Ca. 618-907 AD.A hollow molded terracotta figure portrays a lady in a kneeling position. The figure's attire is meticulously rendered, with a striking contrast between the vibrant red skirt and the white bodice. The artist has paid careful attention to the facial features, using black pigment to delineate the lady's visage, while accentuating her lips with a vibrant shade of red. The hair is expertly styled into a double topknot, adding to her refined and sophisticated appearance. In the lady's hands rests a waist drum, an instrument that holds significant cultural and ceremonial value in the Tang Dynasty. Musician figures were prevalent during this period, reflecting the dynasty's appreciation for music and performance as integral parts of courtly life. These figures were often placed in the tombs of the affluent, serving as companions and entertainers for the deceased in the afterlife. Mingqi, or "spirit objects," held a crucial role in Tang Dynasty funerary practices. These replicas of everyday objects, including figures like this one, were crafted with great care and placed within tombs to accompany and serve the deceased in the afterlife. The Tang Dynasty believed in the continuity of life beyond death, and mingqi played a vital role in fulfilling the needs and desires of the departed. It was believed that these objects could provide comfort, protection, and entertainment in the spiritual realm. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with the full report will also accompany this lot. Cf. The Metropolitan Museum of Art, Accession Number: 23.180.4–.7. Size: L:250mm / W:135mm ; 1.38kg Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
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Ca. 202 BC - 220 AD.A bird figure expertly crafted from terracotta, with naturalistically shaped bronze legs that lend a sense of lifelikeness to the piece. The bird's polychrome plumage is vibrant and finely rendered, with a well-defined tail and a red-pigmented head featuring wide-open eyes and a cream-colored beak. This exquisite example of Mingqi, or burial art, was created to accompany the deceased into the afterlife, serving as a representation of the wealth and status they held in life. The intricate detailing and masterful execution of this piece speak to the skill and craftsmanship of the artisans of the Han Dynasty. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:120mm / W:185mm ; 345g Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Ca. 1000 AD.A cast-bronze reliquary cross pendant composed of two cruciform plaques that fit together, a hinged mechanism to the top and bottom, and a loop for suspension. One face displays the crucified Christ in relief. The other - Virgin Mary in Oranta pose. She is flanked by four bust of Saints to each arm. The Oranta is an iconography of the Virgin Mary standing in adoration with her arms outstretched. This type of cross can be opened to hold a small relic or a prayer document. Relics, as the physical remains of saints or objects associated with Christ, held tremendous power in medieval Christianity. This item is in wearable condition and it comes with a modern necklace cord. Size: L:47.9mm / W:22.9mm ; 16.07g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Bill Brandt Portraits - The Ffoto Gallery 1980's poster, depicting Peter Sellers; plus a ' Rapina A Mano Armata ' (The Killing) movie poster, printed by I.G.E Roma, approx 99cm x 68.5cm (both framed). Together with Five art exhibition posters to include R B Kitaj The Orientalist - The Tate Gallery London (99.5cm x 29cm); Sandro Botticelli - La Primavera o "Il Regno di Venere" (part.) - Firenze, Galleria degli Uffizi (printed in Italy by Enit - 1963); Arte Etrusca - Testa dell'Hermes da Veio (510 a. c.) - Roma, Museo Villa Giulia (printed in Italy by Enit - 1963); Bonnard Dans Sa Lumiere - 1975 - Saint-Paul ('Maeght Editeur - Arte Paris' to lower right); and The Self Portrait - A Modern View - Touring Exhibition. All framed (7)
1970 Jaguar E-Type Series II Roadster Transmission: manualMileage:89260There is little doubt that the advent of Jaguar's E-Type revolutionised the motoring world and sent the press into raptures, the penmanship that created such exquisite lines was truly gifted. The Museum of Modern Art recognised the significance of the Jaguar E-Type's design in 1996 by adding a blue roadster to its permanent design collection, one of only two cars to receive the distinction. This three-dimensional beauty, however, was complemented by a fabulous double-overhead cam, six-cylinder engine that powered this lithe, taut creature comfortably over the 100mph mark. Jaguar, rightly, were not content to sit upon their laurels however and continue to develop the E-Type with the first substantial improvements arriving in 1964 with a newly enlarged 4.2-litre powerplant increasing torque and improving driveability. In 1968 open headlights without glass covers, a wrap-around rear bumper, re-positioned and larger front indicators and taillights below the bumpers, better cooling aided by an enlarged 'mouth' and twin electric fans together with uprated brakes are all hallmarks of Series II cars. The engine is easily identified visually by the change from smooth polished cam covers to a more industrial 'ribbed' appearance. The interior and dashboard were also redesigned with rocker switches being substituted for toggle switches. The dashboard switches also lost their symmetrical layout.This very good Series II Jaguar E-Type roadster has been in long term ownership with the last owner buying the car in January 1988. According to the letter attached to the sales agreement the previous owner purchased the Jaguar in 1976 with a recorded mileage of 38,000 miles and it was fitted with a new bonnet and repainted. The letter also states that in 1980 the rear suspension, brakes and differential were overhauled, in 1984 the cylinder head and gearbox were rebuilt and in the summer of 1987 the car was completely repainted, and a new rear bumper fitted. Supplied with the car is a file of invoices and which shows that it was re-trimmed in 2007 and major engine work was carried out by marque specialists Thomas Barclay Ltd in 2013. Shortly after it was MoT'd in August 2014 the car was placed into dry storage where it has remained until very recently. At the time of being catalogued the Jaguar has been checked through and the engine started. This very good 1970 Jaguar E-Type roadster is finished in Old English White with dark blue leather and matching dark blue cloth hood. The car is supplied with a V5C registration document and a file containing past invoices, old registration documents and some old MoT test certificates. This Jaguar is being sold with the cherished number plate 275 CAT with a value of £4,000.
1997 Chevrolet Corvette C5 Targa Transmission: automaticMileage:66500The C5 Corvette - only the fifth incarnation of America's most popular sports car since its introduction in 1953 - was launched to rave reviews in 1997 and featured an all-new body that was both modern and much stronger than before. With a rear-mounted transaxle for the first time, the Corvette had near perfect 50:50 weight distribution and more interior space as well. The new alloy block LS1 V8, an engine Australian's have grown to love over the years, used state-of-the-art technology with a cast-alloy head and developed a massive 345bhp at 5600rpm along with 350lb/ft of torque. There was a choice of two transmissions, including GM's own electronically controlled four-speed manual or the Borg-Warner six-speed manual with a Getrag limited-slip diff. An Electronic Throttle Control system enabled a limitless range of throttle progression. The shapely and more aero coupé body featured a removable hardtop while the new twin-pod instrument panel recalled the Stingrays of the Sixties in design. Despite being larger than the previous C4 Vette, Chevrolet's engineers actually managed to shed weight through the clever use of lightweight materials and more compact LS1 engine, performance improved markedly as a result. The quarter-mile was dispatched in 13.28 seconds and 0-100km/h took just five seconds, making this one of the fastest cars on the road in 1997. The C5 Corvette was, arguably for the first time ever, a world class sports car genuinely capable of matching the best European cars on every level. Factory-backed C5-R racers took on the Porsches in major endurance races from 1999, scoring some significant wins. Today, the C5 offers unrivalled value for money in terms of looks, performance and reliability.This superb example is presented in silver with a black leather interior. It comes with electric windows, electric seats, suede headlining, cruise control and a factory fitted Bose entertainment system with CD player. The present owner imported this Corvette in March 2022 and then set about converting the headlights to comply with UK regulation, powder coated the wheels and fitted an aftermarket Bassani exhaust system and a KNN induction air filter. Its four-speed automatic gearbox is mated to a LS1 5.7 litre Chevrolet V8 providing excellent performance. The car comes with various handbooks and Corvette wallet, Carfax information sheet which verifies its mileage, two sets of keys and a new MoT test certificate. This is a great American muscle car presented in good condition at a reasonable price.
Kumagai Morikazu (1880-1977), Ink on Paper Image Size: 13 1/8 by 9 5/8 inches (33.5 by 24.6 cm) All measurements are approximate. Signed (lower left), with Certificate Kumagai Morikazu, a modern Japanese painter, is considered an iconic figure of the Les Fauves school of Japanese art history, and in his later years, he approached abstract painting. Born in 1880 in a village in Gifu Prefecture, Kumagai Morikazu's father was a landowner who started out as a mechanic weaver and was well known in the area. 17 years old, Kumagai Morikazu went to Tokyo, initially following his father's wishes and attending a private school, but his desire to pursue painting grew stronger and stronger, and in 1900 he enrolled in the Tokyo Art School (formerly Tokyo University of the Arts). 1909, self-portrait by Kumagai Morikazu Candle" won a commendation at the Third Japanese "Bunka Exhibition", but Kumagai returned to his hometown the following year to take up a job until he returned to Tokyo in 1915. Please read our policy carefully:1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.
Yue Minjun (B.1962), Lithograph Image Size: 14 7/8 by 11 inches (38 by 28 cm) All measurements are approximate. Signed (lower right), with Certificate Yue Minjun (B. 1962) is a contemporary Chinese artist known for his inventive take on self-portraiture. Grouped into the Cynical Realism movement in China, alongside artists Fang Lijun and Liu Wei, he refutes this labelling of his work. His brightly colored depictions of maniacally laughing figures are influenced both by Pop Art and Surrealism. His works act as a tacit form of social and political critique which deals with both Chinese history and the Western canon of art. "I'm actually trying to make sense of the world," he said of his work. "There's nothing cynical or absurd in what I do." Born in 1962 in Daqing City, China, Minjun studied at Hebei Normal University in the 1980s, training as a painter, sculptor, and printmaker. Bearing witness to the restrictive regime which led to the Tiananmen Square massacre of protestors, he began using his art to understand the societal changes taking place in China over the following decades. In 2008, the artist collaborated with KAWS to produce a number of figurines which blend their two distinctive styles. He currently lives and works in Beijing, China. The artist's works are held in the collections of the Denver Art Museum, the Shenzhen Art Museum, and the San Francisco Museum of Modern Art. Please read our policy carefully:1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.
Gerhard Richter (B.1932), Oil Painting Image Size: 47 1/8 by 39 1/4 inches (120 by 100 cm) All measurements are approximate. Signed (reverse) Gerhard Richter (b. 1932) is a German painter known for his diverse range of styles and techniques, ranging from photorealism to abstract expressionism. He was born in Dresden and studied at the Dresden Academy of Fine Arts before moving to Dusseldorf. Richter's art is characterized by his use of blurred images, muted color palettes, and layering of paint. He has been associated with the Fluxus and Capitalist Realism movements, and his works have been exhibited in galleries and museums around the world, including the Tate Modern in London and the Museum of Modern Art in New York. Richter is considered one of the most important contemporary artists working today. Please read our policy carefully:1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.
Leonard Tsuguharu Foujita (1886-1968), Lithograph Image Size: 14 7/8 by 11 inches (38 by 28 cm) All measurements are approximate. Signed, with Certificate Leonard Tsuguharu Foujita (Japanese, 1886-1968) was born in Tokyo. He graduated from the National University of Fine Arts and Music in Tokyo in 1910, and in 1913 he divorced and moved to Paris. He made his debut in a solo show in 1917, the same year that he married the model Fernande Barrey, with whom he was married for a short period. He participated in the Autumn Salon of 1922, where he had great success.In 1924 he was appointed a member of the Tokyo Academy of Arts, although he will not return to his country until five years later, with a highly successful exhibition. In 1932 he visited Cuba, 2 invited by Alejo Carpentier, a country where he made 33 drawings and paintings that he exhibited at the Lyceum in Havana. After his visit, he moved to Japan, where he painted various murals on commission.He returned to Paris in 1939-40, but he lived most of the Second World War in his country. He painted various works on the conflict, such as The Last Day of Singapore (1942, Tokyo Museum of Modern Art).After a period in the United States, in 1950 he settled again in Paris and acquired French nationality. In 1959 he converted to Catholicism and was baptized with the name of Leonard.In his later years he decorated the Notre-Dame-de-la-Paix de Reims chapel, or Foujita chapel (begun in 1965, completed in 1966).Along with his pictorial activity, he developed quite extensive work as an illustrator; thus, in 1928 an edition of Les aventures du roi Pausole, by Pierre Louys, with woodcuts by this artist was published. Please read our policy carefully:1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.
Künstlerteppich nach Pablo Picasso (1881-1973). "Musicos con Marcaras", Künstlerteppich, 1994, 170x200 cm, 296/500. Nach dem gleichnamigen Gemälde aus dem Jahr 1921, das als klassisches Beispiel des synthetischen Kubismus gilt und sich im Museum of Modern Art in New York befindet. Hergestellt aus reiner Schafschurwolle in den Niederlanden unter der Lizenz von Delfotex/Tapiland-Spanien copyright SPADEM, Paris 1994.| Artist's carpet after Pablo Picasso (1881-1973). "Musicos con Marcaras", artist's carpet, 1994, 170x200 cm, 296/500. After the painting of the same name from the year 1921, considered a classic example of synthetic cubism and housed in the Museum of Modern Art in New York. Made from pure virgin sheep's wool in the Netherlands under license from Delfotex/Tapiland-Spain copyright SPADEM, Paris 1994.
* Cosway (Richard, 1742-1821). Portrait of William Legge, 2nd Earl of Dartmouth (1731-1801), circa 1790-1800, pencil on pale cream paper, with watercolour to the face and left hand, fine brown ink framing line to outer edge, some marks and light toning, small stain to upper left, 258 x 166 mm (10 1/4 x 6 1/2 ins), laid down on modern backing paper, with modern window-mount, along with the original backing card (now separated from the work), bearing a contemporary inscription in brown ink to verso: 'Drawn by Rd. Cosway Esqr. R.A. / Mrs. Legg', a further inscription above erased, backing card 333 x 254 mm (13 1/8 x 10 ins)QTY: (1)NOTE:Provenance: William Drummond (1934-2018), art dealer specialising in British drawings and watercolours, who ran the Covent Garden Gallery in the 1970's-80's.
AR * Aitchison (Craigie, 1926-2009). Still Life with Jug and Check Sweater, 1952, oil on canvas board, with printed manufacturer's label to verso '"Modern" Canvas Boards prepared in Scotland', 30.5 x 25.5 cms (12 x 10 ins), black painted frameQTY: (1)NOTE:Provenance: Gifted by the artist to his sister-in-law, Sally Aitchison, thence by family descent. Literature:Andrew Gibbon Williams, Craigie – The Art of Craigie Aitchison (Canongate Books 1996), pages 27 and 169, plate 3, illustrated in colour page 24.Cate Haste, Craigie Aitchison – A Life in Colour (Lund Humphries 2014) plate 21, illustrated in colour page 29. Craigie enrolled as a student at the Slade in October 1952, although he had already been receiving painting lessons from Adrian Daintrey and Gerald Frankl, and had completed a number of still lifes, including the present work, earlier the same year at his Edinburgh studio in Church Lane. For some years it was known as ‘Still Life with Jug and Check Cloth’, but the checked area in the painting is in fact a hand knitted jumper made for Craigie by his mother, here depicted casually draped on the table.
An Art Nouveau plated copper oval wall mirror. With a planished finish and set with four Ruskin style turquoise pottery roundels, height 91cm, width 67cm.General wear and discolouration, the metal mounts are quite thin, and there are visible gaps between the front and the edge banding.The pottery mounts are slightly crazed. It is rebacked with modern card.
John Scott Bradstreet (American, 1845-1914). Entire room of Asian inspired "jin-di-sugi" carved cypress wood paneling including a fireplace and the ceiling. The fireplace with a carved panel of a sun among waves and two monopodial faux-legs with dragon heads and ball and claw feet. The wainscoting with carved panels, each depicting unique flora and fauna including: a crab, a dragon, lotus pods and flowers, water lilies, a bat, a kingfisher, chrysanthemums, and a turtle. There are a total of eight panels along the walls; two along each wall. The wainscoting is divided into three registers: a low horizontal lower register; a tall rectangular divided middle register; and a square upper register with alternating plain and carved panels. The ceiling with three beams and 12 panels; six panels slightly shorter than the length of the room due to the presence of the fireplace.Please note that this lot must be removed from its location by the end of August, 2023.Born in Massachusetts in 1845, John S. Bradstreet moved to Minnesota in 1873 and began working for the furniture firm Barnard, Clark, and Cope. With a heavy emphasis on late Victorian styles, Bradstreet felt that the items they were selling were too old-fashioned. Throughout the late 1870s and into the turn of the century, he worked with various partners to create furniture more in line with the growing popularity of the Gothic Revival and English Arts & Crafts movements. By 1901 he had founded his own business which focused primarily on his growing love of Asian inspired furniture and architecture - in particular, Japan. After opening the Minneapolis Crafthouse he was able to finally display and design his own works including his favorite line called "jin-di-sugi." This was a combination of Japanese carving techniques and American Arts & Crafts style, shown in the room offered in this lot.With his involvement in the growing aesthetic style of Minneapolis and as a heavy promoter of the arts in the city, he would go on to become one of the founders of the Minneapolis Fine Arts Society in 1883. This society would eventually evolve into the Minneapolis Institute of Art. He died only five months short of the institute's opening, and a room was opened in his honor, the John Scott Bradstreet Memorial Room, on January 7th, 1915.(Entire Room) 12 ft 2 in x 13 ft 2 in. (Mantle) height: 54 1/4 in x width: 76 in x depth: 25 in. Carved panel on mantle; height: 10 in x width: 13 1/4 in. (Wainscoting, 8 total panels) height ranges from 24 in to 54 1/2 in. [height ranges include below the window and include variance from panel to panel due to the room settling]. Total length of all wainscoting excluding the fireplace: 25 ft 10 in. (Carved panels excluding fireplace panel) height ranges from 10 in to 10 1/4 in; width ranges from 10 in to 11 in. (Chair rail) depth: 1 1/4 in.Condition: The wood in the room is in overall fairly good condition. There is light wear throughout as expected with a room of this age. Dust collected in the recessed areas of the works. There are small finishing nails throughout the wainscoting to affix the paneling to the wall of the room. There are four spaces for outlets, two spaces for light switches, and four areas where lights have been affixed to the panels. Several small areas where cord clips have been nailed/drilled into the paneling. There is one panel with an approx. 2 inch chip to the wood along the lower edge. The following carved panels have splits to the wood: the crab, the water lilies, the bat, and the chrysanthemums. The carved panel depicting a sun and waves along the mantle also has several splits along the center. There is wear to the top of the mantle. Numerous wax accretions, likely from candles, light scratches, a few small divots, dust, and an approx. 1 inch chip. Wear to the edges of the mantle throughout. There appears to be an extension added to the back of the mantle where it has been extended outwards to accommodate for modern use. This addition along the back measures approx. 8.75" x 63.25". There are six vents on the fireplace; two on either side and two along the top in the addition area.
Oil on canvas painting depicting abstract figures in bold colors. With a label from the Museum of Modern Art (MoMA) affixed to the verso reading "Museum of Modern Art LOAN /54.1274 / C. Valentin G.†Illegibly signed or unsigned.Provenance: The collection of Bruce Dayton and Ruth Stricker Dayton - Selections from The Marsh, Minnetonka, Minnesota.Unframed; height: 36 in x width: 28 in. Framed; height: 37 in x width: 29 1/4 in.Condition: No visible tears or signs of restoration under UV light. No major creases or losses that would alter the overall appearance of the painting. The color is bold and bright. There are a few scattered areas of minute paint losses along the extreme edges of the painting, against the frame. To the center of the upper margin, there is a stretcher bar marks visible. Throughout the recto, there are several scattered minute paint accretions that are fluorescent under UV light. Toward the lower half of the painting, there are several line surface scratches; however, it is difficult to discern whether they are damaged or original to the artist's intention, considering that the line scratches are visible throughout the lower half of the artwork. To the lower right quadrant, there is a line paint loss that is visible in lot listing, measuring approximately 1 1/2 in. To the upper left and quadrant, there are areas that have light creases to paint layers; please see the listing image. Along the verso, the canvas appears lightly toned and has soiling. There is a horizontal line mark along the lower margin of the verso. Very light wear to the frame.
Marc Chagall (Russian/French, 1887-1985). Printed by Mourlot, Paris. Published by Society of Friends of the National Marc Chagall Biblical Message Museum, Nice, with the angel blind stamp along the top center margin. Signed and dated 1977 lithograph poster depicting a portion of his work "The Song of Songs III" printed to publicize the National Biblical Message Museum in Japan. With text in French and Japanese.Lot Essay:Marc Chagall (born Moishe Shagal}) was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's pre-eminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opera.Before World War I, he travelled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern Europe and Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1923.He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk." "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is."Sight; height: 29 in x width: 19 in. Framed; height: 36 in x width: 25 1/4 in.Condition: No visible tears, creases, or losses. Light undulation throughout. The sheet is slightly toned. There is minute discoloration and foxing along the lower left quadrant and upper left margin. No signs of restoration under UV light. Framed under glass. Not examined out of frame. Light wear to frame.
Rorstrand, Stockholm, Sweden. Group of three pieces of Swedish mid-century modern art pottery all designed by Carl Harry Stalhane (Swedish, 1920-1990) and marked with his initials and the Rorstrand company mark along the underside, including one small vase in dark blue glaze, marked "SAF" along the underside; one larger vase in hare's fur glaze, marked "CEB" along the underside, formerly part of the collection of Marion Nelson, an art professor at the University of Minnesota; and one bowl in a mottled dark blue-green matte glaze, marked "CER" along the underside.Dish; height: 1 1/2 in x diameter: 8 1/2 in. Small vase; height: 4 3/4 in x diameter: 3 1/2 in. Large vase; height: 6 1/2 in x diameter: 6 in.Condition: No visible cracks, chips, or losses. No visible signs of restoration under UV light. No visible chips to the rim or footrim. Very light wear throughout, consistent with age and use. Throughout all three items, there are a few minute scattered areas with adhesive residue that are fluorescent under UV light, which can be easily cleaned. Light wear along the underside, consistent with use and age. Along the upper-side of the plate, there are networks of surface bubbles; however, it appears to be an original glazing flaw. Along the rim of the plate, there is very light crazing, only visible under UV light.
A SET OF FOUR ART DECO STYLE AMBER-FLASHED AND CLEAR GLASS LARGE SCENT BOTTLES AND STOPPERS MODERN23.5cm highTogether with another set of four modern cut -glass scent bottles and stoppers, 25cm highProvenance: The Fulwood CollectionCondition Report: One clear glass scent bottle with collar has come apart from the base and there is also a stress crack to the associated glass area Condition Report Disclaimer
A MODERN METAL AND CRYSTAL HUNG CHANDELIER ATTRIBUTED TO MAISON BAGUES47cm highCondition Report: The glass drops all appear intact, these have moved on their wires and may need re-arranging on installationthis is sold as a decorative work of art only and will need re-wiring on installation by a professional electrician prior to use in a domestic settingSome discolouration to the metalPlease see additional images for visual reference to conditionCondition Report Disclaimer
Mason (William). Arts Advancement or the most Exact, Lineal, Swift, Short, and Easy method of Short-hand-Writing hitherto Extant, is now after a view of all others, and twenty eight years practice) raised to a higher degree of perfection than any as yet published, 3rd edition, corrected and enlarged, [London]: Printed for the Author, 1687, 24 leaves, engraved portrait frontispiece, engraved title within architectural border, engraved text to one side of leaf printed within decorative border, leaf 3 with early ink doodle and leaf 21 with early manuscript, occasional fraying to margins, some light dust-soiling, front free endpaper with early manuscript calculation in brown ink and note 'S. Lowdell from Mrs Phillips', contemporary sheep, joints slightly cracked at head and foot, lightly scuffed, slim 12mo (14.4 x 6.9 cm)QTY: (1)NOTE:ESTC R23530; Wing M942. Wing gives format 16mo.Scarce, only two UK institutional copies found (Edinburgh Central Library and Senate House Library, University of London), and four copies in US institutional libraries found (Henry E. Huntington Library and Art Gallery, New York Public Library, Newberry Library, Yale University and Beinecke Rare Book and Manuscript Library).William Mason (fl. 1672-1709; d. 1719?) issued three influential treatises on shorthand: the present work, first published in 1682, and the more romantically titled "A Pen Pluck'd from an Eagles Wing" (1672) and "La Plume Volante" ("The Flying Pen") of 1707. Developed over half a century, Mason's system used 423 characters, and words were written as they sound, a fact that makes it of interest to modern linguists for the light it can shed on 17th-century English pronunciation. Mason's system was adapted by Thomas Gurney for use as the official shorthand of the criminal courts at the Old Bailey, his influence on stenography stretched into the 19th century. Mason's one-shilling publications both supplemented his income and promoted his services as an instructor of stenography; the title page here advertises lessons available at his "Writing School, the Hand and Pen in Grace-Church Street."
* Bookplates. An album of 170 bookplates collected by Paul Raymond Latcham FSA (1936-2018), approximately two-thirds dating from the 18th century, including William Wilberforce (two varieties), the Huggins and Musgrave bookplates that marked the later ownership of Isaac Newton's library, Patrick Hume Earl of Marchmont 1702, Sir Robert Throckmorton, Thomas Boycott 1761, the Duke of Sussex, Edward Duke of Norfolk, Gravelot & John Pine's library interior for J. Burton DD and its mirror image for Wadham Wyndham, and bibliophile Frances Mary Richardson Currer, Treadway Nash DD, John Wallis, John Towneley, John Peachey, Bryan Faussett; also modern plates for Ernest Ridley Debenham (family of the department store chain), The British Council (by Reynolds Stone), Leeds Art Gallery (by Kenneth Lindley), hinged as multiples on rectos and versos of 20 card leaves with tissue-guards, ex libris bookplate of Paul Latcham with view of his Eardisley house (by Stanley Reece) to front pastedown, contemporary cloth with parchment spine, a little rubbed, 4to (22 x 24 cm)QTY: (1)NOTE:Paul Latcham was a Hereford bookseller, author of Bookplates in the Trophy Style (Bookplate Society, 2006), and editor of The Bookplate Journal.
Art. A large collection of art reference, including The Art and Spirit of Paris, 2 volumes, by Erlande-Brandenburg, Abbeville Press, 2003, original boards in slipcaseMarkus Oehlen: 1981-2008, edited by Falckenbry & Prinzhorn, Königm, original white cloth boardsLa Cappella Brancacci, by Baldini & Casazza, Electa, 1990, inscription to the front endpaper, original boards in slipcase, together with other modern art & artists reference, many original cloth/boards, some in dust jackets, G/VG, 8vo/4toApproximately 160 volumesQTY: (6 shelves & a carton)
Studio of Miguel Canals, Spanish 1925-1995- On the banks of the Grand Canal, after Wilhelm von Gegerfelt; oil on canvas, bears signature 'W. Gegerfelt.' (lower right), with the artist’s studio stamp ‘STUDIO M. CANALS’ on the stretcher, 40.2 x 60 cm. Provenance: Anon. sale, Bonhams, Chelsea, 7 December 1999; where purchased by the present owner. Note: Born in Gothenburg in Sweden, Gegerfelt (1844-1920) studied at the Royal Danish Academy, at the Royal Swedish Academy from 1864 to 1867, and thereafter in Düsseldorf until 1872. He then went to Paris where he developed a new technique joining Alfred Wahlberg (1834-1906) as one of the first Swedes to represent the Modern Breakthrough in Nordic art. He travelled to the north coast of France, to Italy and to England, painting landscapes of Venice's lagoons and the English chalk cliffs, in addition to scenes of summer evenings in Sweden.
William Bell Scott, Scottish 1811-1890- Three figures in the doorway of a church; pencil and watercolour heightened with white on card laid down on board, signed with initials 'W.B.S.' (lower left), with the remnants of a watercolour on the backing board, 15.1 x 10.7 cm. (unframed). Provenance: Private Collection, UK. Note: Working against the backdrop of the Pre-Raphaelite movement, Scott was closely associated with various prominent artists of the Victorian period, including Dante Gabriel Rossetti (1828-1882) and Arthur Hughes (1832-1915). He worked as the Principal of the Newcastle School of Art between 1843 and 1864, and, in this capacity, was one of the first artists to record the development of the Industrial Revolution, which, over the course of the 19th-century transformed the city of Newcastle. His oeuvre was varied and he executed a large body of works exploring historical and religious themes, as well as the industrial revolution and modern society. He also produced a number of more romanticised landscapes and historical scenes. The present work depicts a group of three figures huddling at the foot of the doorway of a large church or cathedral, dwarfed by its scale. A pile of baskets lies in front of them, seemingly having come from the open door of what appears to be a somewhat incongruous shed, contrasting with the grandeur of the building behind.
Yoshitomo Nara (Japanese, b. 1959). Offset lithograph on paper titled "Real One" depicting a young girl with a teddy bear holding a pair of scissors aloft, 2020. With a copyright from Dallas Contemporary along the lower right. Nara's works have often been compared to manga he would have seen growing up as well as the punk rock music of his youth. His works have been housed at the Museum of Modern Art (MoMA) and the Los Angeles County Museum of Art (LACMA).Height: 15 in x width: 17 in.Condition: The item is in excellent condition with no visible tears, creases, or losses. The color is bold and bright. No visible restoration under UV light. Along the verso, there is minute black accretions to the center; however, it does not affect the recto. There is a slight undulation to the sheet from being rolled.
SILVER PENDANTS ETC. A silver & peridot flower head pendant & chain & a modern Art Deco style silver & marcasite pendant on silver snake chain. Also, a Scandinavian style silver coloured metal necklace, a silver bracelet with T-bar fastening, silver earrings etc. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase
Wu Guanzhong (1919-2010), Ink with Watercolor on Paper Signed (lower left) Dimensions: 29 7/8 x 20 3/4 inches (76cm x 53cm) Wu Guanzhong (1919-2010) was a master painter of the twentieth century in the Chinese and international art circles. Born in Yixing, Jiangsu province, he was admitted to the National Arts Academy of Hangzhou as a young man where he learnt from Lin Fengmian and Pan Tianshou. In 1947, he was the recipient of a national scholarship that put him on the road of further studies in France. His travel companion to France was the sculptor Xiong Bingming. In 1950, Wu Guanzhong decided to return to China through Hong Kong. Since then, he taught at the Central Academy of Fine Arts, Tsinghua University, Beijing Academy of Fine Arts and Central Academy of Fine Arts and Crafts respectively. During the Cultural Revolution, Wu was sent to the farmland of Hebei province for hard labour, yet he persisted in painting throughout the days of hardship. He first started painting with oil and then moved on to ink, searching for a way to fuse Eastern and Western art. His works bring together the aesthetics of traditional Chinese ink and modern Western art, pioneering the unique "Wu studio style" and endowing us with a wealth of great classics. WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE.
Wu Guanzhong (1919-2010), Watercolor on Paper Signed (lower right) Dimensions: 28 7/8 x 20 3/8 inches (73.5cm x 52cm) Wu Guanzhong (1919-2010) was a master painter of the twentieth century in the Chinese and international art circles. Born in Yixing, Jiangsu province, he was admitted to the National Arts Academy of Hangzhou as a young man where he learnt from Lin Fengmian and Pan Tianshou. In 1947, he was the recipient of a national scholarship that put him on the road of further studies in France. His travel companion to France was the sculptor Xiong Bingming. In 1950, Wu Guanzhong decided to return to China through Hong Kong. Since then, he taught at the Central Academy of Fine Arts, Tsinghua University, Beijing Academy of Fine Arts and Central Academy of Fine Arts and Crafts respectively. During the Cultural Revolution, Wu was sent to the farmland of Hebei province for hard labour, yet he persisted in painting throughout the days of hardship. He first started painting with oil and then moved on to ink, searching for a way to fuse Eastern and Western art. His works bring together the aesthetics of traditional Chinese ink and modern Western art, pioneering the unique "Wu studio style" and endowing us with a wealth of great classics. WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE.
Wu Guanzhong (1919-2010), Watercolor on Paper Signed (lower left) Dimensions: 28 7/8 x 20 3/8 inches (73.5cm x 52cm) Wu Guanzhong (1919-2010) was a master painter of the twentieth century in the Chinese and international art circles. Born in Yixing, Jiangsu province, he was admitted to the National Arts Academy of Hangzhou as a young man where he learnt from Lin Fengmian and Pan Tianshou. In 1947, he was the recipient of a national scholarship that put him on the road of further studies in France. His travel companion to France was the sculptor Xiong Bingming. In 1950, Wu Guanzhong decided to return to China through Hong Kong. Since then, he taught at the Central Academy of Fine Arts, Tsinghua University, Beijing Academy of Fine Arts and Central Academy of Fine Arts and Crafts respectively. During the Cultural Revolution, Wu was sent to the farmland of Hebei province for hard labour, yet he persisted in painting throughout the days of hardship. He first started painting with oil and then moved on to ink, searching for a way to fuse Eastern and Western art. His works bring together the aesthetics of traditional Chinese ink and modern Western art, pioneering the unique "Wu studio style" and endowing us with a wealth of great classics. WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE.
Wu Guanzhong (1919-2010), Watercolor on Paper Signed (lower right) Dimensions: 28 7/8 x 20 3/8 inches (73.5cm x 52cm) Wu Guanzhong (1919-2010) was a master painter of the twentieth century in the Chinese and international art circles. Born in Yixing, Jiangsu province, he was admitted to the National Arts Academy of Hangzhou as a young man where he learnt from Lin Fengmian and Pan Tianshou. In 1947, he was the recipient of a national scholarship that put him on the road of further studies in France. His travel companion to France was the sculptor Xiong Bingming. In 1950, Wu Guanzhong decided to return to China through Hong Kong. Since then, he taught at the Central Academy of Fine Arts, Tsinghua University, Beijing Academy of Fine Arts and Central Academy of Fine Arts and Crafts respectively. During the Cultural Revolution, Wu was sent to the farmland of Hebei province for hard labour, yet he persisted in painting throughout the days of hardship. He first started painting with oil and then moved on to ink, searching for a way to fuse Eastern and Western art. His works bring together the aesthetics of traditional Chinese ink and modern Western art, pioneering the unique "Wu studio style" and endowing us with a wealth of great classics. WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE.
James Francis Gill, Mini Audrey 2, signierte Farbserigraphie von 2019, galeriegerahmt, mit ZertifikatJames Francis Gill, *1934 Tahoka, Texas, USA, Porträt Audrey Hepburn, "Mini Audrey 2", Farbserigraphie auf handgeschöpftem Papier, 41 x 41 cm, Darstellung 30 x 30 cm, signiert, datiert (20)19, nummeriert 27/350, unter P.p. und Glas galeriegerahmt, mit Zertifikat.Zum Künstler: gilt als bedeutender Mitbegründer der Pop-Art und ist einer der letzten noch lebenden Künstler dieser Bewegung. 1961/62 Studium der Malerei an der Universität von Texas in Austin. Als jungen Künstler zog es ihn nach Los Angeles, wo er auf Felix Landau traf. Landau war einer der angesehensten Kunsthändler seiner Zeit. 1962 erste Einzelausstellung für Gill in New York. Daraus resultierte der Ankauf zweier Werke durch das Museum of Modern Art (MoMA). 1967 Teilnahme an der Sao Paulo Biennale u.a. mit Andy Warhol, Roy Lichtenstein und Robert Indiana.
James Francis Gill, Mini Marilyn 2, signierte Farbserigraphie von 2016, galeriegerahmt, mit ZertifikatJames Francis Gill, *1934 Tahoka, Texas, USA, Porträt Marilyn Monroe, "Mini Marilyn 2", Farbserigraphie auf handgeschöpftem Papier, 42 x 42 cm, Darstellung 30 x 30 cm, signiert, datiert (20)16, nummeriert 264/350, unter P.p. und Glas galeriegerahmt, mit ZertifikatZum Künstler: gilt als bedeutender Mitbegründer der Pop-Art und ist einer der letzten noch lebenden Künstler dieser Bewegung. 1961/62 Studium der Malerei an der Universität von Texas in Austin. Als jungen Künstler zog es ihn nach Los Angeles, wo er auf Felix Landau traf. Landau war einer der angesehensten Kunsthändler seiner Zeit. 1962 erste Einzelausstellung für Gill in New York. Daraus resultierte der Ankauf zweier Werke durch das Museum of Modern Art (MoMA). 1967 Teilnahme an der Sao Paulo Biennale u.a. mit Andy Warhol, Roy Lichtenstein und Robert Indiana.
James Francis Gill, Mini Hippie Bus, signierte Farbserigraphie von 2020, galeriegerahmt, mit ZertifikatJames Francis Gill, *1934 Tahoka, Texas, USA, VW Bus, "Mini Hippie Bus", Farbserigraphie auf handgeschöpftem Papier, 41 x 41 cm, Darstellung 30 x 30 cm, signiert, datiert (20)20, nummeriert 46/350, unter P.p. und Glas galeriegerahmt, mit Zertifikat.Zum Künstler: gilt als bedeutender Mitbegründer der Pop-Art und ist einer der letzten noch lebenden Künstler dieser Bewegung. 1961/62 Studium der Malerei an der Universität von Texas in Austin. Als jungen Künstler zog es ihn nach Los Angeles, wo er auf Felix Landau traf. Landau war einer der angesehensten Kunsthändler seiner Zeit. 1962 erste Einzelausstellung für Gill in New York. Daraus resultierte der Ankauf zweier Werke durch das Museum of Modern Art (MoMA). 1967 Teilnahme an der Sao Paulo Biennale u.a. mit Andy Warhol, Roy Lichtenstein und Robert Indiana.
James Francis Gill, Candy Girl, signierte Farbserigraphie von 2017, galeriegerahmt, mit ZertifikatJames Francis Gill, *1934 Tahoka, Texas, USA, "Candy Girl", Vogue, Farbserigraphie auf handgeschöpftem Papier, 90 x 65 cm, Darstellung 69 x 49 cm, signiert, datiert (20)17, nummeriert 14/80, unter P.p. und Glas galeriegerahmt, mit ZertifikatZum Künstler: gilt als bedeutender Mitbegründer der Pop-Art und ist einer der letzten noch lebenden Künstler dieser Bewegung. 1961/62 Studium der Malerei an der Universität von Texas in Austin. Als jungen Künstler zog es ihn nach Los Angeles, wo er auf Felix Landau traf. Landau war einer der angesehensten Kunsthändler seiner Zeit. 1962 erste Einzelausstellung für Gill in New York. Daraus resultierte der Ankauf zweier Werke durch das Museum of Modern Art (MoMA). 1967 Teilnahme an der Sao Paulo Biennale u.a. mit Andy Warhol, Roy Lichtenstein und Robert Indiana.
Johann Adolf Lasinsky, Rheinansichten, vier handkolorierte Lithographien von Jügel, Frankfurt 1828/29Johann Adolf Lasinsky, 1808 - 1871, Ansichten vom Mainz, Rüdesheim, Oberlahnstein und St. Goarshausen, vier Umrisslithographien, je 21 x 29 cm, koloriert in der Art des Schweizer Gouache-Malers Bleuler und erschienen bei Jügel in Frankfurt, unter Glas artgleich modern gerahmt
Arthur Wesly Dow, Plakat für "Modern Art", Farblithographie,1896Arthur Wesly Dow, 1857 Ipswich, Massachusetts - 1922 New York City, Landschaftsmaler, Drucker, Fotograf und ein einflussreicher Kunsttheoretiker und -lehrer, hier: Plakat für "Modern Art", Farblithographie,1896, 26 x 20 cm, Blattgröße 40 x 28,5 cm, Wasserzeichen und Stempele "Les Maitres de l'Affiche PL 36", lichtgebräunt, auf Karton befestigt
BELL, Clive (1881-1964). Since Cezanne, London, 1922, 8vo, half tone plates, original cloth. FIRST EDITION, with a pencil note by Eden and highlighting. With 12 other art reference books, some PRESENTATION COPIES to Anthony Eden. (13)BELL, Clive (1881-1964). Since Cézanne. London: Chatto and Windus, 1922. 8vo (195 x 130mm). Half title, half tone plates (some spotting). Original blue cloth, spine with printed label (label rubbed, without the dust-jacket). Provenance: Anthony Eden, 1st Earl of Avon (old armorial bookplate). FIRST EDITION, with a pencil note on p.65 (illegible, probably not in Eden's hand, illustrated) and on p.137, in Eden's hand, regarding "young Oxford intellectuals", and with his highlighting throughout. With 12 other related books including Julius Meier-Graefe's Degas (London, 1923, 4to, monochrome plates, original buckram, NUMBER 225 OF 1,000 COPIES), Constantin Antoniade's Trois Figures de la Renaissance. Pierre Arétin. Guichardin. Benvenuto Cellini (Paris, 1937, 8vo, wrappers, NUMBER 141 OF 155 COPIES, PRESENTATION COPY, inscribed, "A Mr. Anthony Eden, hommage et respectueuse admiration, Antoniade, Genève, Janvier 1938", Austen Chamberlain's Seen in Passing ... Foreword by Lady [Ivy] Chamberlain (London, 1937, 4to, plates, original cloth, the author's wife's PRESENTATION COPY of this account of an architectural travelogue through Europe just before The Second World war, inscribed "Anthony [Eden], [?]from Ivy Chamberlain"), Wilfrid Blunt's The Art of Botanical Illustration (London, 1950, large 8vo, plates, some coloured, attractively bound in full red modern calf gilt by Bayntun Riviere, SIGNED BY THE AUTHOR), Kenneth Clark's Piero della Francesca (London, 1951, folio, plates, some coloured, original red buckram, INSCRIBED in a very small hand [?presumably to Anthony Eden], "With all good wishes from Jane & Kenneth Clark, August 1952"), Huntington Cairns & John Walker's Great Paintings from the National Gallery of Art (Washington, 1952, folio, full-page coloured illustrations, original dark blue buckram gilt, FIRST EDITION, PRESENTATION COPY, the front free endpaper inscribed, "For [?illegible word] Eden, with kind regards from his friends at the National Gallery, [signed respectively by:] David Finley [the gallery's first Director], Huntington Cairns, John Walker, Washington, March 5, 1953"), Raymond Nacenta's The Painters and the Artistic Climate of Paris since 1810 (London, 1960, folio, coloured plates, original blue hessian, PRESENTATION COPY, the half title inscribed, "A Lord et Lady Avon, en souvenir de leur visite 'd'avant-première' à l' Exposition des peintures des collections français, Avec les sincères hommages de Ray. Nacenta, Le 27 Juin, 1962"), Catalogue de l' Oeuvre de Georges Braque. Peintures 1936-1941 ([Paris], 1961, 4to, illustrations, some coloured, original coloured decorated hessian boards, ring-bound internally), Henry Maldiney's La Fondation Marguerite et Aimé Maeght (Paris, "Derrière le Miroir, No. 148," 1964, folio, plates and illustrations by Braque, Chagall, Kandinsky, Miro, Giacometti and others, including 6 original lithographs, some coloured, original pictorial boards) and Denys Sutton's Walter Sickert. A Biography (London, 1976, 4to, plates, cloth, PRESENTATION COPY, inscribed, "For Anthony and Clarissa [Eden], with much affection and gratitude, Denys"). The lot sold not subject to return. (13)
BEAUMARCHAIS, Pierre-Augustin Caron de (1732-99). La Folle Journée, ou Le Mariage de Figaro, Paris, 1785, large 8vo, 5 engraved plates, 19th-century red half morocco gilt. FIRST EDITION, later issue with illustrations.BEAUMARCHAIS, Pierre-Augustin Caron de (1732-99). La Folle Journée, ou Le Mariage de Figaro, Comédie en Cinq Actes, en Prose. Paris: Chez Ruault, 1785. Large 8vo (258 x 165mm). Half title with list of 12 booksellers and "Avis de l' Editeur" regarding a pirated Amsterdam edition on the verso, engraved frontispiece and 4 plates by Claude Nicolas Malapeau after Jacques Philippe Joseph de Saint-Quentin (frontispiece spotted and stained, other plates spotted mainly at margins, some light spotting to text mainly at margins, without the errata leaf). 19th-century French red half morocco gilt by Charles-François Capé [binder's stamp on front free endpaper], spine elaborately decorated in gilt, top edges gilt, others uncut (extremities quite heavily rubbed, boards scuffed, inner hinges weak). Provenance: DUFF COOPER (armorial bookplate); "Ex P. G. Libros. Skinos" (modern label); [?]Augustine [?]Brohay (old signature on front free endpaper); Maud Russell (later signature beneath, probably that of the British socialite, collector of French art and diarist); pencil note on front free endpaper stating "with aut. letter inserted", although, sadly, this is no longer present. FIRST EDITION, the later issue with illustrations, by a renowned French polymath who was, by turns (according to a certain on-line encyclopaedia), "a watchmaker, inventor, playwright, musician, diplomat, spy, publisher, horticulturist, arms dealer, satirist, financier and revolutionary (both French and American)." But Beaumarchais is perhaps best remembered today as the author of "The Marriage of Figaro", the comic play on which Mozart's operatic masterpiece was based. Cohen - de Ricci 125; PMM 230: "Public interest was whetted by [the play's] satirical references to the aristocracy, and it was this that first won its fame. Although greeted with enthusiasm by French society, it in fact contributed largely to its destruction. It is, however, the music of Mozart which has immortalised it as the perfect type of comedy. To Beaumarchais, a controversial figure, whose other principal achievement was his edition of the complete works of Voltaire, its transformation would probably be surprising, but no one can doubt its immortality"; Tchemerzine II, pp.14-15: "The first edition was published without illustrations. Very soon after 5 illustrations were added by Saint-Quentin."
Warhol (Andy) The Philosophy of Andy Warhol (From A to B and Back Again), first English edition, signed presentation inscription from the author, "To Robert F with love" and "London 1975" with a large soup can drawing "Campbell's Pea Soup" in black felt tip to front endpaper, original cloth, dust-jacket, spine sunned, light damp-staining to spine head and along lower panel top edge, some slight creasing at edges, corners a little bumped with small nicks, Cassell/Dempsey, 1975; with two association A.L.s from previous owner loosely inserted, 8vo (3) ⁂ Rare copy with the Campbell's pea soup doodle, and with a good association. Dedicated to Robert Fraser (1937-1986), the prominent London-based art dealer. Fraser introduced and promoted the work of many important British and American artists, including Andy Warhol, to the British market, and was at the forefront of modern art in Britain throughout the 1960s and 70s. The two letters accompanying this present copy, are signed and written by previous owner Jaine (?)Wilson, in which she testifies that the book was given to her personally by Robert Fraser. She recalls how, "I mentioned to him that it looked valuable and he said 'you don't understand, it would be an unsigned copy that would be valuable'".
No reserve - Nine jewellery reference books,Understanding Jewellery, David Bennett and Daniela Mascetti.Jewellery Ancient to Modern, catalogue. Henry Walters Collection.Jewels of the Duchess of Windsor, Collection catalogue, Culme and Rayner.Café Society, Socialites, Patrons and Artists 1920-1960, Thierry Coudert.Imperishable Beauty, Art Nouveau Beauty, Markovitz and Karkin.Castellani and Giuliano, Geoffrey Munn.Spectacular, Gems and Jewelry from the Merriweather Post collection, Paredes.The Belle Epoque of French Jewellery 1850-1910, Koch and Vonwirthern berg, Munn, Rudoe etc.Art Nouveau Jewellery, Joseph Sataloff.
Bryan Ingham (British, 1936-1997)St Ives titled and dated 'St Ives/August 1970' (on backboard)watercolour, gouache and pencil on paper, laid on board37 x 40.5cm (14 9/16 x 15 15/16in).Footnotes:ProvenanceSale; Bonhams, Knightsbridge, 17 January 2012, lot 206With Gray Modern & Contemporary Art, Bath, where acquired by the present owner Private Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Tristram Hillier R.A. (British, 1905-1983)Village with Clothesline tempera on canvas35.5 x 40.5cm (14 x 15 15/16in).(unframed)Painted in 1983Footnotes:ProvenanceThe Artist, and thence by descent to the present ownerPrivate Collection, U.K.The present work is one of two canvases that Hillier was completing at the time of his death in 1983.The Estate of Tristram Hillier is preparing a forthcoming catalogue raisonné of the Artist's paintings and would like to hear from owners of any works by Hillier. Please write to The Estate of Tristram Hillier, c/o Modern British and Irish Art, Bonhams, 101 New Bond St, Mayfair, London W1S 1SR or email britart@bonhams.com.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
DE TAVIRA MARINA: (1974- ) Mexican actress, an Academy Award nominee. Signed colour 10 x 8 photograph of the actress seated in a full-length pose, with her bare feet resting on the desk before her, in costume from one of her films. Signed by De Tavira in bold blue ink with her name alone to a light area of the image. A typed label neatly affixed to the verso indicates that the signature was obtained in person at a screening of Roma at the Museum of Modern Art on 27th November 2018. EX
‘A publication on your collection would……render a good service to the cause of our national dignity which today is dragged into the mud by the works of all these cretins, xenophiles, Francophiles, provincials and boors’ DE CHIRICO GIORGIO: (1888-1978) Italian artist, founder of the scuola metafisica art movement which greatly influenced the surrealists. A good A.L.S., Giorgio de Chirico, two pages, large 4to, Rome, 3rd January 1955, to [Sandro] Rubboli, in Italian. De Chirico writes to accept his correspondent's proposal, commenting 'I am pleased to have my works in the collections of people like you; who know how to distinguish serious painting from modernist bluff and who buys a painting because he sincerely likes it and not because a dealer or an art critic has suggested it for purely commercial purposes' and continuing to state 'I have a “ratto” (40 x 50), but it's only sketched out, and I think it will take me a good week to get it done. In the meantime, if you want the other, bigger “Ratto” from me that you have already seen, I could send it right away'. De Chirico also encourages his correspondent to create a publication of the works he has collected with beautiful colour plates, remarking 'I assure you it would be very successful; it would sell all the copies and it would also be in contrast to the usual volumes published by the “Il Milione” gallery, such as the “Feroldi Collection”, where most of the works reproduced belong to the modernist style and therefore increase the confusion of ideas among the public. A publication on your collection would, moreover, also have an educational, moralising, clarifying purpose and would render a good service to the cause of our national dignity which today is dragged into the mud by the works of all these cretins, xenophiles, Francophiles, provincials and boors. If you wish, I could write a text for this publication, which I would do for free, hoping to please you' and further writes to express his approval of the work of Caselli, 'a serious and intelligent young painter who has always refused to keep up with the so-called modern “trends” of Parisian origin. The volume dedicated to the portraits of the maestro Toscanini, executed by Caselli, is a beautiful edition both as regards the print and as regards the choice and execution of the three-colour, or four-colour process'. In a postscript De Chirico adds that he is sending a story by his wife, published in Il Giornale d'Italia which 'was very successful, but also aroused much anger in modern circles'. A letter of excellent content. One small area of paper loss to the upper edge and a very minor paperclip rust stain to the upper left corner, neither of which affect the text or signature, otherwise VGSilvano Caselli (1921-1995) Italian painter whose work Toscanini nella pittura di Caselli was published in 1953.
SHAW GEORGE BERNARD: (1856-1950) Irish playwright, Nobel Prize winner for Literature, 1925. An exceptional A.L.S., G. Bernard Shaw, two pages, 8vo, written to the first and last pages, Fitzroy Square, London, 1st February 1895, to [William] Heinemann. Shaw commences his interesting letter stating 'You have no doubt seen how ruthlessly I have used you and [Sydney] Olivier & your play & his play to feed the flame that must eventually consume the censor. Why on earth did you suddenly drop bang into a mere kodaking of blackguardism? You can't have started with that idea' and continues to observe 'However, you were in a certain way right; for in those scenes in the last two acts your imaginative grip closed unmistakeably on your material & realized it forcibly. But I protest against the honors of tragedy being given to a squalid little business like that. Why not compress these three acts into one act - or rather prologue - positing the problem of a young woman who has married a man whom she believes to be a genius and is left disillusioned at the end with life before her - that is, with the play before her? That is what you have really struck out, and this calling the first step of it "a dramatic moment", and stitching it up in green covers at [John] Lane's is all nonsense - a selling of your birthright. What the audience want to know is how the woman got out of it - what the solution of the problem is', further offering his typically forthright advice, 'It is not enough for you to cut a slice of life - anyone can do that who can write or imagine at all - you must eat the slice, digest it, & build it up into a living organism. That's the meaning of creation in art. If you doubt me, ask "her whose interest & enthusiasm inspired this effort", and if she is the right sort of woman, as I hope with all my heart for your sake she is, she will say yes and tell you that you must follow The First Step to the end of the journey. Outside the most lighthearted comedy, there must be no happy endings; but there must be no unhappy endings at all: there must be great endings, or hopeful, or right endings; but happiness & unhappiness are the positive & negative ends of life only with fools. Plenty of people are giving up the happy ending only to substitute the negative for the positive form of it & offer unhappy endings, which are equally unconvincing & much less pleasant'. Shaw concludes his letter making a reference to his own work, 'My play is not typed yet. When it is, you shall read it if I can get a copy disengaged before it reaches the stage, concerning which, by the way, nothing is yet settled'. A letter of magnificent literary content in which Shaw provides a masterful lesson in writing and offers his opinions on the difference between a true playwright and a gifted amateur. Some light overall age toning and a few light, minor creases, about VGWilliam Heinemann (1863-1920) English publisher, the founder of the Heinemann publishing house in London which represented authors including H. G. Wells, Robert Louis Stevenson and Rudyard Kipling. Heinemann's 'modern' play The First Step: A Dramatic Moment, discussed in the present letter, was published by John Lane in 1895 and in a note within the publication the author observes that it was not his objective to write anything that 'would satisfy the usual requirements of a stage play….but simply to snatch one dramatic moment out of a story of today'. From 1895-98 Shaw was the theatre critic for The Saturday Review and the opening lines of the present letter evidently refer to a review of The First Step which Shaw had published.Sydney Olivier (1859-1943) 1st Baron Olivier. British civil servant, a Fabian and member of the Labour Party. Olivier was recognised as one of the 'Big Four' within the Fabian movement in London, alongside Shaw, Sidney Webb and Graham Wallas. The uncle of actor Laurence Olivier, Sydney Olivier was a writer throughout his life, attempting poetry although faring better with a few plays, which were first performed at the Fabian Society, and a Fabian paper on Emile Zola (1890).Shaw was working on two plays in 1895, The Man of Destiny, set in Italy during the early career of Napoleon, and the four-act play You Never Can Tell, although neither were performed or published until several years later.
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