A tanzanite and diamond ring by Gilian Packard, 1972, the emerald-cut tanzanite in four-claw setting, within a bold architectural setting of vertical polished ribs, with diamond highlights, London hallmark, maker’s mark ‘GEP’, stamped ‘750’, tanzanite approximately 3.0 carats, ring size M. £700-£900 --- Provenance: The tanzanite ring was a private commission made by Gilian Packard in 1972, with the tanzanite being provided by the customer. The ring thence by family descent. Gilian Packard (1938-1997) was born in Newcastle-on-Tyne. Named Gilian (with one ‘l’ - because, as she said “My father couldn’t spell”), she established herself as one of the leading modern jewellers of the 1960s. She studied at the Kingston School of Art, the Central School and the Royal College of Art. After her third year at the RCA, her Diploma exhibition coincided with the public opening of their new building in June 1962. Gilian acquired from it one or two commissions for special pieces. From these gentle beginnings, her work quickly began to gather pace. Most of her work was for private customers: “Designing for particular people is satisfying because one can design pieces that suit them as individuals.” The remaining part of her production went to retail outlets such as Richard Ogden in Burlington Arcade, or Cameo Corner. Progressive provincial jewellers such as Michael Jones in Northampton also retailed certain pieces. She went on to win many important jewellery awards and became the first female Freeman of the Goldsmiths’ Company. She promoted modern jewellery design through her work as a teacher, becoming Professor of Jewellery and Silversmithing at the Glasgow School of Art, and then at the Sir John Cass Department of Silversmithing, Jewellery and Allied Arts at London’s Guildhall University. Gilian died in Aldeburgh in 1997. Examples of her work can be found in the Victoria and Albert Museum in London, and in many public and private collections. With thanks to the Goldsmiths’ Hall for additional information. ---- ---- Condition Report Tanzanite of even mid blue with purple undertones, light wear to facet edges. Ring mount in good condition, maker’s mark slightly rubbed. Gross weight 12.1gm.
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Denis Williams, Guyanese/British 1923-2008 - Study for Composition 22nd June, 1952; watercolour and ink on collaged paper, titled lower middle, 25.2 x 19.2 cm (unframed) (ARR) Provenance: with Gimpel Fils, London GF10560 (according to the label attached to the packaging); private collection Note: artist and writer Denis Williams was born in Guyana but studied and worked in London during the 1940s and 50s, attending the Camberwell School of Art and holding numerous exhibitions, including at the Berkeley Gallery and Gimpel Fils. His work was hugely admired by artists including Henry Moore, Salvador Dali and Wyndham Lewis. His work was recently a major feature of the acclaimed exhibition 'Postwar Modern: New Art in Britain 1945-1965' at the Barbican Centre, London in 2022.
Antal Bíró, French/Hungarian 1907-1990 - Untitled, 1961; oil on paper, signed and dated lower right 'Biro Antal 12.7.1961' and stamped on the reverse 'Collection Bergman The Israel Museum Jerusalem', 19.2 x 24 cm (ARR) Provenance: The Charlotte Bergman Collection, The Israel Museum, Jerusalem; Gilden's Arts Gallery, London, purchased from the above's estate sale in c.2003 (by repute); private collection Note: Charlotte Bergman (1903-2002) and her husband were major collectors of Modern art, befriending major figures such as Raoul Dufy, Pablo Picasso, Alexander Calder and Henry Moore. Bergman was heavily involved in the establishment of the Israel Museum in Jerusalem, later bequeathing much of her collection and her home that was located on the site to the museum. Other works from her collection were sold following her death in 2003. Works by Antal Bíró formed a large part of Bergman's collection. Bíró was part of a group of Hungarian artists including Simon Hantai and Judit Reigl that shot to prominence in Post-War Paris, exploring a complex language of abstraction, influenced by existentialist philosophy.
Antal Bíró, French/Hungarian 1907-1990 - Untitled, 1963; gouache on paper, signed and dated upper right 'Biro Antal 24.2.1963' and stamped on the reverse 'Collection Bergman The Israel Museum Jerusalem', 28.7 x 22 cm (ARR) Provenance: The Charlotte Bergman Collection, The Israel Museum, Jerusalem; Gilden's Arts Gallery, London, purchased from the above's estate sale in c.2003 (by repute); private collection Note: Charlotte Bergman (1903-2002) and her husband were major collectors of Modern art, befriending major figures such as Raoul Dufy, Pablo Picasso, Alexander Calder and Henry Moore. Bergman was heavily involved in the establishment of the Israel Museum in Jerusalem, later bequeathing much of her collection and her home that was located on the site to the museum. Other works from her collection were sold following her death in 2003. Works by Antal Bíró formed a large part of Bergman's collection. Bíró was part of a group of Hungarian artists including Simon Hantaï and Judit Reigl that shot to prominence in Post-War Paris, exploring a complex language of abstraction, influenced by existentialist philosophy.
Antal Bíró, French/Hungarian 1907-1990 - Untitled, 1966; gouache on paper, signed and dated lower left 'Antal Biro 27.11.1966' and stamped on the reverse 'Collection Bergman The Israel Museum Jerusalem', 14.3 x 21.7 cm (ARR) Provenance: The Charlotte Bergman Collection, The Israel Museum, Jerusalem; Gilden's Arts Gallery, London, purchased from the above's estate sale in c.2003 (by repute); private collection Note: Charlotte Bergman (1903-2002) and her husband were major collectors of Modern art, befriending major figures such as Raoul Dufy, Pablo Picasso, Alexander Calder and Henry Moore. Bergman was heavily involved in the establishment of the Israel Museum in Jerusalem, later bequeathing much of her collection and her home that was located on the site to the museum. Other works from her collection were sold following her death in 2003. Works by Antal Bíró formed a large part of Bergman's collection. Bíró was part of a group of Hungarian artists including Simon Hantaï and Judit Reigl that shot to prominence in Post-War Paris, exploring a complex language of abstraction, influenced by existentialist philosophy.
Antal Bíró, French/Hungarian 1907-1990 - Untiled, 1952; gouache on paper, signed and dated upper right 'Antal Biro 21.9.1952' and stamped on the reverse 'Collection Bergman The Israel Museum Jerusalem', 24 x 27.3 cm (ARR) Provenance: The Charlotte Bergman Collection, The Israel Museum, Jerusalem; Gilden's Arts Gallery, London, purchased from the above's estate sale in c.2003 (by repute); private collection Note: Charlotte Bergman (1903-2002) and her husband were major collectors of Modern art, befriending major figures such as Raoul Dufy, Pablo Picasso, Alexander Calder and Henry Moore. Bergman was heavily involved in the establishment of the Israel Museum in Jerusalem, later bequeathing much of her collection and her home that was located on the site to the museum. Other works from her collection were sold following her death in 2003. Works by Antal Bíró formed a large part of Bergman's collection. Bíró was part of a group of Hungarian artists including Simon Hantaï and Judit Reigl that shot to prominence in Post-War Paris, exploring a complex language of abstraction, influenced by existentialist philosophy.
Kenneth Armitage, British 1916-2002 - Dancer, 1943; plaster, H73 x W27 x D18 cm including base (ARR) Provenance: private collection, acquired directly from the artist in 1943; Sotheby's, London, Modern & Post War British Art, 16th November 2011, lot 173; private collection, purchased from the above Note: 'Dancer' was made when Armitage was serving in the Royal Artillery between 1939 and 1946. He had enlisted immediately at the outbreak of war and taught aircraft and tank identification, which involved making models and silhouettes. His time in the Royal Artillery can be seen to have had a profound impact on his work throughout his career, building on his awareness of shape and ability to capture motion. 'Dancer' is a rare work from this significant period that formulated his vision as an artist. In 'Kenneth Armitage: Life and Work' by Tamsyn Woollcombe published in 1997, there is an image of Armitage and his future wife Joan Moore in their studio while at the Slade in the late 1930s. In this photo one can see a plaster for a stylistically similar standing nude, suggesting the form of his work during this period. Another similar work is 'Standing Woman, 1946-47', a rare cast bronze from the era. You can see similarities in the animated qualities and rounded female form of later works such as 'Single Figure with Drawing, 1972'. Kenneth Armitage would go on to become one of the most important British Sculptors of the 20th century. In 1952, Armitage’s career was launched by being included in Herbert Read’s ‘New Aspects of British Sculpture’ group exhibition for the British pavilion at Venice Biennale, alongside artists such as Lynn Chadwick, Reg Butler and Geoffrey Clarke. At the 29th Venice Biennale in 1958 he was awarded the prize for best British Sculptor under 45. He exhibited widely both in Britain and internationally and in 1994 he became a Royal Academician.
Robert Colquhoun, British 1914-1962 - Head of Boy (or possibly 'Kitchen-Boy - Brescia'), c.1950; oil on canvas, signed upper left 'Colquhoun', 40.7 x 30.7 cm (unframed) (ARR) Provenance: with The Lefevre Gallery, London (partial label attached to the reverse); private collection, purchased directly from the Artist; private collection, gifted by the previous owner Exhibited: possibly The Lefevre Gallery, London, 'Recent Paintings by Robert Colquhoun', December 1950, cat. no.3 Literature: possibly Roger Bristow, 'The Last Bohemians, The Two Roberts Colquhoun and MacBryde', Sansom & Company, Bristol, 2010, p.368 Note: This extraordinary image demonstrates the power and tension at the heart of Robert Colquhoun's work, marking his importance alongside his contemporaries Lucien Freud and Francis Bacon in Post-War British painting. Drawing on his own personal experience and understanding of humanity, here Colquhoun has created an image that is at once statuesque and fragile, powerful yet vulnerable. Colquhoun would often focus on a pair or a single figure with a prop, but here the figure is alone and cropped so only the head is in focus. Other similar works are 'Head, study for Three Figures in a Farm Yard, 1953' (private collection), 'Weeping Woman, 1948' (The Dick Institute) and 'Head Study, 1953' (The Fleming Collection). This creates an increased intensity, even further focused in this work by how the artist has depicted his sitter staring directly into the eye of the viewing. The level of the two eyes distorted, it is easy to read his own experience as a queer man living in an oppressive society in this defiant look. The work is in many ways comparable to contemporaneous works such as Freud's 'Man's Head (Self Portrait III), 1963' (National Portrait Gallery, London) and Bacon's 'Head of Man, 1960' (Sainsbury Centre for Visual Art) and 'Study for Portrait II (after the Life Mask of William Blake), 1955' (Tate) in its visual contradictions; the carefully composed form giving way way to a fiery and manipulated interior. However, whereas Bacon would utilise imagery derived from photographic and found material, for Colquhoun the focus is entirely the figure from his memory. Colquhoun would return more prominently to singular isolated figures in his final series of monotypes that were exhibited posthumously at the Museum Street Galleries in 1962. A number of these works are now in the British Museum. The artist's painterly style was also strongly influenced by his friend and neighbour in Soho during the 1940s, Polish artist Jankel Adler. Adler had travelled to Glasgow, where Colquhoun studied, as a refugee during the war and became a central figure of European modernism in Britain. In London, Colquhoun would develop from Adler a post-Cubist approach to the human form, breaking down features to create a heightened sense of expression. He also learnt from Adler a highly textural approach to painting, seen here in the contrast between the flattened backdrop, the impasto-ed surface of the face and the slickly sensuous linear brushwork. A similar handling of form can be seen in 'Man with a Donkey Saddle, 1950' (Middlesburgh Institute of Modern Art). Colquhoun was a central figure in the artistic world of war-time London, alongside his life-partner Robert MacBryde and their friends John Craxton and John Minton. Colquhoun and MacBryde (or 'The Two Roberts' as they were called) shot to fame under the patronage of Peter Watson, with important exhibitions of their work held at The Lefevre Gallery, The Whitechapel Gallery and numerous international mixed exhibitions. Most recently their work was the subject of a major retrospective at The National Galleries of Scotland in 2014-15. During the 1950s Colquhoun and MacBryde worked in theatre design; the original owner of this work was a friend and important figure in British theatre, television and film. This work was most likely made around 1950, following Coluqhoun's trip to Italy with the poet George Barker, and was possibly featured in Colquhoun's exhibition with Lefevre Gallery that year. The Two Roberts were at this time living between their London studio and Lewes, at the invitation of the sister's Frances Byng-Stamper and Caroline Byng Lucas, who ran a gallery there and later established the Miller's Press, which would produce a number of the pair's prints. The artist's tragically short career and the scarcity of his work on the market marks this as a highly important work of the Post-War era. With thanks to Davy Brown, author of ‘Colquhoun’s Monotypes’ for his assistance in the cataloguing of this work.
John Craxton RA, British 1922-2009 - Samiotissa, 1982; pencil and chalk on paper signed lower left 'Craxton', 58.3 x 45.4 cm (ARR) Provenance: Christopher Hull Gallery, London (according to the label attached to the reverse of the frame); Charles Goodman, purchased in 1985; private collection Exhibited: Christopher Hull Gallery, London, 'Portraits 1942-1992', no.18 (according to the label attached to the reverse of the frame) Note: This charming portrait displays Craxton’s observational expertise and subtlety of technique. It originates from the beginning of a series of exhibitions with Christopher Hull gallery between 1982 and 1993. Early in his career Craxton shared a studio in London with Lucien Freud and developed close ties and friendships with many other notable British artists such as Graham Sutherland, Robert Colquhoun and John Piper. As soon as possible after the war, Craxton set off for the Mediterranean where he developed a strong fascination with Arcadian life, fuelling his art for much of his career. Craxton became a Royal Academician in 1993 and his works are held in the Tate and V&A collections among many others. His work was recently the subject of major touring show launched at the Benaki Museum in 2022. Pallant House Gallery is also showing a retrospective ‘John Craxton: A Modern Odyssey’ beginning October 2023.
John Bratby RA, British 1928-1992 - Painting, August 1958; oil on board, signed upper right 'Bratby', titled and dated upper left 'Painting August 1958', 203 x 365.5 cm (ARR) (VAT charged on hammer price) Provenance:Julian Hartnoll, London; private collection, acquired from the above in 2003Exhibited: The Mayor Gallery and Julian Hartnoll, London, 'The Kitchen Sink Painters', 20th March-26 April 1991, illus.cat.no.12, p.39;Salon 007: Modern British Art
Muraina Oyelami, Nigerian b.1940 - Typical Village, 1977; gouache and pastel on paper, signed, titled and dated along the lower edge 'Muraina Typical Village 77', 55 x 74.5 cm Provenance:Gerald Moore and thence by descentNote: Gerald Moore was an important, writer, teacher and scholar of contemporary African anglophone and francophone poetry. He lived and taught in Nigeria in the 1950s and again during the 1970s, becoming friendly with writer Ulli Beier and artist Susanne Wenger. With Beier he edited the influential anthology ‘Modern Poetry from Africa’ published in 1963 and he also wrote a biography of poet Wole Soyinka in 1971. His collection also included works by Gerard Sekoto and Twins Seven Seven.Oyelami is part of the first generation of artists to come out of the Oshogbo School of Art in the 1960s. The artist's works are in the collections of the Smithsonian Institution's National Museum of African Art in Washington, D.C, the Institute of Contemporary Arts, London, and the Staatlichen Kunsthalle, Berlin.
Patrick Procktor RA RWS, British 1936-2003 - Demeter, 1977; watercolour on paper, signed and dated lower right 'Patrick Procktor 77' and titled lower left 'Demeter', 39.6 x 29.5 cm (ARR) Provenance: with Redfern Gallery, London (according to the inscribed label attached to the reverse); private collection Note: Patrick Procktor was one of the most important British artists of the late 20th century, celebrated alongside his friends Keith Vaughan and David Hockney. Known for his natural and colourful figurative style, his watercolours encapsulate his talent and wit. An intrepid traveller, his works were often inspired by the colours and sounds remembered from his trips to Greece, India and Morocco. His work has been regularly exhibited at the Redfern Gallery, alongside a touring museum show in 1985 that began at Birmingham Museum and Art Gallery. He was more recently the subject of an acclaimed retrospective at Huddersfield Art Gallery in 2012. His work is in collections across the world including British Museum, London; Los Angeles County Museum, Museum of Modern Art, New York and Museo de Arte São Paulo, Brazil.
Leonard Rosoman OBE RA, British 1913-2012 - A Winter Landscape; oil on canvas, signed lower right 'Leonard Rosoman', 61 x 50.7 cm (ARR) Provenance: Lady Ransthdowne; Duncan R. Miller Fine Arts, London; private collection, purchased from the above in 2010; Roseberys, Modern British, 15 February 2022, lot 29; private collection, purchased from the above Note: this artwork is a striking study in the representation of winter light, contrasting cooler tones with that of the landscape and snow. Leonard Rosoman OBE RA worked as a war artist, a printmaker, a painter and an illustrator. He is particularly well-known for his murals, completing commissions most notably for the 1951 Festival of Britain at the Southbank Centre, the Royal Museum of Scotland, the Royal Academy, and the ceiling of Lambeth Palace Chapel. Over his career Rosoman also taught at a number of noteworthy art schools, including Camberwell College of Art, Edinburgh College of Art, the Chelsea School of Art and the Royal College of Art, where his students included a young David Hockney.
Alfred Wolmark, British/Polish 1877-1961 - North End, Old Hampstead; oil on panel, signed, tiled and inscribed on a sheet of paper attached to the reverse 'Alfred A Wolmark Old Hampstead (destroyed in 1940)', 36.2 x 26.2 cm (ARR) Provenance: Christie's, March 1985 (according to the label attached to the reverse); Louise Kosman, Edinburgh; private collection Note: Wolmark was famed for his bold colour palette, influenced by French Modernism, and in an early exhibition in the 1910s at the International Society of Artists, his work was placed beside Vincent Van Gogh, as the only artist of comparable intensity. Wolmark exhibited at the influential 'Manet and the Post-Impressionists' exhibition at the Grafton Gallery in 1910, organised by Roger Fry. Wolmark has been referred to as the 'father' of the Whitechapel Boys. He was the only artist to be included in both the Whitechapel Art Gallery's 1906 'Jewish Art and Antiquities Exhibition' and in David Bomberg and Jacob Epstein's 'Jewish Section' at the 1914 exhibition 'Twentieth-Century Art: A Review of Modern Movements'.
Charles Ginner ARA CBE, British 1878-1952 - The Dome, Brompton Oratory, 1936; ink and watercolour on paper, signed lower right, 39.3 x 31.6 cm Provenance: Professor Wormald, acquired directly from the artist and thence by descent; Christie's, London, 4th March 1988, lot 149; private collection; Sotheby's London, 13th May 1992; private collection, purchased from the above and thence by descent Exhibited: London, 'The London Group', November 1936, no.157; Brook Street Galleries, London, 'Charles Ginner Drawings', February 1938; Royal Watercolour Society, London, Spring 1938, no.163; Walker Art Gallery, Liverpool, 'Sixty-fourth Autumn Exhibition', 1938 Literature: Charles Ginner, 'Notebooks vol.III', p.166 Note: London scenes such as this are the artist's most iconic works, demonstrating his interest in urban architecture. When this work was made, Ginner lived in Hampstead, working primarily in watercolour. Ginner worked in a precise style, drawing out the geometry of the buildings to create a complex images, that highlight both the historic and the modern. Ginner was a founding member of the Camden Town Group in 1911, alongside his friends Harold Gilman and Spencer Gore, and the London Group in 1913. His works are in all major UK collections, including the Tate, the Yale Centre for British Art and the Arts Council Collection.
Mordechai Arieli, Polish/Israeli 1909-1993 - Figures in Safed; oil on canvas, signed in Hebrew lower right, 52 x 66 cm Provenance: Bonhams, London, Israeli Art & Judica, 29th February 2012, lot 76 Note: Arieli was born in Poland but studied in Paris in the 1930s. He was one of an influential group of émigré artists that developed a specifically Israeli language of modern painting from the 1920s onwards, alongside Nachum Gutman and Shimshon Holzman. The colours and spontaneous handling of this work evoke the sound and feel of the city of Safed in northern Israel.
▴ John Piper CH (1903-1992)'Mixed Styles - Regency-Victorian-Modern' (Levinson 18)aquatint, 1939, plate VII from the 'Brighton Aquatints' series, an edition of 200 printed by A Alexander & Sons Ltd. on hand-made paper by F J Head and published by Duckworth, Londonplate 19.3 x 27.8cmProvenance: Phillips, Bond Street, London, 'Twentieth Century British Art' , 25 September 2001, Lot 55.Condition ReportFramed: 37 x 45.5cmPaper discolouration and time staining. There are thunderbugs trapped between behind the glazing however the printed area does not appear to be affected. Not viewed out of glazed frame.
A collection of three decorative art pottery vases to include; A stylised twin handled Belgian Art Nouveau vase with mixed glaze and marked Made In Belgium to base, a smaller probably Belgian pottery vase, with green and red glaze, unmarked, and along with a tall modern cylindrical layered flower stem vase, blue glaze, unmarked - only a no. 64 to base. (3) Further Details: Some crazing, slight staining and wear.
Set of 7 vintage advertising poster calendar pages. 1. Henrietta Crosman direction of Maurice Campbell, featuring a design adapted from Alphonse Mucha (1860-1939, depicting American stage and film actress Henrietta Crosman (1861-1944) in a floral Art Nouveau style pattern with a calendar for July, and a caption below - Henrietta Crosman - A leading actress in the 1900s famous for her roles in Mistress Nell, As You Like It (Rosalind), and Sweet Kitty Belaire. Considered a great beauty, her career encompassed vaudeville, Shakespeare, modern plays, and then films. Good condition, creasing, tears, staining, tape marks on top and bottom edge; 2. Sarah Bernhardt as Jeanne Darc or Joan of Arc, featuring a design adapted from Eugene Grasset, depicting a French stage actress Sarah Bernhardt (1844-1923) seen standing under arrows holding a flag, a caption below - Sarah Bernhardt - Sarah Henriette Rosine, was one of the world's most famous actresses. Among this French star's greatest successes were her portrayals of Phaedre, La Dame aux Camellias, L'Aigion, and Hamlet. An accomplished painter and sculptress, she also wrote poetry and plays in which she appeared - with a calendar for March below. Good condition, creasing, staining, tears, tape on top and bottom edge. Adapted from design by Mucha; 3. Ethel Barrymore from a sketch by Florence Wyman, depicting the American actress dressed in elegant clothes and a hat, caption below reads - Ethel Barrymore - A prominent member of the famous family of actors, this tall and lovely lady was much esteemed for both her acting and her beauty. She scored her first success as Madame Trentoni in Captain Jinks of the Horse Marines and later did a great deal of vaudeville, film and radio work, with a calendar for February below. Good condition, creasing, tears, paper losses, paper skimming, minor staining; 4. Eleonora Duse, depicting the Italian actress looking away from the viewer, caption below reads - Eleonora Duse - The daughter and granddaughter of strolling players, this famous Italian actress was one of the great tragediennes of the international theater. She was known for the beauty and expressiveness of her gestures, disdained the use of make-up, and was noted for her ability to blush or turn pale at will - with a calendar for August below. Good condition, folds, creasing, small tears, tape on top and bottom edge; 5. Sarah Bernhardt 1905 Farewell American Tour 1906 - featuring an Art Nouveau style design by Alphonse Mucha (1860-1939) depicting the French actress in a floral pattern clothing and flower in her hair seen holding a branch, next to an up-close image of her looking up with flowers in her hair, the caption below the image reads - At the age of 61, Sarah Bernhardt took the first of four US farewell tours. Playing in 62 cities, often in a canvas tent theater, such was her attraction that she earned two million dollars in one year - with a calendar for April below; 6. Charles Frohman Presents Miss Billie Burke - featuring an image of an American Broadway, radio, silent and sound film artist, caption below the image reads - One of the most popular comediennes of the American stage, she made her theatrical debut in London. She first came to the United States to be John Drew's leading lady. Married to the famous Florenz Ziegfeld, she also appeared exclusively in films and on the radio. - with a calendar for May below. Good condition, creasing, small tears, folds, tape on top and bottom edge; 7. Mrs. Patrick Campbell Liebler & Co - featuring an image of Beatrice Rose Stella Tanner (1865-1940), better known by her stage name Mrs Patrick Campbell or Mrs Pat depicted on a red background, the caption below reads - It was for this famous English actress that wrote the part of Eliza Doolittle in Pygmalion. A beautiful woman, he called her 'perilously bewitching'. She was known for her devastating wit and became a legend long before her death. - with a calendar for June below. Fair condition, creasing, tears, staining, tape on top and bottom edge. All issued in the USA, size (cm): 61x46, year of printing: 1970s.
HERMÈS Seidencarré "PROMENADE AU PAYS DE CEZANNE". Akt. NP.: 460,-€. 100% Seide. Paul Cézanne, einer der einflussreichsten Künstler der modernen Malerei gehörte zunächst der impressionistischen Bewegung an. Seine postimpressionistische Werke beeinflussten nachfolgende Künstler und legten den Grundstein für den Übergang von den Kunstkonzepten des 19. Jahrhunderts zu radikal anderen Ausdrucksformen wie dem Kubismus und dem Fauvismus. 2006, zum hundertsten Todestag des Künstlers, gab Hermès eine limitierte orangefarbene Ausgabe der Promenade Au Pays Cezanne von Toutsy zugunsten der LA SOCIÉTÉ PAUL CEZANNE heraus. Handrollierte Säume. 90 x 90 cm. Box anbei. Sehr guter Zustand.| HERMÈS silk scarf "PROMENADE AU PAYS DE CEZANNE". Retail price: 460,-€. 100% silk. Paul Cézanne, one of the most influential artists of modern painting initially belonged to the Impressionist movement. His Post-Impressionist works influenced subsequent artists and laid the foundation for the transition from 19th century art concepts to radically different forms of expression such as Cubism and Fauvism. In 2006, on the centenary of the artist's death, Hermès issued a limited orange edition of Toutsy's Promenade Au Pays Cezanne for the benefit of LA SOCIÉTÉ PAUL CEZANNE. Hand-rolled hems. 90 x 90 cm. Box enclosed. Very good condition.
Contemporary Art.- Logan (Kent) and others. Post Modern Portraiture from the Logan Collection, original boards, very light mottling to covers, The Logan Collection Vail, 2005 § РУССКИЙ АВАНГАРД ИЗ КОЛЛЕКЦИИ МУЗЕЯ ХУДОЖЕСТВЕННОЙ КУЛЬТУРЫ [Russian Avant-Garde from the Collection Museum of Artistic Culture], profuse illustrations in colour throughout, text in Russian, original pictorial boards, 1998 § Bourgeois (Louise) and John Hutton Balfour. Nature Study, 2 vol., one of 1500 copies, housed together in printed slipcase (some light soiling), Royal Botanic Garden Edinburgh, 2008, profusely illustrated in colour, all but last with light toning to margins; and a quantity of others contemporary art, v.s. (qty)
NO RESERVE Wijdeveld (Hendrik) Wendingen: Frank Lloyd Wright, first edition in book form, photographic and other illustrations throughout, the odd short tear to edges, including to title, some soiling, contemporary pencil sketch to penultimate leaf, modern cloth with gilt border, green morocco label to spine, Santpoort, C.A. Mees, 1925 § Muthesius (Hermann) et al. Meister der innen Kunst. Charles Rennie Mackintosh Glasgow Haus eines Kunstfreundes, from an edition limited to 1000 copies, second edition, in facsimile, plates and plans, with decorative title, in colour, loose as issued, original cloth backed portfolio, with printed on-lay to upper cover, ribbons, Glasgow, The Fraser Press, 1991 § Grierson (Flora) Haunting Edinburgh, illustrated by Katherine Cameron, multiple colour plates, also plain plates, original pictorial cloth, spine ends lightly bumped, dust-jacker, some light toning and rubbing, Edinburgh, 1929; and 27 others early-mid 20th century, several art periodicals, including a worn copy of the Minotaure (no.1), v.s. (30)
Marriage & Scandals.- Hill (Richard) The Blessings of Polygamy Displayed, first edition, with errata slip pasted to final leaf (the first errata corrected in manuscript on relevant leaf), foxed, original boards, uncut, rubbed, upper cover damaged at upper corner with slight loss, rebacked, [Goldsmiths' 15881], J.Mathews, 1781 § [Fry (John)] The Case of Marriages between near Kindred particularly considered..., second edition, half-title, occasional spotting or marginal soiling, old ink inscriptions, ex-library copy with stamp and label to front endpapers, contemporary sheep, rubbed, rebacked, corners repaired, B.White, 1773 § Colvill (Robert) Epithalamium on the Marriage of the Right Honourable David, Viscount Stormont, with the Honourable Miss Louisa Cathcart, second edition, modern marbled boards, London & Edinburgh, 1776 § Gunning (Susannah) A Letter from Mrs. Gunning, addressed to his Grave the Duke of Argyll, first edition, ?lacking half-title, bound with 2 other related pamphlets, manuscript index at beginning, modern half morocco, spine giltfor the Author, 1791 [Cumberland (Henry, Duke of York)] Genuine Copies of all the Love Letters and Cards which passed between an Illustrious Personage and a Noble Lady, during the course of a Late Amour, first edition, modern cloth, L.Browning, [?1770], 8vo & 4to (5)⁂ Despite the title, the first work is actually an attack on Martin Madan's Thelypthora which advocated polygamy as a cure for the evil of prostitution. The second relates to Lord Hardwicke's Marriage Act of 1753, or An Act for the Better Preventing of Clandestine Marriage, which was the first statutory legislation in England and Wales to require a formal ceremony of marriage. Until that time neither prior notice nor parental consent for minors was required for marriage but the Act ordered the reading of banns in church, parents' or guardians' consent for minors, and the service to be conducted by an Anglican clergyman. Henceforth couples had to travel to Scotland in order to marry, the nearest place being Gretna Green just north of Carlisle.The third celebrates the marriage of David Murray, 2nd Earl of Mansfield (1727-1796), to Louisa Cathcart, some thirty years his junior. Murray, known as Viscount of Stormont, was ambassador to Vienna and then to France in the early years of the American Revolutionary War, and played a role in sending news of American actions back to England. This was Murray's second marriage, ten years after the death of his first wife. We have been unable to trace the first edition and ESTC locates only 4 UK copies of this second edition (E. A. Hornel Art Gallery & Library, Edinburgh University, National Library of Scotland, and St. Andrew's University) plus one in America.The fourth concerns a society scandal revolving around a suitor for the daughter of the novelist Mrs. Gunning, including rival suitors, forged letters and various intrigues. The final item relates to the affair between the Duke of Cumberland, younger brother of George III, and Henrietta, Lady Grosvenor.
Northern Imprints.- Parquot (P.D.) Plenty, following Scarcity, first edition, wood-engraved tail-pieces, 10pp. list of subscribers at end, modern half calf, uncut, Liverpool, 1803 § Association among Protestant Schoolmasters in the North of England, for the Support of their Aged Brethren, Widows, and Orphans. An Address to the Public in behalf of..., ?second edition, light browning, modern marbled boards, Newcastle, M.Angus, 1788 § Milnes (Richard) The Warning Voice of a Hermit Abroad..., only edition, double column, original boards, uncut, rubbed, rebacked, Wakefield, for the author, 1825 § Atkinson (Charles) The Life and Adverntures of an Eccentric Traveller, only edition, woodcut frontispiece, plate and illustrations, original boards, uncut, rubbed and marked, rebacked with old marbled paper, York, for the author, 1818; and 6 others with Northern imprints, v.s. (10)⁂ The first is largely a chronological diary of imports and exports of grain, and the consequences of government action from September 1800 to the end of 1801. It is rare with Library Hub recording only one copy of this first edition (Manchester Public Library). The extensive list of subscribers is almost entirely made up of Liverpool residents including the banker, lawyer and art-collector William Roscoe. The second item is one of two editions listed by ESTC, of 1774 and 1788 respectively. Both are extremely rare, ESTC lists only the British Library copy of either.
KAWABATA FUMIO (BORN 1948): A LARGE BIZEN WARE CERAMIC BOWLBy Kawabata Fumio, signed with abstract artist mark Japan, 2003The deep sides rising from a flat foot to an irregular wavy rim and of an earthy beige color complemented by darker spots and warm iron-red to brown lines and splashes. The firing technique employed imparts a rich and warm quality to the bowl, evoking a profound sense of tradition. The base carved with an abstract mark.With a leaflet dated Heisei 15 (2003), listing the activities of the potter. In an original signed, marked, and sealed wood storage box.Kawabata Fumio, a Yokohama native, stands as an outsider in the realm of Bizen pottery, infusing his own distinctive style and creative flair into his works. Notably, he received the Grand Prize at the Modern Tea Forms Exhibition held at the Tanabe Museum of Art. In addition, Kawabata has been honored with numerous other awards, including selection for the Japanese Traditional Craft Art Exhibition, Chunichi International Exhibition of Ceramic Arts, and Chanoyu Zokei (Modern Tea Forms) Exhibition. Condition: Very good condition. Provenance: Dutch collection. Weight: 7,4 kg Dimensions: Heigh 31 cm, diameter 40 cm
TSUKIOKA YOSHITOSHI (1839-1892): TAKEDA KOUNSAI'S MISTRESS TOKIKO, IN THE SNOWBy Tsukioka Yoshitoshi (1839-1892)Japan, 1886-1888Color woodblock print on paper. Vertical Oban. Engraved by Horikō Enkatsu. Published by Yamato Shinbunsha. No. 383 from the series Lives of Modern People (Kinsei jimbutsushi). Condition: Good impression, slightly faded colors, browning, staining. Backed on cardboard and with a passepartout (glued). Provenance: Austrian private collection. Dimensions: Image cut out 32 x 21 cm size incl. backing 48 x 37 cmLiterature comparison: A near identical print is in the collection of the Philadelphia Museum of Art, museum number 1989-47-569.Tsukioka Yoshitoshi was one of the leading woodblock print artists during the Meiji era (1868-1912) and one of the last to work in the traditional ukiyo-e manner. Born in Edo (today's Tokyo), he showed a strong interest in classical Japanese literature and history. When he was 11, he became a student at Kuniyoshi Utagawa's studio. Under his teacher's guidance, he showed exquisite draftsmanship skills and learned how to draw from life, something not necessarily part of the training schools of painting and illustration in Japan.
RYUMIN: AN UNUSUAL IVORY AND METAL KAGAMIBUTA NETSUKEBy Serizawa Ryumin, signed Ryumin and kakihan Japan, Tokyo, late 19th centuryThe shibuichi plate set into an unusual heart-shaped ivory bowl bearing a fine patina, the plate carved in katakiri-bori with an old lady seated by a spinning wheel, the details inlaid in gold, with the signature RYUMIN and kakihan. Central himotoshi to the back.LENGTH 4.2 cmCondition: Very good condition with minor surface wear. The bowl with natural age cracks. Provenance: Ex-collection Ted Wrangham. Edward A. 'Ted' Wrangham (1928-2009) formed one of the most important collections of Japanese Art in modern times. His reference book 'The Index of Inro Artists' (1995) is considered one of the most important English-language studies on Japanese lacquer ever published.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0333).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
A limited edition Ed Ruscha Twentysix Gasoline Stations ground-breaking artist book (Cunningham Press / National Excelsior Press, 1962) inscribed to Dennis Hopper in ink by Ruscha. The book contains the artist's iconic gasoline station photographs, with the inscription reading: "Hello / Dennis / Ed / Ruscha / 1963." This is copy number 35 of 400.American Pop artist Ruscha was initially fascinated by cartooning as a young boy in Nebraska. He went on to study visual art at the Couinard Art Institute (now CalArts) in Southern California with abstract expressionist Emerson Woelffer and others. He then worked doing layouts at an advertising agency in the early 1960s, during which time he became known around Los Angeles for his collages, paintings, and photography.Twentysix Gasoline Stations was Ruscha’s first artist book and a prominent early influence on the genre’s development and artist’s book culture in general (some might argue it was the first modern artist book). The small volume contains 26 banal photographs of gas stations, images indelibly linked with his sensibility as an artist.It was via Ruscha's association with the Ferus Gallery that he came into contact with Hopper, the pair quickly forming a friendship that spanned many forms of creation and artistic exchange. Hopper would take Ruscha’s portrait in 1964 and Ruscha would hang a painting of the word “if” made by Hopper in his studio and make his first sale of art to him as well (a large painting of a Standard gas station and one of his most characteristic images). Ruscha served as a pallbearer at Hopper’s funeral in 2010.Writing on the Royal Academy of Arts blog in 2014, Ruscha said of Hopper: “I would rarely see Dennis without his favourite camera, a 35mm Nikon. He would point it in almost any direction and find a suitable Dennis Hopper subject. So his focus was on anything and everything of interest. Through his eyes I see a virtual dictionary of the city of Los Angeles. He approached his photographs as a sort of wandering of the soul, followed by the familiar ka-chunk of the Nikon.”5.5 x 7.5 inchesPROVENANCE Property from the Life and Career of Dennis Hopper
A limited edition Ed Ruscha Various Small Fires artist book (Anderson, Ritchie & Simon, 1964) inscribed to Dennis Hopper in pencil by Ruscha. The small volume contains Ruscha's photographs of small fires, with the inscription reading: "For / Brooke & Dennis / Ed Ruscha 1965."American Pop artist Ed Ruscha was initially fascinated by cartooning as a young boy in Nebraska. He went on to study visual art at the Couinard Art Institute (now CalArts) in Southern California with abstract expressionist Emerson Woelffer and others. He then worked doing layouts at an advertising agency in the early 1960s, during which time he became known around Los Angeles for his collages, paintings, and photography.Various Small Fires is one of 16 Ruscha artist books, the artist being a prominent early influence on the genre’s development and American artist book culture in general. Some might argue his Twentysix Gasoline Stations was the first modern artist book.It was via Ruscha's association with the Ferus Gallery that he came into contact with Hopper, the pair quickly forming a friendship that spanned many forms of creation and artistic exchange. Hopper would take Ruscha’s portrait in 1964 and Ruscha would hang a painting of the word “if” made by Hopper in his studio and make his first sale of art to him as well (a large painting of a Standard gas station and one of his most characteristic images). Ruscha served as a pallbearer at Hopper’s funeral in 2010.Writing on the Royal Academy of Arts blog in 2014, Ruscha said of Hopper: “I would rarely see Dennis without his favourite camera, a 35mm Nikon. He would point it in almost any direction and find a suitable Dennis Hopper subject. So his focus was on anything and everything of interest. Through his eyes I see a virtual dictionary of the city of Los Angeles. He approached his photographs as a sort of wandering of the soul, followed by the familiar ka-chunk of the Nikon.”5.5 x 7 inchesPROVENANCE Property from the Life and Career of Dennis Hopper
A limited edition Ed Ruscha Some Los Angeles Apartments artist book (Anderson, Ritchie & Simon, 1965) inscribed to Dennis Hopper in ink by Ruscha. The book contains the artist's photographs of apartments in Los Angeles, with the inscription reading: "For Dennis / & Brooke / Ed Ruscha / Dec. 1965." Hopper wrote on the back cover in pencil: "Man can be / destroyed / but never / defeated / Dennis / Hopper." Printed in a limited edition of 700.Some Los Angeles Apartments is one of 16 Ruscha artist books, the artist being a prominent early influence on the genre’s development and American artist book culture in general. Some might argue his Twentysix Gasoline Stations was the first modern artist book.It was via Ruscha's association with the Ferus Gallery that he came into contact with Hopper, the pair quickly forming a friendship that spanned many forms of creation and artistic exchange. Hopper would take Ruscha’s portrait in 1964 and Ruscha would hang a painting of the word “if” made by Hopper in his studio and make his first sale of art to him as well (a large painting of a Standard gas station and one of his most characteristic images). Ruscha served as a pallbearer at Hopper’s funeral in 2010.Writing on the Royal Academy of Arts blog in 2014, Ruscha said of Hopper: “I would rarely see Dennis without his favourite camera, a 35mm Nikon. He would point it in almost any direction and find a suitable Dennis Hopper subject. So his focus was on anything and everything of interest. Through his eyes I see a virtual dictionary of the city of Los Angeles. He approached his photographs as a sort of wandering of the soul, followed by the familiar ka-chunk of the Nikon.” 5.5 x 7.5 inchesPROVENANCE Property from the Life and Career of Dennis Hopper
A group of six collages: one of which created by Ortale Goodsky, the other five of which are believed to have been created by Hopper.Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages and collages of his own making in addition to his photographs and paintings.Writing for Vogue in 1965, Hopper's collaborator Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.”14.5 x 11.5 inches (largest)PROVENANCE Property from the Life and Career of Dennis Hopper
A signed letter from Museum of Modern Art (MOMA) Department of Painting and Sculpture curator Kynaston McShine to Dennis Hopper. The letter, dated July 15, 1969, is typewritten on MOMA letterhead and signed by McShine in green marker with an additional postscript, also in green marker. The text reads in part: "Dear Dennis: / Congratulations on Easy Rider. It was shown here at the Museum last Thursday and I think that you deserve full credit for a very strong and beautiful film -- Onward! It certainly is quite different from your earlier 'sculpture'."McShine goes on to suggest Hopper meet with fellow MOMA curator Jenny Licht when she is in Los Angeles and discuss the happening that Hopper did with David Hemmings. The handwritten postscript reminds Hopper of the occasion of his meeting McShine.11 x 8.5 inchesPROVENANCE Property from the Life and Career of Dennis Hopper
A pair of assemblages believed to have been created by Dennis Hopper, from a metal sign, one on a board.Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages of his own making in addition to his photographs and paintings. Writing for Vogue in 1965, Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s [contemporary art] collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.”PROVENANCE Property from the Life and Career of Dennis Hopper
A pair of painted metal lid collages, believed to have been created by Dennis Hopper.Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages of his own making in addition to his photographs and paintings. Writing for Vogue in 1965, Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s [contemporary art] collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.”19 inches (diameter, largest)PROVENANCE Property from the Life and Career of Dennis Hopper
A pair of movie posters belonging to Dennis Hopper: the Buck Jones cowboy film Silver Spurs (Universal Pictures, 1936) and the Cuban drama Lucia (ICAIC, 1968). The Silver Spurs poster has been stapled to a wooden board (with "do not drop / glass / works of art" stamped on the back) and the colorful Lucia poster is attached to cardboard. The pair of posters demonstrate the stylistic range of Hopper's influences.According to Jane Wilkie in a brief profile from a 1957 issue of Modern Screen magazine, cowboy actors were important to Hopper during his childhood. She writes: "Fifteen years ago this summer, the body of a famous movie cowboy [Buck Jones] was transported from California to the East, and as the train sped past the shimmering Kansas plains the actor received a final unknown tribute from a very small boy. Standing in his grandfather's wheat field, no taller than the young grain itself, the tow-headed youngster waved frantically as the train passed, and kept waving until long after the thin black line was out of sight."28 x 19 inches (largest)PROVENANCE Property from the Life and Career of Dennis Hopper
A group of six painted mixed media assemblages, believed to have been created by Dennis Hopper: one executed on glass, one on metal, one on a wooden board, and the others on paper, incorporating cloth, an IV needle, pen nib, tinsel, and other materials.Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages and collages of his own making in addition to his photographs and paintings.Writing for Vogue in 1965, Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.”15.25 x 10 x 2 inches (overall)PROVENANCE Property from the Life and Career of Dennis Hopper
A group of three mixed media assemblages (paper, buttons, ribbons, fuzz), two of which are double-sided, believed to have been created by Dennis Hopper.Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages of his own making in addition to his photographs and paintings. Writing for Vogue in 1965, Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s [contemporary art] collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.”17 x 12 inches (largest)PROVENANCE Property from the Life and Career of Dennis Hopper
An original two-sided assemblage art piece created by Dennis Hopper. One side features paint on cardboard and two paper plates and the other side features a painted wooden board.Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages of his own making in addition to his photographs and paintings. Writing for Vogue in 1965, Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s [contemporary art] collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.”26 x 21.25 inchesPROVENANCE Property from the Life and Career of Dennis Hopper
A group of six mixed media paper and cloth assemblages believed to have been created by Dennis Hopper, one of which is dated "1974" in blue ink.Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages and collages of his own making in addition to his photographs and paintings.Writing for Vogue in 1965, Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.”11 x 9 inches (largest)PROVENANCE Property from the Life and Career of Dennis Hopper
A group of eight mixed media collages, believed to have been executed on paper by Dennis Hopper. Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages and collages of his own making in addition to his photographs and paintings.Writing for Vogue in 1965, Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.” 14 x 8 inches (overall)PROVENANCE Property from the Life and Career of Dennis Hopper
Two painted board collages, believed to have been created by Dennis Hopper.Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages of his own making in addition to his photographs and paintings. Writing for Vogue in 1965, Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s [contemporary art] collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.”18 x 20 inches (largest)PROVENANCE Property from the Life and Career of Dennis Hopper
A leather assemblage with metal components believed to have been created by Dennis Hopper. The assemblage is a work in progress, with duct tape affixing the components to the leather.Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages and collages of his own making in addition to his photographs and paintings.Writing for Vogue in 1965, Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.” 14 x 10 inchesPROVENANCE Property from the Life and Career of Dennis Hopper
A group of five paper collages, believed to have been created by Dennis Hopper, some featuring handwriting on the verso.Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages and collages of his own making in addition to his photographs and paintings.Writing for Vogue in 1965, Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.”14 x 11 inches (largest)PROVENANCE Property from the Life and Career of Dennis Hopper
Late Period, 664-525 B.C. Restrung designer bracelet with a modern clasp; composed of polychrome beads of mainly disc and annular types and a larger banded feature glass bead. 4.48 grams, 19 cm long (7 1/2 in.). Acquired on the UK art market. Property of a Ruislip, UK, gentleman, by inheritance. [No Reserve]
Late Period, 664-525 B.C. Restrung designer bracelet and with a modern magnetic clasp; composed primarily of disc-shaped and tubular beads, together with feature beads, one possibly amuletic. 4.3 grams, 18 cm long (7 1/8 in.). Acquired on the UK art market. Property of a Ruislip, UK, gentleman, by inheritance. [No Reserve]
Late Period, 664-525 B.C. Composed of polychrome beads of mainly tubular and annular types; modern clasp. Cf. similar specimens in faience at the Worchester Art Museum, inventory no.1925.539. 31 grams, 72 cm long (28 3/8 in.). Acquired before 1979. From the private collection of Mr F. A., South Kensington, London, UK; thence by descent 2014. [No Reserve]
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