moved to Paris to teach at the Academie de la Grand Chaumiere. Here he met the Senegalese philosopher, Cheikh Anta Diop, and other exponents of Pan-Africanist thinking.During these years, Boghossian developed a hybrid aesthetic that synthesised the Modernist experiments of Paul Klee, Max Ernst and Wifredo Lam, with traditional Ethiopian craft techniques.Boghossian returned to Ethiopia in 1966 to teach at the School of Fine Arts. During his tenure, he encouraged his students to experiment and draw from multiple influences, resulting in an explosion of innovation and creativity.In 1969, Boghossian moved to the United States to take up a teaching post first at Atlanta University, and then Howard University. Many of his students have become household names in their own right, including Zerihun Yetmgeta and Wosene Kosrof.Boghossian's status as a Modernist pioneer was reinforced when he became the first contemporary Ethiopian artist to have works purchased by the Musée d'Art Moderne in Paris (1963) and the Museum of Modern Art in New York (1965).The current work, executed in 1966, was created when the artist was teaching in Addis. The confidence and dynamism of the composition reveals a master at the height of his powers.For further information on this lot please visit Bonhams.com
Hassan el Glaoui (Morocco, 1924-2018)Moroccan Riders signed 'Hassan el Glaoui' (lower right)gouache on board 73.5 x 106cm (28 15/16 x 41 3/4in).Footnotes:Provenance:Acquired directly from the artist;A private European collection.Today, Hassan el Glaoui is revered as one of Morocco's finest artistic talents. However, his artistic ambitions were almost extinguished before they were kindled. The son of His Excellency Hadj Thami El Mezouari El Glaoui, the last Pasha of Marrakesh, Hassan was destined to follow his father into politics. Thami El Glaoui was descended from one of the oldest tribes of the Berber people. He was a distinguished horseman and military strategist, earning him the nickname, the Black Panther. He was not initially supportive of his son's desire to pursue a career in the arts.However, Hassan's fortunes changed when one of his father's visitors, Winston Churchill, saw one of Hassan's paintings. Churchill was himself an enthusiastic artist, and stressed to Thami El Glaoui that being a painter and being a statesman were not mutually exclusive. Hassan was subsequently allowed to enrol in art school in Paris, where he held his first solo exhibition in 1950. His talent was soon recognised, attracting attention from well known international collectors such as Anson Conger Goodyear, co-founder of the Museum of Modern Art in New York.Like his father, Hassan el Glaoui was deeply devoted to his country of birth, and his paintings pay homage to Moroccan traditions. The current painting depicts riders participating in Tbourida (also known as Fantasia performances). During these dramatic performances, traditionally attired horse riders would charge with muskets, firing simultaneously.For further information on this lot please visit Bonhams.com
William Joseph Kentridge (South African, born 1955)Homecoming signed and dated 'Kentridge '(19)86 15/6' (lower left)charcoal91 x 63.5cm (35 13/16 x 25in).Footnotes:ProvenanceAcquired from Cassirer Fine Art, 'William Kentridge', Johannesburg, 1988;A private collection.Kentridge has described his work as 'a portrait of Johannesburg'. However, it is the psychological landscape of South Africa that truly interests him. The social upheaval, racial injustice, and violence that characterised apartheid is reflected in his creative process. Kentridge's works in charcoal are created by 'partial erasure', a process in which parts of one drawing are rubbed out and the next drawing is begun over the top of the remnants. This erasure alludes to the way in which the authorities have selectively 'disremembered' the atrocities that have been visited upon sections of South African society throughout modern history.'I have never tried to make illustrations of apartheid, but the drawings are certainly spawned by and feed off the brutalized society left in its wake. I am interested in a political art, that is to say an art of ambiguity, contradiction, uncompleted gestures and uncertain things. An art (and a politics) in which my optimism is kept in check and my nihilism at bay.' (Kentridge)In this charcoal drawing, Homecoming, fragmented images are layered one on top of the other. In the background, a built up street with derelict looking buildings recedes into the distance. In the foreground, a man embraces a cheetah, whilst the naked figure to the right turns away from us. The shadowy and indistinct scene is more of a dreamscape, than any recognizable location.Curator, Carlyn Christov-Barkargiev, describes Kentridge's work as an 'elegiac art that explores the possibility of poetry in contemporary society, and provides a powerful satirical commentary on that society, while proposing a way of seeing life as a continuous process of change rather than a controlled world of facts'.For further information on this lot please visit Bonhams.com
Kudzanai Chiurai (Zimbabwean, born 1981)Revelations VII (Last Supper), 2011 pigment inks on cotton paper100 x 194cm (39 3/8 x 76 3/8in).Footnotes:Kudzanai Chiurai's polemical artworks are often critical of Zimbabwe's political establishment, and as a result he was expelled from the country and took exile in South Africa.The present work, Revelation VII, depicts an Communion scene. The president, seated in the centre, is presented as a messianic figure. She stares out at the viewer, a picture of sangfroid. The other figures all appear to be in the grip of strong emotion. The soldier in the left foreground places a booted foot on a man's chest, whilst threatening with his machine gun. At the end of the table, another armed man sits in front of what appears to be a suitcase of money. A ritualistic act is being performed in front of the president; the two women kneeling to his right look on fearfully. The president appears impervious to their feelings, gazing on impassively.The painting criticizes the self-interested actions of his country's politicians. We can feel the artist's frustration, and his desire to affect change.Chiurai has held numerous solo exhibitions since 2003 and participated in various local and international exhibitions, such as Figures & Fictions: Contemporary South African Photography (2011) at the Victoria and Albert Museum in London and Impressions from South Africa, 1965 to Now (2011) at the Museum of Modern Art in New York. Other notable exhibitions include The Divine Comedy: Heaven, Purgatory and Hell Revisited curated by Simon Njami at Museum für Moderne Kunst in Frankfurt (2014) and SCAD Museum of Art, Savannah USA (2015), as well as Art/Afrique, Le nouvel atelier (2017) at the Fondation Louis Vuitton in Paris, Regarding the Ease of Others (2017) at the Zeitz Museum of Contemporary Art Africa, Genesis [Je n'isi isi]- We Live in Silence at IFA in Stuttgart, Germany and Ubuntu, a Lucid Dream (2020) at the Palais de Tokyo in Paris.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP 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
Robert Indiana (1928-2018)The Book of Love, 1996 each screenprint signed, dated and numbered 17/200 in pencil, each poem initialled and dated in pencilthe set of 12 screenprints in colours and 12 poems with embossing on A.N.W. Crestwood Museum paper, loose (as issued) in the original brown paper-covered portfolio61 x 51cm (24 x 20 1/16in).Footnotes:Robert Indiana was one of the key figures of the Pop Art movement in America, acclaimed for his simple striking images, vivid use of colour and works employing words and numbers and best known for his iconic LOVE image. This was produced in a series of prints, paintings, sculptures and even stamps, which quickly pervaded popular consciousness in the 1960s and became one of the most recognizable images of Post-war art.A self-proclaimed 'American painter of signs', Indiana was inspired by the images of his Midwestern childhood, using the everyday symbols of roadside America such as highway road signs, billboards and commercial logos to create a bold, graphic style . Two held a particular resonance for the artist, the 'EAT' sign above the diner where his mother worked and 'PHILLIPS 66', the oil company his father worked for, with its striking red and green logo. Both were to influence his choice of colour and the incorporation of words and numbers into his work. The colours later used for Love were described by Indiana as 'the red and green of that sign against the blue Hoosier sky'.Arriving in New York in 1954, Indiana subscribed to the Hard-Edge school of painting, which employs sharp lines to separate blocks of colour and experiments with geometric shapes. He met and fell in love with Ellsworth Kelly who was an exponent of this technique and was a major influence on Indiana. Kelly's painting Red Blue Green (1963) is believed to be the partial inspiration for the Love colour palette. In New York Indiana joined a community of artists in Coenties Slip, an abandoned port in southeast Manhattan, whose warehouses provided materials which could be used in the creation of sculptural works. Here, he found some 19th Century brass stencils, which prompted him to start using numbers and words in his work and to create his own distinctive style.The first appearance of LOVE was a 1961 painting, 4-Star Love, in which four stars are stacked above the word 'Love', which would provide the inspiration for stacking the letters in the subsequent images. The next incarnation was the 1964 painting, Love Is God, inspired by the inscription 'God is Love' seen in the Christian Science churches he had attended with his mother. In 1964 the Museum of Modern Art in New York commissioned Indiana to design its Christmas card. Inspired by his paintings, he chose the word LOVE, with the LO and VE stacked on top of one another to fit the square format of the card and slanted the 'O' to create extra visual interest and kept to minimal vibrant colours. He offered several colour combinations and the museum chose the red letters on a blue and green background. The result was the best-selling Christmas card in the museum's history and the cementing of an iconic image in the public consciousness. It symbolized the timeless and universal emotions of affection, hope and optimism. For Indiana, the image carried a Christian message of brotherly love, but on a personal level, it was also an expression of his love for Ellsworth Kelly.The Book of Love Portfolio was the culmination of decades of work devoted to this subject, fulfilling the artist's passion for the interplay between words and images. It contains twelve screenprints in diverse colour combinations, which illustrate his twelve poems, written between 1958 and 1973. These contemplate the nature of love and forgiveness, and contain the idea of love as a driving force in artistic endeavour.LOVE was emblematic of the idealism and free-love of the 1960s. Indiana's mastery of colour and use of words to explore themes of identity and love meant that the work achieved a universal popularity and secured its status as an icon of 20th Century art.In the artist's own words, 'The LOVE is a concrete poem as far as I'm concerned. Just a one word poem. Love is a noun and a verb and so one must decide what my love is. It's a command, love, and it's a subject, love.'For further information on this lot please visit Bonhams.com
BANKSY (born 1975)Gold Flag, 2007 signed in black felt-tip pen, numbered 29/112 on the reversescreenprint on gold Chromalux paper50 x 70cm (19 11/16 x 27 9/16in).with the publisher's blindstamp, Pictures on Walls, LondonFootnotes:This work is accompanied by a certificate of authenticity issued by Pest Control Office.Banksy, known for engaging with the political and social issues of the day, regularly uses his art to critique modern ideas inherent in our society. His satirical and often dark humour touches on key themes including; war, class, consumerism, capitalism and imperialism. In Gold Flag, Banksy directly references Joe Rosenthal's renowned photograph of U.S Soldiers raising the American Flag after seizing the island of Iwo Jima on Mount Suribachi on 9th February, 1945. The photograph, captured during world war II, won the Pulitzer Prize for Photography and was later used by sculptor, Felix de Wildon, to create the life-sized War Memorial in Virginia dedicated to all US marines who lost their lives serving their country. In Gold Flag, however, Banksy replaces the patriotic soldiers with a group of urban kids who clamber up and stand victoriously over a dilapidated car. The seizure of the prized hillside in Japan is replaced with the reclamation of a burned-out vehicle. The two girls, who proudly brandish the American flag over the car, are highlighted against a golden orb in what seems to be a world without adults. Banksy released Flags in two colours; editions of both gold and silver. The source of colour, often referred to as the sun or the moon, frames the children in an otherwise black deserted landscape. By using one singular colour, in this case gold on smooth wove metallic paper, the stark contrast creates a haunting and melancholy scene around the rebel children. Children are often a central motif in Banksy's work, used to symbolise the future as well as the severity of the issues being addressed. In Gold Flag, like in much of Banksy's art, its context is open to interpretation with some speculating that the children represent America's youth, still ambitious to achieve the 'American Dream'. Others suggest it might be a comment on the amount of money spent on war, leaving millions of men, women and children unsupported in ghettos or even a nod to the moon landing. Banksy, who once described his art as a form of underclass 'revenge' that allows power to be taken from the elite and given to the individual, once again leaves it up to the viewer to decide its meaning.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
Exhibition poster for David Hockney: A Retrospective at The Metropolitan Museum of Art, 1988, 76 x 83cm, together with a two sheet poster for Whaam! by Roy Lichenstein, each sheet 80 x 60cm, and a double page advertisement in The Observer newspaper for Damien Hirst exhibition at Tate Modern, 63 x 47cm, all unframed
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