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HORN, REBECCA1944 MichelstadtTitel: The Double (Der Doppelgänger) (für Parkett 13). Untertitel: Vorzugsausgabe. Datierung: 1987. Technik: Messinghammer mit zwei Köpfen, versilbert. Maße: 25,5 x 8 x 1,5cm. Bezeichnung: Monogrammiert und nummeriert (gestempelt). Sowie signiert und nummeriert auf der Box. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 1/99. Zustand:Versilberung angelaufen (altersbedingt). Eine Hammerspitze minimal gebogen. Minimale Korrosionsspur an einem Hammerkopf. Vereinzelt minimale Kratzspuren. Ansonsten sehr guter Zustand.Mit Parkett-Magazin."The works of Rebecca Horn make us think about the brusque, the sudden, the unexpected, the instantaneous. They likewise lead us to reflect upon waverings and alternations."Gilbert Lascault, Parkett Nr. 40/41, 1994.Artikel zu Werk und Künstler aus Parkett Edition Nr. 13. Rebecca Horn Deutschland Body Art Kinetische Kunst Nachkriegskunst Multiples 1980er Formen Multiple Messing GegenständeErläuterungen zum Katalog

BÜTTNER, ANDREA1972 StuttgartTitel: Piano Stool (für Parkett 97). Datierung: 2015. Technik: Farbserigrafie auf leichtem Karton. Darstellungsmaß: 46 x 61cm. Blattmaß: 47,5 x 63cm. Bezeichnung: Signiert und nummeriert. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 2/25. Rahmen: Rahmen. Zustand:Verso montiert. Ansonsten sehr guter Zustand.Mit Parkett-Magazin."Throughout her practice, the artist probes 'tricky' thresholds not often explored in contemporary art - the blurry line between amateur making and fine art production, for instance, or the unexpected relationship between marginal religious experiences and philosophies of modernist contemplation."Julia Bryan-Wilson, Parkett Nr. 97, 2015. Artikel zu Werk und Künstler aus Parkett Edition Nr. 97. Andrea Büttner Deutschland Zeitgenössische Kunst Grafik 2010er Rahmen Möbel Druckgrafik Siebdruck MusikinstrumentErläuterungen zum Katalog

WALKER, KELLEY1969 Columbus/GeorgiaTitel: Ohne Titel (für Parkett 87). Datierung: 2010. Technik: Schokolade, Papierzellstoff und Harz mit Kappe.Darstellungsmaß: 27cm. Blattmaß: 11cm. Bezeichnung: Nummeriert auf beiliegendem Zertifikat. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 1/35. Zustand:Das Werk befindet sich in sehr gutem Zustand.Mit beiliegendem Zertifikat. Mit Parkett-Magazin."In what could be called a flicker of productive crassness, this last discovery rendered his own task more complex. After all, one reasonably anticipates that art that engages a given site should gravitate toward its underbelly, moving into the basement, as it were, and summon up the repressed past or create some place for alterity." Johanna Burton, Parkett Nr. 87, 2010.Artikel zu Werk und Künstler aus Parkett Edition Nr. 87. Kelley Walker USA Zeitgenössische Kunst Multiples 2010er Mann Multiple Mischtechnik KopfErläuterungen zum Katalog

WARHOL, ANDY1928 Pittsburgh, PA/USA - 1987 New YorkTitel: Photo-Edition for Parkett (für Parkett 12). Datierung: 1987. Technik: 4 Gelatinesilberabzüge, zusammengenäht, in Pergamenthülle in Parkett-Publikation. In originaler Verpackung. Darstellungsmaß: Fotografie: 25 x 20cm, Publikation: 25,5cm. Blattmaß: 21cm. Bezeichnung: Signiert und nummeriert (verso auf der Fotografie). Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 73/120. Zustand:Fotografie in sehr gutem Zustand. Publikation minimal gebräunt und mit minimalen Bestoßungen an den Ecken. Ansonsten sehr guter Zustand.Mit Parkett-Magazin."Andy was what sports fans call a most valuable player. His work is more valuable now, but not because of some laws of marketing, but because he's not around himself. Those works are souvenirs and relics. They're pieces of Andy." Glenn O'Brien, Parkett Nr. 12, 1987.Artikel zu Werk und Künstler aus Parkett Edition Nr. 12. Andy Warhol USA Pop Art Fotografie Nachkriegskunst Multiples 1980er Tod Fotografie Gelatinesilberabzug SkelettErläuterungen zum Katalog

PETTIBON, RAYMOND1957 Tucson/ArizonaTitel: Ohne Titel (Justly felt and brilliantly said) (für Parkett 47). Datierung: 1996. Technik: Serigrafie, partiell aquarelliert, mit handschriftlichem Text und gepresster Blüte auf Arches. In Mappe. Darstellungsmaß: 24,5 x 19,5cm. Blattmaß: 24,5 x 194cm. Bezeichnung: Signiert, datiert und nummeriert. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 1/60. Zustand:Minimale Bestoßungen an den Rändern und Ecken des Faltblattes. Ansonsten befindet sich das Werk in einem sehr guten Zustand. Die aquarellierten Ergänzungen und handschriftlichen Texte des 10-teiligen Faltblattes variieren bei jedem Exemplar der Auflage, somit hat jedes Werk Unikatcharakter.Mit Parkett-Magazin."By placing texts in unique, single drawings, Pettibon has found a means of surmounting his intrinsic difficulty and revealing the aesthetic potential of 'bad' commercial mass literature within the framework of his art. Pettibon is not the only artist over the past few decades to pursue such ends in incorporating texts in his work; others have also grasped this opportunity - both literally and figuratively. (.) His pictures serve the interests of poetry, which - given the hegemony of the mechanically-printed word in current culture - cannot afford the appropriations and recontextualizations which have already become standard practice in art."Boris Groys, Parkett Nr. 47, 1996.Artikel zu Werk und Künstler aus Parkett Edition Nr. 47. Raymond Pettibon Grafik 1990er Druckgrafik SerigrafieErläuterungen zum Katalog

ROSENQUIST, JAMES1933 Grand Forks/North Dakota - 2017 New YorkTitel: Drifter: Speed of Light (für Parkett 58). Datierung: 2000. Technik: Farblithografie. Velin. Mit MappeMaße: 44 x 37cm. Bezeichnung: Signiert, datiert, nummeriert und betitelt. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 1/60. Sockel/Rahmen: Rahmen. Zustand:Verso montiert. Ansonsten befindet sich die Druckgrafik in einem sehr guten Zustand.Mit Parkett-Magazin."The significance of Rosenquist's new approach to painting around 1960-1961, lies not only in his choice of images culled from the mass media, but also in his decision to utilize the specialized knowledge embedded in the billboard painter's craft: for achieving effects of quasi-photographic form, and for scaling upt tiny images to immense proportions." Michael Lobel, Parkett Nr. 58, 2000.Artikel zu Werk und Künstler aus Parkett Edition Nr. 58. James Rosenquist USA Pop Art Nachkriegskunst Grafik 2000er Rahmen Farbe Druckgrafik Lithografie AbstraktErläuterungen zum Katalog

LEVINE, SHERRIE1947 Hazleton/PennsylvaniaTitel: Two Shoes (für Parkett 32). Datierung: 1992. Technik: Ein Paar Kinderschuhe aus braunem Leder. Darstellungsmaß: Jeweils: 5,5cm. Blattmaß: 16cm. Bezeichnung: Signiert, nummeriert und bezeichnet (gestempelt) an der Sohle des einen Schuhs. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 1/99. Zustand:Das Multiple befindet sich in einem sehr guten Zustand.Mit zugehörigem Parkett-Magazin."It is into this story, the story of art history as narrative of becoming in which each proper name becomes a historical site, that Sherrie Levine has always 'liberated' her objects. But it is also where she has always found them." Howard Singerman, Parkett Nr. 32, 1992.Artikel zu Werk und Künstler aus Parkett Edition Nr. 32. Sherrie Levine USA Fotografie Nachkriegskunst Multiples 1990er Gegenstände Multiple Leder KleidungErläuterungen zum Katalog

CATTELAN, MAURIZIO1960 PaduaTitel: Ohne Titel (für Parkett 59). Datierung: 2000. Technik: Digitale Schwarzweiß-Fotografie. Mit Mappe. Maße: 32 x 24 x 41 x 33cm. Bezeichnung: Signiert und nummeriert auf beiliegendem Zertifikat. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 1/60. Sockel/Rahmen: Rahmen. Zustand:Verso montiert. Ansonsten befindet sich die Fotografie in sehr gutem Zustand.Mit beiliegendem Zertifikat. Mit Parkett-Magazin."Cattelan, for his part, directs the forms he manipulates towards conflict and comedy; through works of the most embarrassing, constraining and cumbersome sort he seeks conflicts with the administrators of the art system. In a word, his conduct as an artist consists of orienting the forms he manipulates towards delinquency."Nicolas Bourriaud, Parkett Nr. 59, 2000. Artikel zu Werk und Künstler aus Parkett Edition Nr. 59. Maurizio Cattelan Italien Zeitgenössische Kunst Fotografie 2000er Rahmen Mann Fotografie Schwarz-Weiß-Fotografie GesichtErläuterungen zum Katalog

KOONS, JEFF1955 York, PA/USATitel: Signature Plate (für Parkett 19). Datierung: 1989. Technik: Porzellan. Maße: 27,5 x 27,5 x 3,5cm. Bezeichnung: Signiert und nummeriert (im Druck) verso. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 2/80. Zustand:Das Multiple befindet sich in sehr gutem Zustand.Verso mit typografischen Werkangaben.Mit Parkett-Magazin.Artikel zu Werk und Künstler aus Parkett Edition Nr. 19. Jeff Koons USA Pop Art Hyperrealismus Fotografie Zeitgenössische Kunst Multiples 1980er Tier Multiple Porzellan MannErläuterungen zum Katalog

TROCKEL, ROSEMARIE1952 SchwerteTitel: Studio Visit (für Parkett 33). Datierung: 1992. Technik: Foto-Ätzung und säurefreie transparente Folie mit Passepartout aus geprägter Strohpappe. Montiert auf Holz mit Aufhänger.Darstellungsmaß: 38cm Blattmaß: 33cm. 1,5Bezeichnung: Signiert, datiert und nummeriert (verso). Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 1/80. Zustand:Das Multiple befindet sich in einem sehr guten Zustand.Mit Parkett-Magazin."What language cannot do easily, and what Trockel achieves in her composite objects, is the simultaneous: she makes us spectators, at one and the same moment, of high art objects - and their tending, after hours, by the cleaner."Anne M. Wagner, Parkett Nr. 33, 1992.Artikel zu Werk und Künstler aus Parkett Edition Nr. 33. Rosemarie Trockel Deutschland Medienkunst Nachkriegskunst Multiples 1990er Künstler Fotografie Foto AtelierErläuterungen zum Katalog

RUSCHA, ED1937 Omaha/ NebraskaTitel: Hell 1/2 Way Heaven (für Parkett 18). Untertitel: Vorzugsausgabe. Datierung: 1988. Technik: Farblithografie auf Rives, zweifach gefalzt, eingebunden in Parkett-Ausgabe. Darstellungsmaß: 25,5 x 75cm. Bezeichnung: Signiert und nummeriert. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 1/100. Zustand:Druckgrafik mit minimaler Knickspur im Bereich der Bindung unten links. Ansonsten in sehr gutem Zustand. Ausgabe mit minimalen Gebrauchsspuren, insbesondere Bereibungen an den Kanten. Ansonsten in sehr gutem Zustand.Mit Parkett-Magazin."Ruscha's art is a vivid, and sometimes sweetly poignant, silhouette of the displaced psyche that fitfully inhabits mass culture." Christopher Knight, Parkett Nr. 18, 1988.Artikel zu Werk und Künstler aus Parkett Edition Nr. 18. Ed Ruscha Zeitgenössische Kunst Grafik 1980er Himmel Druckgrafik Lithografie auf Rives BewegungErläuterungen zum Katalog

WOOL, CHRISTOPHER1955 BostonTitel: 2008 (für Parkett 83). Datierung: 2008. Technik: Farbserigrafie auf Dur-O-Tone Newsprint. Darstellungsmaß: 81,5 x 61cm. Blattmaß: 96,5 x 61cm. Bezeichnung: Signiert, datiert und nummeriert. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 2/45. Rahmen: Rahmen. Zustand:Verso montiert. Ansonsten befindet sich das Werk in einem sehr guten Zustand.Mit Parkett-Magazin."As Wool has gradually pulled away from language, he has moved ever closer to paintings that slip further and further into the void. There is a real menace that comes with the fog and the rot and the glimpses of graffiti hanging in the air like satanic versions of the Northern Lights."Richard Flood, Parkett Nr. 83, 2008.Artikel zu Werk und Künstler aus Parkett Edition Nr. 40. Christopher Wool USA Post-Pop Art Fotografie Zeitgenössische Kunst Grafik 2000er Rahmen Schrift Druckgrafik Serigrafie LichtErläuterungen zum Katalog

KUSAMA, YAYOI1929 Matsumoto/NaganoTitel: Infinity Nets (für Parkett 59). Datierung: 2000. Technik: Serigrafie auf Spiegel. Maße: 25,5 x 21 x 0,2cm. Bezeichnung: Signiert, datiert, nummeriert, betitelt und bezeichnet. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 2/70. Zustand:Abdruck der Schaumstoffverpackung minimal auf der Oberfläche des Spiegels sichtbar (reversibel). Ansonsten ist das Werk in einem sehr guten Zustand.Mit Parkett-Magazin."She achieves a protean transformation of the 'polka dot' pattern into the accumulation of banal found objects (airmail stickers, working gloves, sofa springs) and stuffed protruding sculptural units and maintains stylistic independence from major artistic schools of her time - Abstract Expressionism, Pop, Minimalism, Nouvelle Tendence - while indicating some overlap with their experimental characteristics." Midori Matsui, Parkett Nr. 59, 2000.Artikel zu Werk und Künstler aus Parkett Edition Nr. 59. Yayoi Kusama Japan Kopenhagener Schule Pop Art Asiatische Kunst Nachkriegskunst Multiples 2000er Spiegel Druckgrafik Serigrafie NetzErläuterungen zum Katalog

PARTY, NICOLAS1980 LausanneTitel: Cat's Head (für Parkett 100/101). Datierung: 2017. Technik: Bronze, dunkelbraun patiniert. Maße: 7 x 4 x 5cm. Bezeichnung: Monogrammiert und nummeriert (gestempelt) an der Unterseite. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: III/XII. Zustand:Das Multiple befindet sich in sehr gutem Zustand.Aus der Auflage von 12 APs, außerhalb der Auflage von 25 arabisch nummerierten Exemplaren.Mit Parkett-Magazin."I think time and its consequences. are the main subjects in art in general, but I also think these concerns are why people are willing to look at art so much. It's more complex, more elastic, bigger than the time we live in." Nicolas Party, Parkett Nr. 100/101, 2017.Artikel zu Werk und Künstler aus Parkett Edition Nr. 100/101. Nicolas Party Schweiz Zeitgenössische Kunst Multiples 2010er Kopf Plastik Bronze KatzenErläuterungen zum Katalog

CLEMENTE, FRANCESCO1952 NeapelTitel: Reconciliation (für Parkett 9). Datierung: 1986. Technik: Radierung auf Somerset-Satin, in Parkett-Ausgabe eingebunden. Darstellungsmaß: 20,5 x 37,5cm. Blattmaß: 25,5 x 42cm. Bezeichnung: Signiert und nummeriert. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 1/100. Zustand:Das Werk befindet sich in einem sehr guten Zustand.Mit Parkett-Magazin."Is Clemente's art about the unsolid, about flux? An art that doesn't want to linger, to revise, to build up, work through? He seems to be moving from one picture to the next without stopping; you are watching them the same way, taking them in like a scent."Holland Cotter, Parkett Nr. 40/41, 1994.Artikel zu Werk und Künstler aus Parkett Edition Nr. 9. Francesco Clemente Italien Italienische Transavantgarde Zeitgenössische Kunst Grafik 1980er Tier Druckgrafik Kaltnadelradierung FormenErläuterungen zum Katalog

BALKENHOL, STEPHAN1957 FritzlarTitel: Two Lizards and a Man (für Parkett 36). Datierung: 1993. Technik: 3-teilig. Jeweils: Blei. Maße: 31 x 13 x 4cm, 24 x 9 x 4cm bzw. 25 x 10 x 4,5cm. Bezeichnung: Jeweils signiert und nummeriert, eine der Eidechsen mit Editionsetikett versehen. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 6/85. Zustand:Alle Objekte in sehr gutem Zustand.Mit Parkett-Magazin."Balkenhol's sculptures derive their qualitative currency and significance from their origin in two diametrically opposed fields. They draw on the rational, sober, anorganic, and serial character of Minimal Art; yet they also provide immediate sensual access to the world."Max Katz, Parkett Nr. 36, 1993.Artikel zu Werk und Künstler aus Parkett Edition Nr. 36. Stephan Balkenhol Deutschland Figurative Kunst Zeitgenössische Kunst Multiples 1990er Mensch Multiple Blei TierErläuterungen zum Katalog

STURTEVANT, ELAINE1930 Lakewood/Ohio - 2014 ParisTitel: Dialogue of the Dogs (für Parkett 88). Datierung: 2005/ 2011. Technik: Video (auf DVD), in Parkett-Ausgabe eingelegt. Darstellungsmaß: Magazin: 25,5cm. Blattmaß: 21,5cm. Bezeichnung: Signiert und nummeriert auf beiliegendem Zertifikat. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 1/35. Zustand:Das Objekt ist voll funktionsfähig.Mit beiliegendem Zertifikat. Mit Parkett-Magazin."Sturtevant has no faith in technology or productivity. What interests her about machines is not so much their transformative potential as the possibility they offer the artist to remove herself from the "creative process" and, more precisely, to eliminate the motivations of the will: to create mechanically, until the machine has finished running and becomes a pure process of invention and language." Stéphanie Moisdon, Parkett Nr. 88, 2005/2011.Artikel zu Werk und Künstler aus Parkett Edition Nr. 88. Elaine Sturtevant USA Abstraktion Art Déco Zeitgenössische Kunst Multiples 2000er Tier Multiple Video FarbeErläuterungen zum Katalog

ROSENKRANZ, PAMELA1979 AltdorfTitel: Survivor Series (für Parkett 96). Datierung: 2015. Technik: Rosafarbenes Polyurethanharz. Maße: 40 x 8 x 3cm. Bezeichnung: Bezeichnet auf der Klinge. Signiert und nummeriert auf beiliegendem Zertifikat. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 1/35. Zustand:Das Multiple befindet sich in einem sehr guten Zustand.Mit beiliegendem Zertifikat. Mit Parkett-Magazin."For Rosenkranz, art lies somewhere between virus and placebo, and her work is a magnificent introduction to twenty-first-century artistic bacteriology."Nicolas Bourriaud, Parkett Nr. 96, 2015.Artikel zu Werk und Künstler aus Parkett Edition Nr. 96. Pamela Rosenkranz Schweiz Zeitgenössische Kunst Multiples 2010er Gegenstände Multiple Harz GewaltErläuterungen zum Katalog

KENTRIDGE, WILLIAM1955 JohannesburgTitel: Medusa (für Parkett 63). Datierung: 2001. Technik: Anamorphische Farblithografie auf Chine Collé, gedruckt auf 6 Seiten der French Larousse Encyclopedia und Stahlzylinder, außen verspiegelt.Darstellungsmaß: Druckgrafik: 75,5cm Blattmaß: 76,5cm. Zylinder: 13cm. Ø 9Bezeichnung: Signiert und nummeriert (auf der Druckgrafik). Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 60/60. Zustand:Zylinder und Druckgrafik in sehr gutem Zustand.Mit Parkett-Magazin."No stranger to tragedy in life and on the stage, [Kentridge] truly has served as a messenger of the obscene and has taken on the burden of drawing ethical conclusions from historical events that are often overwhelmingly evil. His is an art not only of politics, as it has often been viewed, but also an art of theodicy that considers with great deliberation the problems involved in witnessing, telling, and concluding in the face of unremitting state violence."Susan Stewart, Parkett Nr. 63, 2001.Artikel zu Werk und Künstler aus Parkett Edition Nr. 63. William Kentridge Multiples 2000er Mythologie Multiple Mischtechnik FabelwesenErläuterungen zum Katalog

RIST, PIPILOTTI1962 Rheinthal/SchweizTitel: I've Only Got Eyes for You (Pin Down Jump Up Girl) (für Parkett 48). Datierung: 1996. Technik: 3-D Farbfotografie auf Kunststoffplatte mit Saugnapf. Darstellungsmaß: 21 x 28 x 6cm Bezeichnung: Signiert und nummeriert (verso auf Editionsetikett). Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 1/80. Zustand:Minimale Kratzspuren an der Oberfläche. Verso minimale Bereibungen an zwei Ecken. Ansonsten sehr guter Zustand.Das Kunstwerk ist konzipiert, um es an den Bildschirm eines Fernsehers zu befestigen, wenn dieser nicht benutzt wird.Mit Parkett-Magazin."Pipilotti Rist. exploits the general acceptance of the video medium as a kind of substitute for the easel painting - and, above all, its role as a component of spatial installations. The specific appeal of video, as employed by Rist, also incorporates such shadow disciplines as the pop video, the television commercial, and the trailer. Here, Rist's idiom, schooled in Expanded Cinema, receives a highly contemporary infusion of entertainment value. The rheme of art has become her theme; hence the self-dramatization that encompasses not only the means of production but also her existential self-definition as a subject within society, as a woman, and as an artist." Marius Babias, Parkett Nr. 48, 1996.Artikel zu Werk und Künstler aus Parkett Edition Nr. 48. Pipilotti Rist Grafik 1990er Frau Multiple Foto RaumErläuterungen zum Katalog

HORN, REBECCA1944 MichelstadtTitel: Swan Ladder (für Parkett 40/41). Datierung: 1994. Technik: Metallrahmen, Schwanenfeder, Spiegel, Glastrichter, Tinte. In Holzkiste. Maße: 37,5 x 21 x 8cm. Bezeichnung: Signiert, datiert und nummeriert (verso). Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 1/45. Zustand:Glas und Metall minimal angelaufen. Ansonsten befindet sich das Objekt in einem sehr guten Zustand.Mit Parkett-Magazin."An erotic tension is the source of the fascination the oeuvre increasingly exerts. Its precisely calculated and constructed elements advance an enigma, play on mental associations with temptation, man-catching, enticements, abound with reference to the Surrealists' minnesong of the amour fou." Werner Spies, Parkett Nr. 40/41, 1994.Artikel zu Werk und Künstler aus Parkett Edition Nr. 40/41. Rebecca Horn Deutschland Body Art Kinetische Kunst Nachkriegskunst Multiples 1990er Tier Multiple MetallErläuterungen zum Katalog

GROSSE, KATHARINA1961 Freiburg i.Br.Titel: Ohne Titel (Bemalte Parkett-Ausgabe) (für Parkett 100/101). Datierung: 2017. Technik: Mit Sprühfarbe bemalte Parkett-Ausgabe. Maße: 25,5 x 21 x 3cm. Bezeichnung: Signiert, datiert und nummeriert (im Innern). Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 5/25. Zustand:Das Multiple befindet sich in einem sehr guten Zustand.Jedes Exemplar ist ein Unikat.Mit Parkett-Magazin."Today, while many interesting painters are exploring the cusp between abstraction and the image, Katharina Grosse is holding the line for abstraction. But unlike so much contemporary abstraction, hers is untouched by nostalgia for the utopian certainties that motivated the pioneers. Her art looks forward, but unlike that of the great modernists, it doesn't define the end towards which it aims."Barry Schwabsky, Parkett Nr. 100/101, 2017.Artikel zu Werk und Künstler aus Parkett Edition Nr. 100/101. Katharina Grosse Deutschland Abstraktion Zeitgenössische Kunst Multiples 2010er Gegenstände Multiple Sprühfarbe FarbeErläuterungen zum Katalog

WOOL, CHRISTOPHER1955 BostonTitel: Ohne Titel (für Parkett 33). Untertitel: Vorzugsausgabe. Datierung: 1992. Technik: Gelatinesilberabzug auf Barytpapier. Mit Mappe aus Karton. Darstellungsmaß: 24 x 16cm. Blattmaß: 25,5 x 20cm. Bezeichnung: Signiert, datiert und nummeriert (verso). Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 1/70. Rahmen: Rahmen. Zustand:Minimale Bestoßung am oberen Rand mittig. Minimale Knickspur in der unteren rechten Ecke. Verso montiert. Ansonsten sehr guter Zustand.Mit Parkett-Magazin."Wool looks you in the face; he says what you're used to hearing; he disrupts the communicative power of words; he affirms the communicative power of letters. Someone is shouting, but you can't tell if that person is trying to make you understand or insisting that you don't have a clue." Greil Marcus, Parkett Nr. 33, 1992.Artikel zu Werk und Künstler aus Parkett Edition Nr. 33. Christopher Wool USA Post-Pop Art Fotografie Zeitgenössische Kunst Grafik 1990er Rahmen Hunde Fotografie Gelatinesilberabzug BewegungErläuterungen zum Katalog

CLEMENTE, FRANCESCO1952 NeapelTitel: Sorrow (für Parkett 40/41). Datierung: 1994. Technik: Fotoätzung. Bütten. Mit KartonmappeMaße: 27 x 13 x 30 x 21cm. Bezeichnung: Signiert und nummeriert (verso). Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 1/60. Sockel/Rahmen: Rahmen. Zustand:Verso montiert. Ansonsten befindet sich die Druckgrafik in sehr gutem Zustand.Mit Parkett-Magazin."Is Clemente's art about the unsolid, about flux? An art that doesn't want to linger, to revise, to build up, work through? He seems to be moving from one picture to the next without stopping; you are watching them the same way, taking them in like a scent."Holland Cotter, Parkett Nr. 40/41, 1994.Artikel zu Werk und Künstler aus Parkett Edition Nr. 40/41. Francesco Clemente Italien Italienische Transavantgarde Zeitgenössische Kunst Grafik 1990er Rahmen Mensch Fotografie Radierung TierErläuterungen zum Katalog

KATZ, ALEX1927 New YorkTitel: Sunny (für Parkett 72). Datierung: 2004. Technik: Farbserigrafie auf Aluminium. Maße: 13 x 15 x 5cm. Bezeichnung: Signiert und nummeriert (an der Unterseite auf Editionsetikett). Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 1/70. Zustand:Das Multiple befindet sich in sehr gutem Zustand.An der Unterseite Editionsetikett mit typografischen Werkangaben.Mit Parkett-Magazin."You get an idea or conception of what you think art should be. It's kind of complicated how you receive it, because you receive a lot from just thinking about it, and other things pop into it. So, I would say, how you arrive at a conceptual basis is as intuitive as anything else, and how you direct that conception to a material object is complicated, because you try, and it fails, and you try, and it's off, and you try this, and you try that, and it works, finally, something works, and you've just stumbled your way into it." Alex Katz, Parkett Nr. 72, 2004 Artikel zu Werk und Künstler aus Parkett Edition Nr. 72. Alex Katz USA Pop Art Neorealismus Nachkriegskunst Multiples 2000er Tier Multiple Aluminium HundeErläuterungen zum Katalog

ROLLINS AND K.O.S., TIM1955 Pittsfield/USA - 2017 New YorkTitel: Winterreise - Wasserfluth (für Parkett 20). Datierung: 1989. Technik: Offset und Acryl. KartonMaße: 30 x 22,5cm. Bezeichnung: Signiert, datiert, nummeriert, betitelt und bezeichnet. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 7/80. Sockel/Rahmen: Rahmen. Zustand:Verso montiert. Ansonsten befindet sich das Werk in einem sehr guten Zustand.Mit Parkett-Magazin."Tim Rollins: I love what we do with our projects. We drive people crazy because they can't figure out what it is. Is it social work? Is it a school? Is it an art project? Is it a fraud? Is it socialism? Is it rehabilitation for juvenile delinquents? Richard Cruz: All and none of the above!" Tim Rollins + K.O.S, dialogue Parkett Nr. 20, 1989.Artikel zu Werk und Künstler aus Parkett Edition Nr. 20. Tim Rollins and K.O.S. USA Abstraktion Nachkriegskunst Grafik 1980er Rahmen Musik Druckgrafik Mischtechnik MonochromErläuterungen zum Katalog

Trade cards, Liebig, a modern album containing a complete run of sets with numbers from S1302 - S1350, mixed languages, mostly Italian & Belgian editions, Series includes Till Eulenspiegel II, German Youth Hostels, The Conquest of the Air, Series I & II, Wild Animals of the Congo, Chinese Art etc (mostly gd/vg)

An 'MR10' chair, originally designed by Ludwig Mies van der Rohe (1886-1969) in 1927 for Berliner Metallgewerbe Joseph Müller, Germany, with a tubular steel frame, original red paint and a rattan seat, 49cm wide 67cm deep 80cm high, seat 43.5cm high Literature: See Ludwig Glaeser, 'Mies van der Rohe: Furniture and Furniture Drawings from the Design Collection and the Mies van der Rohe Archive, Exhibition Catalogue, Museum of Modern Art, New York, 3 March - 3 May 1977', p.20, pl.2 and 3, p.21, pl.4; C and P Fiell, '1000 chairs', Taschen, Cologne, 1997, pp.170-171. Condition ReportThe red original paint is shown and chipped. The colour on this was brown before the vendor took it back to this colour. The rattan appears to have been repaired and replaced in some areas. Rusting to the frame and support bar beneath the seat. Bought from a house in Hampstead, London.

An Art Deco-style store panel, modern, mounted with alternate silvered acrylic and cream panels, inscribed to the reverse 'Biba Sth Kens Sept 68(?)', fitted with a plug and switch, 92cm wide 9.5cm deep 180cm high Condition ReportSome panels missing. Light panels working. With a later, unassociated BIBA label attached to the verso - designed by Steven Thomas in 1973, we have had it confirmed to be a later and unassociated addition to the sign. PAT test 26.10.23 - Pass

A collection of reference books on Art and Crafts and modern silver, including Moore, S. Artists' Spoons and Related Table Cutlery, Cartier The Legend, The Jewellery of Rene Lalique, Tiffany Silver, C. R. Ashbee and The Guild of Handicraft, plus other volumes and pamphlets. (qty)

HALLMARKED SILVER & WHITE METAL ACCESSORIES comprising a silver capped with silver cup leather and glass hip flask, London 1907, maker Atkin Brothers, 13cms overall H, 7.5cms W, smaller metal mounted hipflask stamped under the cup 'REDGE', 8.5cms H, 5cms W, circular floral embossed pill box, Birmingham 1901, maker E S Barnsley & Co., 3.25cms diam., silver cheroot case, Birmingham, indistinct date stamp and makers mark, silver plated heart and floral embossed cigarette case, 8.75 x 6.5cms, and a modern First Impressions Art Nouveau metal mounted green glass scent bottle, 6.5cms H, 6cms approx. diam. (6)Provenance: private collection Denbighshire

An Art Nouveau-style copper door finger plate with raised sailing boat design, 25cm x 7.5cm; a small brass plaque “Shiner & Son Builders BEAMINSTER”, 3cm x 5cm; & two modern sculptures.

Andy Warhall - A Retrospective, by Kynaston McShine (Ed.), published by The Museum of Modern Art New York, for The Hayward Gallery, South Bank Centre, London, 1989; together with David Hockney: A Retrospective; and another book. (3)

LARGE JAZZ LP COLLECTION (TRAD/ EASY/ DIXIELAND). An expansive collection of around 350 jazz LPs. See pictures for detailed images of sleeve spines, including a number of Japanese pressings. Artists/ titles include Tyree Glenn inc At The Embers (Esquire 32-061), The Trombone Artisty Of. Wallace Davenport with Jim Robinson and Louis Nelson, Bob Thiele - Thoroughly Modern, Anita O'Day - The Big Band Sessions, Kid Martyn in New Orleans with Kid Shiek's Band, Louisiana and All That Jazz Strikes Again, Paddock Jazz Band 1953, The Original New Orleans All Stars, Nancy Wilson - Tender Loving Care, Art Tatum - The V-Discs, George Lewis (VC-4005), Bunk Johnson - 1944 Vol 1 (VC-4006), Sweet Emma And Her New Orleans Music (VC-2013) & Kid Howard Plays Gospel (VC-2010). Condition is generally VG to Ex+.

JAZZ ICONS - LP COLLECTION. A collection of 35 x LPs. Artists/ Titles include Art Farmer inc Portrait Of Art Farmer, Modern Art, Sing Me Softly Of The Blues, Interaction, Work Of Art, The Great Jazz Hits and On The Road, Bill Evans - Bill Evans At Town Hall, Ahmad Jamal Trio inc At The Pershing, Ahmad Jamal, Cry Young, Quincy Jones inc This Is How I Feel About Jazz, The Birth Of A Band, Bossa Nova and Coleman Hawkins. The condition is generally VG+ to Ex+.

Property from a Private Collection LondonKishore Roy (b. 1964), Untitled, portrait of a woman, 2006, watercolour on paper, signed and dated lower left, mounted, glazed and framed, 38 x 29.1cm. Provenance: Acquired directly from the artistKishore Roy was born in Kolkata, West Benga in 1964. He graduated with a 1st class BVA (GD) from the Government College of Art , Kolkata in 1990 and a BA  from DumDum Motijheel  College in 1983, His paintings are held in collections worldwide including the National Gallery of Modern Art, New Delhi; the Singapore High Commission, New Delhi; the MEC Art Gallery, New Delhi.

Abdul Qader Al-Rais (Emirati, b. 1951), Untitled, watercolour on paper, signed in Arabic and dated 2008, stamped with the artist's fingerprint (lower right), glazed and framed, 151 x 101cm. Painted in 2008.Provenance: Private UK Collection; Leila Heller GalleryAbdul Qader Al Rais (b.1951, United Arab Emirates) received a Bachelor of Sharia Law from the United Arab Emirates University in 1982 and is a self-taught artist. He was born twenty years before Dubai (and the United Arab Emirates) was formed and is considered one of the most iconic painters of the country.A founding member of the Emirates Fine Arts Society, Al Rais’ practice was truly self-driven and resourced. He began painting in 1964, at a time of limited cultural infrastructure, where sourcing paint posed difficulties. Being cut off from traditional international art markets and western artistic dialogues, his practice was deeply informed by Gulf traditions; of representations of the divine, culture and community – all grounded in humility. He spent time during his youth in Kuwait in the 60’s and 70’s, while the country experienced an artistic and literary renaissance, where he encountered key figures in the Gulf modern art movement, including Sami Mohammed, and Khalifa and Lidia Qattan. Al Rais’ early works were representational and rooted in realism. He mostly depicted traditional Emirati landscapes and architecture. After a hiatus between 1974 and the 1980s, his work began to take on political themes (particularly responsive to the first Palestinian Intifada, seen as the artist’s second period). In the 90s, Al Rais increasingly turned to abstraction and calligraphy (his third period) recognizing their shared meditative and spiritual qualities.Al Rais has held several solo exhibitions both locally and internationally. Notably, he was featured in the UAE Pavilion at the 56th Venice Biennale, Venice (2015). Al Rais’ work has also been displayed at the European headquarters of the United Nations in Geneva and his public murals can be found in the Dubai Airport and the Dubai Metro. Retrospectives of Rais' extensive artistic career have been held at the Sharjah Art Museum and the Institut du Monde Arabe.Among his numerous awards are the Sheikh Khalifa Prize for Art and Literature, Abu Dhabi (2006); Golden Palm Award, Gulf Cooperation Council Art Exhibition, Doha (1999); first prize at The UAE in the Eyes of Its Artists, Abu Dhabi Cultural Foundation, Abu Dhabi (1999); Sultan Al Owais Award for Scientific Studies and Creativity, Dubai (1992, 1994, 1996) and first prize at the UAE Exhibition in China (1991).Al Rais’ work is held in the collections of the British Museum, London; Louvre, Paris; Northwest Museum of Culture and Arts, Spokane, Washington; Museum of Contemporary Art Shanghai, Shanghai and the Museum of Modern Art, New Delhi.  Al Rais lives and works in Abu Dhabi.

Rabindranath Tagore (Indian, 1861-1941), Untitled, portrait of a woman, print on paper, France 1930's, 53cm. x 19cm. (82 x 46.6cm framed)Exhibited:Rabindranath Tagore’s Influence on Modern Indian Art, Nehru Centre, London 07/10/11Published:Exhibition Catalogue of Rabindranath Tagore’s Influence on Modern Indian Art, Nehru Centre, London 07/10/11

Rabindranath Tagore (Indian, 1861-1941), Untitled, portrait of a woman, print on paper, France 1930s, 64x42 cm (94x70 cm framed)Exhibited:Rabindranath Tagore’s Influence on Modern Indian Art, Nehru Centre, London 07/10/11Published:Exhibition Catalogue of Rabindranath Tagore’s Influence on Modern Indian Art, Nehru Centre, London 07/10/11Provenance: Chintamoni Kar collection

Rabindranath Tagore (Indian, 1861-1941), Untitled, portrait of a woman, print on paper, France 1930's, 57x45 cm (89x74 cm framed)Exhibited:Rabindranath Tagore’s Influence on Modern Indian Art, Nehru Centre, London 07/10/11Published:Exhibition Catalogue of Rabindranath Tagore’s Influence on Modern Indian Art, Nehru Centre, London 07/10/11; Resurgence magazine, special issue on Tagore Festival at Dartington, May/June 2011, p.32

Three modern Murano Art Glass clowns

TWO MODERN ART DECO STYLE TABLE MARKERS, black plastic, paper labels numbered 1 and 21, height 21.5cm (2) (Condition Report: paper labels are unglued at some edges, scuffs to one label)

Ana Maria Pacheco (b. 1943) screenprint- Goat from a Modern Bestiary, signed and numbered 24/25, 24cm x 19cm, in glazed frame. Provenance: Pratt Contemporary Art, Kent

Rory Carnegie (b.1962)Saligo 999Signed (to margin lower right)Photographic print40 x 60cm (image) Rory Carnegie is an Artist Photographer, whose main body of works has given a voice to those that might be denied that voice. He has taught young asylum seekers, collaborated on long term projects with those that have experienced homelessness and created the National Crime Agency’s campaign on Modern Slavery. His work has been exhibited in museums and galleries both in the UK and abroad (John Martin Gallery, London, National Portrait Gallery, The Lowry, Modern Art Oxford, Rencontres d’Arles, Leiden Museum, Institute of Contemporary Culture). His work has been published widely in books and newspapers/magazines. The Saligo Series, from which this image is part of, was shortlisted for the Royal Photographic Society’s International Photographic Exhibition 95.

Large red modern art sculpture A/F

A large collection of various antique, mid century and modern lace and textiles and scarves to include two gentlemen's white silk scarves and a cravat, two black lace scarves, twelve embroidered hankies, six napkins, three white lace and linen pieces, twelve white napkins monogrammed "C", thirteen starched white fringed napkins, a pair of gentlemen's grey morning gloves in kid, twelve various lace and broderie tray-cloths, table cloths and doilies, twenty lace doilies and six embroidered lace hankies, four embroidered table cloths and thirteen matching napkins, twenty two further tablecloths (one in fine lace), napkins and doilies, six ladies silk scarves to include CHRISTIAN DIOR and one from The Metropolitan Museum of Art, one cashmere pashmina in pink and orange, nineteen other silk and cotton scarves and four child's lace dresses one with a bonnet.Condition Report: Good clean condition. Laundered and starched linen. Some items have minor age-related marks.

§ Dame Lucie Rie (British 1902-1995) Squeezed Dish, circa 1950s impressed artist's seal, stoneware, with black glazed interior and white glazed exterior Dimensions:4cm high, 13.3cm wide (1 5/8in high, 5 1/4in wide) Provenance:LiteratureThe National Gallery of Modern Art, Toyko, Lucie Rie: A Retrospective, exhibition catalogue, Nikkei Inc., 2010, pp.72-77 for similar examples.

József Rippl-Rónai (Hungarian 1861-1927) Man in a Pointed Hat, probably a Self-Portrait, 1905 signed and dated (upper left), and stamped Látta / Kladta (to reverse of back board), oil on cardboard Dimensions:65.6cm x 49cm (25 7/8in x 19 1/4in) Provenance:ProvenancePrivate Collection, London. It has been suggested that this work could possibly be 'Self-Portrait in a Pointed Hat', which would correspond to a work exhibited by the artist in 1906.The current work bears an exhibition label numbered 431 to the reverse of its backboard, and was possibly exhibited as part of a one-man exhibition in Kaposvár, the artist's home town, in either 1905, 1913 or 1920. Note: ‘The Hungarian Nabi’: József Rippl-Rónai (1861–1927)József Rippl-Rónai’s lifetime work can be seen as an important articulation of a pan-European approach that incorporated elements of Art Nouveau, Fauvism, Expressionism and in particular the Post-Impressionist painters known as Les Nabis. Born in Kaposvár, Hungary in 1861, he studied at the Akademie der Bildenden Künste in Munich in 1884, before moving to Paris in 1887. There he continued his studies under the Hungarian Realist painter Mihaly Munkácsy then living in the French capital. By 1889 Rippl-Rónai made a brief visit to Pont Aven and soon cut ties with his earlier style embracing a new aesthetic buoyed by Paul Gauguin and his circle. He became friends with artists such as Aristide Maillol, Pierre Bonnard and in particular Édouard Vuillard whom he met at the Académie Julian in Paris. He joined the Nabis, whose influence can clearly be felt in his work.Rippl-Rónai returned to Hungary in 1902 and the current work dates from this early period back in his homeland, but continues to bear the impression of the Nabis, with a gentle intimacy and a fondness for decoration. Possibly a self-portrait, the painting is dated to 1905 and communicates his interest in materials and clothing. He believed that not only was the artist’s full body of work of importance, but also his public persona and mode of living, including the way he dressed. Rippl-Rónai’s Post-Impressionist tendencies, including his use of two-dimensional representation and contouring, continues with this portrait, as well as his playful use of a painting within a painting motif, a technique that can be seen in a number of his important works.The artist took part in public life throughout his career, including designing posters and tapestries and contributing to many successful exhibitions both at home and abroad, including those mounted in his home town of Kaposvár. Indeed, the current work bears the remains of a label which suggests an exhibition held there, which might relate to his solo shows of 1905 or 1913. After the World War One, Rippl-Rónai gave up oil painting in favour of pastels and his mastery of this medium reached its pinnacle with a series of portraits of literary friends. Rippl-Rónai’s continuing importance is that he succeeded in remaining a Hungarian artist who was faithful to his historical roots, whilst embracing modern art tendencies from his close associations with French artists linked to Paris at the turn of the century.

§ Anthony Benjamin (British 1931-2002) Untitled, 1958 signed and dated in pencil (lower right), oil and watercolour on paper Dimensions:90cm x 58cm (35 1/2in x 22 7/8in) Provenance:ProvenanceThe Estate of the Artist. Note: A Journey from Social Realism to Abstract Expressionism: Works from the Estate of Anthony BenjaminFew artists successfully span both Modern and Contemporary periods in British art whilst moving between multiple mediums. Anthony Benjamin (1931-2022) was one such polymath working in painting, drawing, printmaking and sculpture in wood, metal and plastic. Benjamin wrote that, for him, ‘an idea is more important to a man than any physical object’, in the catalogue for his 1966 exhibition at the Institute of Contemporary Arts in London. Chris Stevens, then curator of modern British art and Head of Displays at Tate Britain, described Benjamin as ‘an anarchist who ignored trends and forged his own path’. A bit of a loner and a bit of a thinker, Benjamin was quick to accept opportunities to work in new spaces, learning from the best. It was in Paris in the late 50’s, at Atelier 17 with William Stanley Hayter, that he experimented with new forms of painting, moving away from the landscape abstraction of St Ives. However, a constant in his practice was a precision of line, an incomparable quality of execution and an intense understanding of colour and form. Benjamin thought as he made and his thinking was always one-step ahead of the rest. It was during the 1970s, in collaboration with leading printer Kevin Harris at Calvert Studio, that Benjamin produced his seminal series of screenprints Roxy Bias Suite. Inspired by his student Brian Eno, Benjamin was fascinated by the new electronic music Eno was composing. Each of the six images in the series was named after computer music terms such as Inverse Echo and Multi-Mode Jitter. The screenprints use outrageously clashing bold colours, almost as if electrified and challenge the viewer with uncompromising energy. Sumptuous pieces, they were both of the time but also way-ahead of their time. No matter what Benjamin turned his hand to the results were always perfectly executed. In the 1990s he returned to drawing with a solo show at Gimpel Fils in London. Large scale works, they are more paintings in graphite than drawings. Involving a complex range of techniques of masking and erasure, of painting with graphite dust as well as drawing with broad pencils, these works incorporate texture and atmosphere, geometric forms, polar whites and intense blacks. They are some of the most powerfully evocative images that Benjamin produced. Throughout his career Benjamin held teaching posts at a variety of colleges of art and universities including time spent in the USA and Canada as Professor of Art at the University of Calgary and Hayward State College in California. His work is now held in a great number of international public collections including the Arts Council of Great Britain, the Tate, UK and the Museum of Modern Art in New York.

Thonet Set of Four 'Le Corbusier' Dining Chairs model no. B9, painted white bentwood with woven wicker seat Dimensions:82.5cm high, 52cm wide, 44cm deep (32 1/2in high, 20 1/2in wide, 17 1/2in deep) Provenance:ProvenanceAcquired by Leslie Martin and Sadie Speight circa 1960 and thence by descent to the current owner. Note: The architect Leslie Martin (1908-2000) and his wife, the designer Sadie Speight (1906-92) played leading roles in twentieth-century architecture and design and as champions of progressive art. They met at the University of Manchester’s School of Architecture in the 1920s and married in 1935.Martin is renowned as much for his ground-breaking architectural practice as for his research and contribution to education. He held many important public and academic positions, including Principal Assistant Architect for the London, Midland and Scottish Railway (1939-48), Architect to the London County Council (1953-56) and Professor of Architecture at Cambridge University (1956-72). He was the architect of some remarkable post-war buildings, including the Royal Festival Hall on London's South Bank (1951), the Gulbenkian Foundation Centre for Modern Art in Lisbon (1979) and the Royal Scottish Academy of Music and Drama in Glasgow (1988).Speight was also a qualified architect and had a celebrated career as a designer. She was a founder member of the Design Research Unit of the Council of Industrial Design in 1943, established to make designer skills available to industry. Her designs for products such as kettles, electric irons, textiles and rugs are particularly revered. After her death, Martin paid testament to Speight’s skill at converting properties in which they could live and work, creating a ‘background for living’ by the selection and placement of furniture, carpets, fabrics, upholstery, ceramics, books and works of art in homes and studios which were widely admired.One of Martin and Speight’s collaborative projects, and their most obvious promotion of contemporary art, was their involvement with the seminal 1937 publication Circle: International Survey of Constructive Art. Martin was a co-editor with Ben Nicholson and Naum Gabo, whilst Speight acted as Secretary and Barbara Hepworth was responsible for its layout. Circle highlighted the vital British contribution to the European abstract movement and was re-printed in 1971.In 1938, Herbert Read commissioned Martin and Speight as joint authors of The Flat Book, which was published the following year. Conceived as a practical guide to contemporary furniture, fabrics and household projects, it is now considered a reference book about the 1930s Modernist aesthetic and is admired as an essential treatise on how the best of European design could be introduced into the British home. The foreword described its aim to be a ‘catalogue of well-designed furniture and equipment’ whilst attempting to ‘set out certain standards of contemporary design and…furnish at least a basis of criticism…to help the reader in selecting his flat…[and]…the problems of planning and furnishing’.Amongst the items featured in the ‘Living and Sleeping Space’ section was a ‘Nest of tables, by Marcel Breuer, birch, £3 13s 6d (Isokon Furniture Co)’ (p.116) and a ‘Plan’ chair by Serge Chermayeff, described as an ‘Easy chair, 5 gns (Plan Ltd)’ (p.134), manufactured by the cutting-edge design companies Isokon Furniture Company and Plan Ltd respectively. These items alone could be said to encapsulate Modernist living in their innovative use of laminated plywood and sleek, simplified silhouettes. Martin and Speight acquired a set of the Breuer tables (lot 122) and a pair of the Chermayeff chairs (see lot 125) in the late 1930s. They became key features of their homes thereafter, seen for example in the sitting-room and nursery respectively in a 1953 article in House and Garden about their former gardener’s cottage in Tring Park, Hertfordshire.Indeed, Martin and Speight enjoyed a longstanding friendship with Chermayeff and his wife Barbara, who on emigrating from England to the USA via Montreal in 1940, wrote to the couple: ‘We have met with great kindness and hospitality…we leave for the States on April 3 staying with Gropius…[Montreal]… is an astonishing place…the houses are incomplete and unindividual – the ‘Flat Book’ should be read.’ (Letter from Serge and Barbara Chermayeff of 28 March 1940 to Lesie Martin and Sadie Speight, Professor Sir Leslie Martin Personal Archive, National Galleries of Scotland GMA A70/4/1)In about 1960, ‘Le Corbusier’ dining chairs by Thonet were acquired for use in Martin’s studio in The Mill, the central building in a complex converted by the couple in Great Shelford, Cambridgeshire (four offered here as lot 123). Photographs of them in situ are reproduced in Martin’s 1983 publication Buildings and Ideas 1933-83 From the Studio of Leslie Martin and his Associates. In the late 1970s, Martin and Speight purchased a number of ‘Carmite’ chairs by Vico Magistretti, which formed part of the ‘background for living’ at The Barns nearby, to where they moved in 1977 (five offered here as lot 124). Originally built as the village granary in 1642, it was converted and extended for domestic and professional use.Martin and Speight chose their furniture with great care, and once acquired, it was treasured. Indeed, in 1992 Michael Parkin wrote: ‘Most of the contents of the Martins' home dated from this period, from the early Thirties, with chairs by Serge Chermayeff and Marcel Breuer, tables by Alvar Aalto, lights by Jorn Utzon and even a coffee service by Ben Nicholson.’ (Michael Parkin, Obituary of Sadie Speight, The Independent, 27 October 1992). The couple were arbiters of the very best in twentieth-century design and civilised living, in which the tables and chairs presented here played a long-term role.

József Rippl-Rónai (Hungarian 1861-1927) Portrait of a Young Man Wearing a Cap signed (lower right), pastel on paper Dimensions:43cm x 31.5cm (17in x 12 3/8in) Provenance:ProvenancePrivate Collection, London. Note: ‘The Hungarian Nabi’: József Rippl-Rónai (1861–1927)József Rippl-Rónai’s lifetime work can be seen as an important articulation of a pan-European approach that incorporated elements of Art Nouveau, Fauvism, Expressionism and in particular the Post-Impressionist painters known as Les Nabis. Born in Kaposvár, Hungary in 1861, he studied at the Akademie der Bildenden Künste in Munich in 1884, before moving to Paris in 1887. There he continued his studies under the Hungarian Realist painter Mihaly Munkácsy then living in the French capital. By 1889 Rippl-Rónai made a brief visit to Pont Aven and soon cut ties with his earlier style embracing a new aesthetic buoyed by Paul Gauguin and his circle. He became friends with artists such as Aristide Maillol, Pierre Bonnard and in particular Édouard Vuillard whom he met at the Académie Julian in Paris. He joined the Nabis, whose influence can clearly be felt in his work.Rippl-Rónai returned to Hungary in 1902 and the current work dates from this early period back in his homeland, but continues to bear the impression of the Nabis, with a gentle intimacy and a fondness for decoration. Possibly a self-portrait, the painting is dated to 1905 and communicates his interest in materials and clothing. He believed that not only was the artist’s full body of work of importance, but also his public persona and mode of living, including the way he dressed. Rippl-Rónai’s Post-Impressionist tendencies, including his use of two-dimensional representation and contouring, continues with this portrait, as well as his playful use of a painting within a painting motif, a technique that can be seen in a number of his important works.The artist took part in public life throughout his career, including designing posters and tapestries and contributing to many successful exhibitions both at home and abroad, including those mounted in his home town of Kaposvár. Indeed, the current work bears the remains of a label which suggests an exhibition held there, which might relate to his solo shows of 1905 or 1913. After the World War One, Rippl-Rónai gave up oil painting in favour of pastels and his mastery of this medium reached its pinnacle with a series of portraits of literary friends. Rippl-Rónai’s continuing importance is that he succeeded in remaining a Hungarian artist who was faithful to his historical roots, whilst embracing modern art tendencies from his close associations with French artists linked to Paris at the turn of the century.

§ Denis Mitchell (British 1912-1993) Untitled, 1969 initialled and dated (to underside of base), unique, brass on slate base Dimensions:36.5cm high x 5cm wide x 3.5cm deep (14 3/8in high x 2in wide x 1 3/8in deep) Provenance:ProvenanceCommissioned by the artist George Dannatt and thence by family descent; Askew Art, London, where acquired by the current owner.ExhibitedMaltby Contemporary Art, Winchester; Rosenberg & Co., New York. Literature George Dannatt and Friends, exhibition catalogue, Osborne Samuel, London, 2015, p.50, illustrated p.62; Modern British Masters, Rosenberg & Co., New York, 2017.

§ Susan Hiller (American-British 1940-2019) Lucid Dreams IV, 1983 set of four works, C-type photograph with ink on Agfa lustre paper Dimensions:each 67cm x 49.5cm (26 3/8in x 19 1/2in) Provenance:ProvenanceGimpel Fils, London.ExhibitedOrchard Gallery, Derry, Susan Hillier New Work, March - April 1984;National Portrait Gallery, London, Self-Portrait Photography 1840s - 1980s, October 1986 - January 1987;Gimpel Fils, London, Collector's Choice II, 8 March - 28 April 2017. Note: Susan Hiller (1940-2019) is widely regarded as one of the most influential women artists of her generation, as well as a pioneer of installation and multimedia art. Born in the USA, she made London her home in the late 1960s, where she became a key voice in the nascent counter-culture and feminist movements. Her practice spanned a broad range of media including installation, video, photography, painting, sculpture, performance, artist's books and writing. Her work often took for its subject aspects of culture that were overlooked, marginalised, or disregarded – which in turn spoke to issues of gender, class and politics. Hiller freely collaged ordinary found objects into her work, using photo-mat machines, children’s wallpaper, postcards and other commonly disregarded or denigrated aspects of popular culture, blurring the boundaries between ‘high’ and ‘low’, challenging our perceptions of cultural value After graduating from Smith College, Massachusetts, in 1961, Hiller had pursued doctoral studies in anthropology at Tulane University in New Orleans, conducting fieldwork in Mexico, Guatemala and Belize. However, she became uncomfortable with academic anthropology's claim to objectivity; she wrote that she did not wish her research to become part of anthropology's “objectification of the contrariness of lived events”. During a lecture on African art, she made the decision to abandon anthropology to become an artist. She lived in France, Morocco, Wales and India with her husband, the writer David Coxhead, before settling in London, where she made that very ‘contrariness of lived events’ the basis of her practise, focussing on the products of our society – our dreaming through commodities – that are often overlooked, ignored, or repressed. Her projects have been described as ‘investigations into the unconscious of our culture’. As she explained: “I’m committed to working with what I call ghosts, that is, with cultural discards, fragments and things that are invisible to most people but intensely important to a few: situations, ideas and experiences that haunt us collectively.” In regards to the Lucid Dreams works, Hiller noted – “I’m trying to erode the supposed boundary between dream life and waking life. The work is clearly positioned in the waking world since [it] start[s] off with photomat portraiture, but uses the disconnected and fragmented images produced automatically by these machines as analogies for the kind of dream images we all know, for instance suddenly catching a glimpse of oneself from the back… it doesn’t seem to me accidental that the machines produce this kind of image because, as I’ve been saying for years about popular, disposable imagery, there is something there beyond the obvious, which is why it’s worth using in art (the Artist quoted in Susan Hiller 1973-83: The Muse My Sister, The Orchard Gallery, Londonderry, 1984, p.25) Hiller's work features in numerous international private and public collections including the Tate Gallery, London; Museum of Modern Art, New York; National Gallery of Art, Washington D.C.; National Portrait Gallery, London; British Museum, London; Centre Pompidou, Paris; National Museum of Norway, Oslo; Ludwig Museum, Cologne; Serralves Museum of Contemporary Art, Porto; Art Gallery of New South Wales, Sydney; and the Inhotim Centro de Arte Contemporañea, Brumadinho, Brazil.

§ Anthony Benjamin (British 1931-2002) District II, 1968 stamped, dated and numbered BENJAMIN 1968 1/5, chromed steel and acrylic Dimensions:30cm high x 30.5cm wide x 22.5cm deep (11 3/4in high x 12in wide x 8 7/8in deep) Provenance:ProvenanceGimpel Fils, London.ExhibitedComsky Gallery, Beverly Hills, 1971. Note: A Journey from Social Realism to Abstract Expressionism: Works from the Estate of Anthony BenjaminFew artists successfully span both Modern and Contemporary periods in British art whilst moving between multiple mediums. Anthony Benjamin (1931-2022) was one such polymath working in painting, drawing, printmaking and sculpture in wood, metal and plastic. Benjamin wrote that, for him, ‘an idea is more important to a man than any physical object’, in the catalogue for his 1966 exhibition at the Institute of Contemporary Arts in London. Chris Stevens, then curator of modern British art and Head of Displays at Tate Britain, described Benjamin as ‘an anarchist who ignored trends and forged his own path’. A bit of a loner and a bit of a thinker, Benjamin was quick to accept opportunities to work in new spaces, learning from the best. It was in Paris in the late 50’s, at Atelier 17 with William Stanley Hayter, that he experimented with new forms of painting, moving away from the landscape abstraction of St Ives. However, a constant in his practice was a precision of line, an incomparable quality of execution and an intense understanding of colour and form. Benjamin thought as he made and his thinking was always one-step ahead of the rest. It was during the 1970s, in collaboration with leading printer Kevin Harris at Calvert Studio, that Benjamin produced his seminal series of screenprints Roxy Bias Suite. Inspired by his student Brian Eno, Benjamin was fascinated by the new electronic music Eno was composing. Each of the six images in the series was named after computer music terms such as Inverse Echo and Multi-Mode Jitter. The screenprints use outrageously clashing bold colours, almost as if electrified and challenge the viewer with uncompromising energy. Sumptuous pieces, they were both of the time but also way-ahead of their time. No matter what Benjamin turned his hand to the results were always perfectly executed. In the 1990s he returned to drawing with a solo show at Gimpel Fils in London. Large scale works, they are more paintings in graphite than drawings. Involving a complex range of techniques of masking and erasure, of painting with graphite dust as well as drawing with broad pencils, these works incorporate texture and atmosphere, geometric forms, polar whites and intense blacks. They are some of the most powerfully evocative images that Benjamin produced. Throughout his career Benjamin held teaching posts at a variety of colleges of art and universities including time spent in the USA and Canada as Professor of Art at the University of Calgary and Hayward State College in California. His work is now held in a great number of international public collections including the Arts Council of Great Britain, the Tate, UK and the Museum of Modern Art in New York.

Marcel Breuer (Hungarian 1902-1981) for Isokon Set of Three Nesting Tables, designed 1936 each stamped MADE IN ESTONIA (to underside), laminated birch plywood, manufactured by Venesta, Estonia for Isokon Furniture Company Ltd., London, United Kingdom Dimensions:the largest 37cm high, 61cm wide, 45.5cm deep (14 1/2in high, 24in wide, 17 7/8in deep) Provenance:ProvenanceAcquired by Leslie Martin and Sadie Speight in the late 1930s and thence by descent to the current owner. Note: This design was created in February 1936, around the same time as Breuer was perfecting the Long Chair. The earliest models of the nesting tables were made by Venesta in Estonia, with later production moved to England. The architect Leslie Martin (1908-2000) and his wife, the designer Sadie Speight (1906-92) played leading roles in twentieth-century architecture and design and as champions of progressive art. They met at the University of Manchester’s School of Architecture in the 1920s and married in 1935.Martin is renowned as much for his ground-breaking architectural practice as for his research and contribution to education. He held many important public and academic positions, including Principal Assistant Architect for the London, Midland and Scottish Railway (1939-48), Architect to the London County Council (1953-56) and Professor of Architecture at Cambridge University (1956-72). He was the architect of some remarkable post-war buildings, including the Royal Festival Hall on London's South Bank (1951), the Gulbenkian Foundation Centre for Modern Art in Lisbon (1979) and the Royal Scottish Academy of Music and Drama in Glasgow (1988).Speight was also a qualified architect and had a celebrated career as a designer. She was a founder member of the Design Research Unit of the Council of Industrial Design in 1943, established to make designer skills available to industry. Her designs for products such as kettles, electric irons, textiles and rugs are particularly revered. After her death, Martin paid testament to Speight’s skill at converting properties in which they could live and work, creating a ‘background for living’ by the selection and placement of furniture, carpets, fabrics, upholstery, ceramics, books and works of art in homes and studios which were widely admired.One of Martin and Speight’s collaborative projects, and their most obvious promotion of contemporary art, was their involvement with the seminal 1937 publication Circle: International Survey of Constructive Art. Martin was a co-editor with Ben Nicholson and Naum Gabo, whilst Speight acted as Secretary and Barbara Hepworth was responsible for its layout. Circle highlighted the vital British contribution to the European abstract movement and was re-printed in 1971.In 1938, Herbert Read commissioned Martin and Speight as joint authors of The Flat Book, which was published the following year. Conceived as a practical guide to contemporary furniture, fabrics and household projects, it is now considered a reference book about the 1930s Modernist aesthetic and is admired as an essential treatise on how the best of European design could be introduced into the British home. The foreword described its aim to be a ‘catalogue of well-designed furniture and equipment’ whilst attempting to ‘set out certain standards of contemporary design and…furnish at least a basis of criticism…to help the reader in selecting his flat…[and]…the problems of planning and furnishing’.Amongst the items featured in the ‘Living and Sleeping Space’ section was a ‘Nest of tables, by Marcel Breuer, birch, £3 13s 6d (Isokon Furniture Co)’ (p.116) and a ‘Plan’ chair by Serge Chermayeff, described as an ‘Easy chair, 5 gns (Plan Ltd)’ (p.134), manufactured by the cutting-edge design companies Isokon Furniture Company and Plan Ltd respectively. These items alone could be said to encapsulate Modernist living in their innovative use of laminated plywood and sleek, simplified silhouettes. Martin and Speight acquired a set of the Breuer tables (lot 122) and a pair of the Chermayeff chairs (see lot 125) in the late 1930s. They became key features of their homes thereafter, seen for example in the sitting-room and nursery respectively in a 1953 article in House and Garden about their former gardener’s cottage in Tring Park, Hertfordshire.Indeed, Martin and Speight enjoyed a longstanding friendship with Chermayeff and his wife Barbara, who on emigrating from England to the USA via Montreal in 1940, wrote to the couple: ‘We have met with great kindness and hospitality…we leave for the States on April 3 staying with Gropius…[Montreal]… is an astonishing place…the houses are incomplete and unindividual – the ‘Flat Book’ should be read.’ (Letter from Serge and Barbara Chermayeff of 28 March 1940 to Lesie Martin and Sadie Speight, Professor Sir Leslie Martin Personal Archive, National Galleries of Scotland GMA A70/4/1)In about 1960, ‘Le Corbusier’ dining chairs by Thonet were acquired for use in Martin’s studio in The Mill, the central building in a complex converted by the couple in Great Shelford, Cambridgeshire (four offered here as lot 123). Photographs of them in situ are reproduced in Martin’s 1983 publication Buildings and Ideas 1933-83 From the Studio of Leslie Martin and his Associates. In the late 1970s, Martin and Speight purchased a number of ‘Carmite’ chairs by Vico Magistretti, which formed part of the ‘background for living’ at The Barns nearby, to where they moved in 1977 (five offered here as lot 124). Originally built as the village granary in 1642, it was converted and extended for domestic and professional use.Martin and Speight chose their furniture with great care, and once acquired, it was treasured. Indeed, in 1992 Michael Parkin wrote: ‘Most of the contents of the Martins' home dated from this period, from the early Thirties, with chairs by Serge Chermayeff and Marcel Breuer, tables by Alvar Aalto, lights by Jorn Utzon and even a coffee service by Ben Nicholson.’ (Michael Parkin, Obituary of Sadie Speight, The Independent, 27 October 1992). The couple were arbiters of the very best in twentieth-century design and civilised living, in which the tables and chairs presented here played a long-term role.

Vico Magistretti (Italian 1920-2006) Set of Five 'Carimate' Chairs beech and rush seats Dimensions:75cm (29 1/2in) high, 52cm (20 1/2in) wide, 58cm (27 7/8in) deep Provenance:Provenance:Acquired by Leslie Martin and Sadie Speight in the late 1970s and thence by descent to the current owner. Note: The architect Leslie Martin (1908-2000) and his wife, the designer Sadie Speight (1906-92) played leading roles in twentieth-century architecture and design and as champions of progressive art. They met at the University of Manchester’s School of Architecture in the 1920s and married in 1935.Martin is renowned as much for his ground-breaking architectural practice as for his research and contribution to education. He held many important public and academic positions, including Principal Assistant Architect for the London, Midland and Scottish Railway (1939-48), Architect to the London County Council (1953-56) and Professor of Architecture at Cambridge University (1956-72). He was the architect of some remarkable post-war buildings, including the Royal Festival Hall on London's South Bank (1951), the Gulbenkian Foundation Centre for Modern Art in Lisbon (1979) and the Royal Scottish Academy of Music and Drama in Glasgow (1988).Speight was also a qualified architect and had a celebrated career as a designer. She was a founder member of the Design Research Unit of the Council of Industrial Design in 1943, established to make designer skills available to industry. Her designs for products such as kettles, electric irons, textiles and rugs are particularly revered. After her death, Martin paid testament to Speight’s skill at converting properties in which they could live and work, creating a ‘background for living’ by the selection and placement of furniture, carpets, fabrics, upholstery, ceramics, books and works of art in homes and studios which were widely admired.One of Martin and Speight’s collaborative projects, and their most obvious promotion of contemporary art, was their involvement with the seminal 1937 publication Circle: International Survey of Constructive Art. Martin was a co-editor with Ben Nicholson and Naum Gabo, whilst Speight acted as Secretary and Barbara Hepworth was responsible for its layout. Circle highlighted the vital British contribution to the European abstract movement and was re-printed in 1971.In 1938, Herbert Read commissioned Martin and Speight as joint authors of The Flat Book, which was published the following year. Conceived as a practical guide to contemporary furniture, fabrics and household projects, it is now considered a reference book about the 1930s Modernist aesthetic and is admired as an essential treatise on how the best of European design could be introduced into the British home. The foreword described its aim to be a ‘catalogue of well-designed furniture and equipment’ whilst attempting to ‘set out certain standards of contemporary design and…furnish at least a basis of criticism…to help the reader in selecting his flat…[and]…the problems of planning and furnishing’.Amongst the items featured in the ‘Living and Sleeping Space’ section was a ‘Nest of tables, by Marcel Breuer, birch, £3 13s 6d (Isokon Furniture Co)’ (p.116) and a ‘Plan’ chair by Serge Chermayeff, described as an ‘Easy chair, 5 gns (Plan Ltd)’ (p.134), manufactured by the cutting-edge design companies Isokon Furniture Company and Plan Ltd respectively. These items alone could be said to encapsulate Modernist living in their innovative use of laminated plywood and sleek, simplified silhouettes. Martin and Speight acquired a set of the Breuer tables (lot 122) and a pair of the Chermayeff chairs (see lot 125) in the late 1930s. They became key features of their homes thereafter, seen for example in the sitting-room and nursery respectively in a 1953 article in House and Garden about their former gardener’s cottage in Tring Park, Hertfordshire.Indeed, Martin and Speight enjoyed a longstanding friendship with Chermayeff and his wife Barbara, who on emigrating from England to the USA via Montreal in 1940, wrote to the couple: ‘We have met with great kindness and hospitality…we leave for the States on April 3 staying with Gropius…[Montreal]… is an astonishing place…the houses are incomplete and unindividual – the ‘Flat Book’ should be read.’ (Letter from Serge and Barbara Chermayeff of 28 March 1940 to Lesie Martin and Sadie Speight, Professor Sir Leslie Martin Personal Archive, National Galleries of Scotland GMA A70/4/1)In about 1960, ‘Le Corbusier’ dining chairs by Thonet were acquired for use in Martin’s studio in The Mill, the central building in a complex converted by the couple in Great Shelford, Cambridgeshire (four offered here as lot 123). Photographs of them in situ are reproduced in Martin’s 1983 publication Buildings and Ideas 1933-83 From the Studio of Leslie Martin and his Associates. In the late 1970s, Martin and Speight purchased a number of ‘Carmite’ chairs by Vico Magistretti, which formed part of the ‘background for living’ at The Barns nearby, to where they moved in 1977 (five offered here as lot 124). Originally built as the village granary in 1642, it was converted and extended for domestic and professional use.Martin and Speight chose their furniture with great care, and once acquired, it was treasured. Indeed, in 1992 Michael Parkin wrote: ‘Most of the contents of the Martins' home dated from this period, from the early Thirties, with chairs by Serge Chermayeff and Marcel Breuer, tables by Alvar Aalto, lights by Jorn Utzon and even a coffee service by Ben Nicholson.’ (Michael Parkin, Obituary of Sadie Speight, The Independent, 27 October 1992). The couple were arbiters of the very best in twentieth-century design and civilised living, in which the tables and chairs presented here played a long-term role.

§ Anthony Benjamin (British 1931-2002) Roxy Bias Suite, 1972 complete set of six, comprising Butterfly Echo, Erase Function, Inverse Echo, Multi-Mode Jitter, O Factor and Ringing Filter, each signed, titled, dated and numbered 59/95 in pencil (in the margin), silkscreen on BFK Rives handmade paper, printed by Kevin Harris at Calvert Studio Dimensions:each sheet 105.5cm x 76.5cm (41 1/2in x 30 1/8in) Provenance:ProvenanceThe Estate of the Artist. Note: A Journey from Social Realism to Abstract Expressionism: Works from the Estate of Anthony BenjaminFew artists successfully span both Modern and Contemporary periods in British art whilst moving between multiple mediums. Anthony Benjamin (1931-2022) was one such polymath working in painting, drawing, printmaking and sculpture in wood, metal and plastic. Benjamin wrote that, for him, ‘an idea is more important to a man than any physical object’, in the catalogue for his 1966 exhibition at the Institute of Contemporary Arts in London. Chris Stevens, then curator of modern British art and Head of Displays at Tate Britain, described Benjamin as ‘an anarchist who ignored trends and forged his own path’. A bit of a loner and a bit of a thinker, Benjamin was quick to accept opportunities to work in new spaces, learning from the best. It was in Paris in the late 50’s, at Atelier 17 with William Stanley Hayter, that he experimented with new forms of painting, moving away from the landscape abstraction of St Ives. However, a constant in his practice was a precision of line, an incomparable quality of execution and an intense understanding of colour and form. Benjamin thought as he made and his thinking was always one-step ahead of the rest. It was during the 1970s, in collaboration with leading printer Kevin Harris at Calvert Studio, that Benjamin produced his seminal series of screenprints Roxy Bias Suite. Inspired by his student Brian Eno, Benjamin was fascinated by the new electronic music Eno was composing. Each of the six images in the series was named after computer music terms such as Inverse Echo and Multi-Mode Jitter. The screenprints use outrageously clashing bold colours, almost as if electrified and challenge the viewer with uncompromising energy. Sumptuous pieces, they were both of the time but also way-ahead of their time. No matter what Benjamin turned his hand to the results were always perfectly executed. In the 1990s he returned to drawing with a solo show at Gimpel Fils in London. Large scale works, they are more paintings in graphite than drawings. Involving a complex range of techniques of masking and erasure, of painting with graphite dust as well as drawing with broad pencils, these works incorporate texture and atmosphere, geometric forms, polar whites and intense blacks. They are some of the most powerfully evocative images that Benjamin produced. Throughout his career Benjamin held teaching posts at a variety of colleges of art and universities including time spent in the USA and Canada as Professor of Art at the University of Calgary and Hayward State College in California. His work is now held in a great number of international public collections including the Arts Council of Great Britain, the Tate, UK and the Museum of Modern Art in New York.

§ Susan Hiller (American-British 1940-2019) Saving and Spending - Ikons of Desire, 1977-80 set of 14 works, version 1 of 2, the final work signed (in pen), colour xerox and ink Dimensions:each 29cm x 20.2cm (11 3/8in x 8in) Provenance:ProvenanceGimpel Fils, London.ExhibitedGimpel and Hanover, Zurich, Susan Hiller, March 1982;Midland Group, November 1982;Gimpel Fils, London, Susan Hiller, Monument and Other Works, 1982;Third Eye Centre, Glasgow, Ten Years Work, 1984. Note: Susan Hiller (1940-2019) is widely regarded as one of the most influential women artists of her generation, as well as a pioneer of installation and multimedia art. Born in the USA, she made London her home in the late 1960s, where she became a key voice in the nascent counter-culture and feminist movements. Her practice spanned a broad range of media including installation, video, photography, painting, sculpture, performance, artist's books and writing. Her work often took for its subject aspects of culture that were overlooked, marginalised, or disregarded – which in turn spoke to issues of gender, class and politics. Hiller freely collaged ordinary found objects into her work, using photo-mat machines, children’s wallpaper, postcards and other commonly disregarded or denigrated aspects of popular culture, blurring the boundaries between ‘high’ and ‘low’, challenging our perceptions of cultural value After graduating from Smith College, Massachusetts, in 1961, Hiller had pursued doctoral studies in anthropology at Tulane University in New Orleans, conducting fieldwork in Mexico, Guatemala and Belize. However, she became uncomfortable with academic anthropology's claim to objectivity; she wrote that she did not wish her research to become part of anthropology's “objectification of the contrariness of lived events”. During a lecture on African art, she made the decision to abandon anthropology to become an artist. She lived in France, Morocco, Wales and India with her husband, the writer David Coxhead, before settling in London, where she made that very ‘contrariness of lived events’ the basis of her practise, focussing on the products of our society – our dreaming through commodities – that are often overlooked, ignored, or repressed. Her projects have been described as ‘investigations into the unconscious of our culture’. As she explained: “I’m committed to working with what I call ghosts, that is, with cultural discards, fragments and things that are invisible to most people but intensely important to a few: situations, ideas and experiences that haunt us collectively.” In regards to the Lucid Dreams works, Hiller noted – “I’m trying to erode the supposed boundary between dream life and waking life. The work is clearly positioned in the waking world since [it] start[s] off with photomat portraiture, but uses the disconnected and fragmented images produced automatically by these machines as analogies for the kind of dream images we all know, for instance suddenly catching a glimpse of oneself from the back… it doesn’t seem to me accidental that the machines produce this kind of image because, as I’ve been saying for years about popular, disposable imagery, there is something there beyond the obvious, which is why it’s worth using in art (the Artist quoted in Susan Hiller 1973-83: The Muse My Sister, The Orchard Gallery, Londonderry, 1984, p.25) Hiller's work features in numerous international private and public collections including the Tate Gallery, London; Museum of Modern Art, New York; National Gallery of Art, Washington D.C.; National Portrait Gallery, London; British Museum, London; Centre Pompidou, Paris; National Museum of Norway, Oslo; Ludwig Museum, Cologne; Serralves Museum of Contemporary Art, Porto; Art Gallery of New South Wales, Sydney; and the Inhotim Centro de Arte Contemporañea, Brumadinho, Brazil.

Serge Chermayeff (Russian / British 1900-1996) Pair of 'Plan' Chairs, designed 1933 laminated beech plywood and upholstery Dimensions:77cm (30 1/4in) high, 66cm (26in) wide, 75cm (29 1/2in) deep Provenance:ProvenanceAcquired by Leslie Martin and Sadie Speight in the late 1930s and thence by descent to the current owner. Note: The architect Leslie Martin (1908-2000) and his wife, the designer Sadie Speight (1906-92) played leading roles in twentieth-century architecture and design and as champions of progressive art. They met at the University of Manchester’s School of Architecture in the 1920s and married in 1935.Martin is renowned as much for his ground-breaking architectural practice as for his research and contribution to education. He held many important public and academic positions, including Principal Assistant Architect for the London, Midland and Scottish Railway (1939-48), Architect to the London County Council (1953-56) and Professor of Architecture at Cambridge University (1956-72). He was the architect of some remarkable post-war buildings, including the Royal Festival Hall on London's South Bank (1951), the Gulbenkian Foundation Centre for Modern Art in Lisbon (1979) and the Royal Scottish Academy of Music and Drama in Glasgow (1988).Speight was also a qualified architect and had a celebrated career as a designer. She was a founder member of the Design Research Unit of the Council of Industrial Design in 1943, established to make designer skills available to industry. Her designs for products such as kettles, electric irons, textiles and rugs are particularly revered. After her death, Martin paid testament to Speight’s skill at converting properties in which they could live and work, creating a ‘background for living’ by the selection and placement of furniture, carpets, fabrics, upholstery, ceramics, books and works of art in homes and studios which were widely admired.One of Martin and Speight’s collaborative projects, and their most obvious promotion of contemporary art, was their involvement with the seminal 1937 publication Circle: International Survey of Constructive Art. Martin was a co-editor with Ben Nicholson and Naum Gabo, whilst Speight acted as Secretary and Barbara Hepworth was responsible for its layout. Circle highlighted the vital British contribution to the European abstract movement and was re-printed in 1971.In 1938, Herbert Read commissioned Martin and Speight as joint authors of The Flat Book, which was published the following year. Conceived as a practical guide to contemporary furniture, fabrics and household projects, it is now considered a reference book about the 1930s Modernist aesthetic and is admired as an essential treatise on how the best of European design could be introduced into the British home. The foreword described its aim to be a ‘catalogue of well-designed furniture and equipment’ whilst attempting to ‘set out certain standards of contemporary design and…furnish at least a basis of criticism…to help the reader in selecting his flat…[and]…the problems of planning and furnishing’.Amongst the items featured in the ‘Living and Sleeping Space’ section was a ‘Nest of tables, by Marcel Breuer, birch, £3 13s 6d (Isokon Furniture Co)’ (p.116) and a ‘Plan’ chair by Serge Chermayeff, described as an ‘Easy chair, 5 gns (Plan Ltd)’ (p.134), manufactured by the cutting-edge design companies Isokon Furniture Company and Plan Ltd respectively. These items alone could be said to encapsulate Modernist living in their innovative use of laminated plywood and sleek, simplified silhouettes. Martin and Speight acquired a set of the Breuer tables (lot 122) and a pair of the Chermayeff chairs (see lot 125) in the late 1930s. They became key features of their homes thereafter, seen for example in the sitting-room and nursery respectively in a 1953 article in House and Garden about their former gardener’s cottage in Tring Park, Hertfordshire.Indeed, Martin and Speight enjoyed a longstanding friendship with Chermayeff and his wife Barbara, who on emigrating from England to the USA via Montreal in 1940, wrote to the couple: ‘We have met with great kindness and hospitality…we leave for the States on April 3 staying with Gropius…[Montreal]… is an astonishing place…the houses are incomplete and unindividual – the ‘Flat Book’ should be read.’ (Letter from Serge and Barbara Chermayeff of 28 March 1940 to Lesie Martin and Sadie Speight, Professor Sir Leslie Martin Personal Archive, National Galleries of Scotland GMA A70/4/1)In about 1960, ‘Le Corbusier’ dining chairs by Thonet were acquired for use in Martin’s studio in The Mill, the central building in a complex converted by the couple in Great Shelford, Cambridgeshire (four offered here as lot 123). Photographs of them in situ are reproduced in Martin’s 1983 publication Buildings and Ideas 1933-83 From the Studio of Leslie Martin and his Associates. In the late 1970s, Martin and Speight purchased a number of ‘Carmite’ chairs by Vico Magistretti, which formed part of the ‘background for living’ at The Barns nearby, to where they moved in 1977 (five offered here as lot 124). Originally built as the village granary in 1642, it was converted and extended for domestic and professional use.Martin and Speight chose their furniture with great care, and once acquired, it was treasured. Indeed, in 1992 Michael Parkin wrote: ‘Most of the contents of the Martins' home dated from this period, from the early Thirties, with chairs by Serge Chermayeff and Marcel Breuer, tables by Alvar Aalto, lights by Jorn Utzon and even a coffee service by Ben Nicholson.’ (Michael Parkin, Obituary of Sadie Speight, The Independent, 27 October 1992). The couple were arbiters of the very best in twentieth-century design and civilised living, in which the tables and chairs presented here played a long-term role.

§ Breon O'Casey (British 1928-2011) Construction, 1966 signed, dated and inscribed to Pat & Roger with love (to postcard to reverse), oil on board assemblage Dimensions:35.7cm x 29cm (14in x 11 1/2in) including frame Provenance:ProvenanceGifted by the Artist to Roger and Pat Leigh, thence by descent; Askew Art, London; Private Collection, UK. Note: Roger Leigh (1925-97), who previously owned this work, was one of Barbara Hepworth's assistants. Breon O’Casey was part of one of the later waves of young avant-garde artists drawn to the bustling fishing settlement of St Ives, arriving in his clapped-out orange Ford transit in 1959. A studio assistant of Denis Mitchell and of the inimitable Barbara Hepworth, O’Casey became a member of the Penwith Society of Arts and an active participant in the artistic life of the town. Highly productive and constantly experimental, O’Casey moved across different media with ease, with his visual language translating across such diverse artforms as painting, jewellery, printmaking, weaving and sculpture. This broad skillset made him relatively hard to pin down from a critical point of view and possibly explains why the spotlight took its time to home in on this fascinating and respected figure within the St Ives School. Since O’Casey’s death in 2011 however, curators and collectors have driven a wave of renewed appreciation of the work of this fascinating polymath.Unconstrained to one medium, simple shapes of undulating and geometric form recur across much of his work. So too does a distinctive palette of earthy brown tones disrupted by jewel-like reds, greens and blues. His reference points are diverse: from his family roots in the Celtic revival (his father was Irish dramatist Sean O’Casey) and his interest in ancient and non-Western culture (for example the Navajo-inspired geometric patterns which appear in his weaving), to the distilled modernist forms of the Bauhaus and the work of St Ives forebears like Ben Nicholson.One key recurring motif is the number three, which took on an almost magical quality for O’Casey. We can note this in the iconography of some of the pieces offered here. In the 1966 assemblage, Construction, we find three simple bands of colour reading as an abstracted, minimalistic take on a natural landscape, to the more monumental Duo, which places three band-like shapes to delineate space in the pictorial plane.Sculpture became an increasing preoccupation, with O’Casey commenting that it “…took the place of weaving and jewellery as the antidote to painting. At first as a sideline, a relief from the anxieties of paint. But gradually it has taken on a more important role and I can say now that it is at least as important to me as painting and I devote an equal amount of time and thought to it.” O’Casey also remarked that, unlike his wholly abstract work in two dimensions, he was almost always drawn to figuration in his sculptural work, very often depicting birds or animals. In the excellent examples offered here we find his deceptively simple balancing act between modern and ancient lexicons, as well as the sense of an artist revelling in the joy of his craft.