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SWISS SCHOOL (20TH CENTURY)LILIENBERG VILLA Oil on board Signed with monogram and dated 70 (lower right) indistinctly signed, titled and dated Lilienberg K. Gruber 70 (verso) 40 x 44cm (15½ x 17¼ in.)Lilienberg was the private residence of Oskar Reinhart. Provenance:Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland or possibly Emma Nager By descent to The Hon. Mrs James Tennant Please Note: This lot was likely purchased by a family member of Oskar Reinhart and then passed down by descent Please note measurements do not include the frame unless otherwise stated. Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder. Condition Report: Light rubbing to the extreme edges with some associated loss. Light surface dirt throughout. Please note Dreweatts is not liable for damage to frames. Condition Report Disclaimer

λ ALFRED KOLB (SWISS 1978-1958)LANDSCAPE WITH TREES Oil on canvas board Signed and dated 30 (lower right) further inscribed (verso)41 x 50cm (16 x 19½ in.)Together with a watercolour of a mountain landscape, indistinctly signed and dated 38 (lower right) 24.5 x 24cm (2)Provenance: Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland By descent to The Hon. Mrs James Tennant Exhibited:Possibly, Switzerland, Wintherthur, December 1942, titled 'Obstgarten,' purchased by Reinhart on 31st December 1942Please note measurements do not include the frame unless otherwise stated. Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder.  Condition Report: Some light rubbing to the extreme edges. Marks and scuffs to frame throughout.  Watercolour: Unexamined out of glazed frame. Slight undulation to the sheet. Some staining and moulding to the mount.  Please note Dreweatts is not liable for damage to frames. Condition Report Disclaimer

CONTINENTAL SCHOOL (20TH CENTURY)STILL LIFE WITH BOOKS Oil on board 33 x 41cm (12 x 16 in.)Provenance:Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland By descent to The Hon. Mrs James Tennant Please note measurements do not include the frame unless otherwise stated.Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder. Condition Report: Some rubbing to the extreme edges. Inspection under UV reveals no obvious evidence of restoration or repair. Please note Dreweatts is not liable for damage to frames. Condition Report Disclaimer

PAUL THÉOPHILE ROBERT (SWISS 1879 - 1953) STILL LIFE OF FLOWERS IN A WHITE VASE Oil on canvas Bears signature (lower right)60 x 50cm (23½ x 19½ in.)Provenance:Purchased direct from the artist Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland By descent to The Hon. Mrs James Tennant Please note measurements do not include the frame unless otherwise stated. Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder. Condition Report: Light surface dirt throughout. Rubbing to the extreme edges. Small loss to the upper left corner. Losses and marks to the frame throughout. Please note Dreweatts is not liable for damage to frames.  Condition Report Disclaimer

JAKOB JOSEPH ZELGER (SWISS 1812-1885)ALPINE LANDSCAPE WITH SHEPHERD PLAYING AN ALPHORN, AND MOUNTAIN GOATS RESTINGOil on board Signed (lower right)18 x 27.5cm (7 x 10¾ in.)Provenance:Otto Buel, Lucerne, titled Panorma from Rigi KulmPurchased from the above on 27th April 1943, Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland By descent to The Hon. Mrs James Tennant Please note measurements do not include the frame unless otherwise stated. Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder. Condition Report: Some small scattered losses across the surface. Varnish and dirt causing some discolouration throughout. Inspection under UV reveals no obvious evidence of restoration or repair.  Please note Dreweatts is not liable for damage to frames. Condition Report Disclaimer

WILFRIED BUCHMANN (SWISS 1878-1933)FAMILY SEATED IN A RURAL LANDSCAPE Oil on canvas Signed and dated 1912 (lower left)75 x 60.5cm (29½ x 23¾ in.)Provenance:Private Collection, Theodor Reinhart (1849-1919)Thence by descent, Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland By descent to The Hon. Mrs James Tennant Please note measurements do not include the frame unless otherwise stated.Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder. Condition Report: Not relined. A small dent and associated hole just below the man's hand. Patches of craquelure scattered across the surface and stretcher marks visible. Light surface dirt and yellowing varnish throughout.Please note Dreweatts is not liable for damage to frames. Condition Report Disclaimer

λ EUAN UGLOW (BRITISH 1932-2000) TWO CHRISTMAS CARDSGouache and collage (lentils, rosemary and pistachio) on cardBoth signed and inscribed (lower centre)14 x 10cm (5½ x 3¾ in.) (2)Literature:Kendall/Lampert, 2007, 520 and 528Provenance:Sale, Modern Art Auctions, 7 December 2016, lot 193 and 194Please note measurements do not include the frame unless otherwise stated. Condition Report: Under glass and unexamined out of frame. In overall good condition commensurate with age. Both with some visible glue remains original to the artwork. Please note Dreweatts is not liable for damage to picture frames.Condition Report Disclaimer

H. MÜLLER (20TH CENTURY)STILL LIFE WITH FRUIT AND A STATUEOil on canvasSigned and dated H. Müller 31 (upper right)33 x 41cm (12 x 16 in.)Provenance:Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland By descent to The Hon. Mrs James Tennant Please note measurements do not include the frame unless otherwise stated. Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder.Condition Report: Some areas of fine craquelure. Light surface dirt throughout. Otherwise appears to be in original condition. Inspection under UV no obvious evidence of restoration or repair. Please note Dreweatts is not liable for damage to picture frames.Condition Report Disclaimer

MAURICE ASSELIN (FRENCH 1882-1947)RUE DES RECOLLETS, PARISOil on canvasInscribed in pencil 'M. Asselin Bar Central Rue des Recollets' (on the stretcher)64 x 98.5cm (25 x 38¾ in.)Exhibited:Moderne Galerie Zürich (label on stretcher)Please note measurements do not include the frame unless otherwise stated.Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder. Condition Report: Canvas is unlined. Some light surface dirt. Stretcher marks slightly visible. Some rubbing around the edges. Otherwise in good original condition. Please note Dreweatts is not liable for damage to picture frames. Condition Report Disclaimer

An Art Deco 18ct gold diamond panel ring, platinum-topped with modern round brilliant and single-cut diamonds, setting height 14.8mm, size P, 3.4gRing head is very slightly bent downwards on 1 side, otherwise no damage, all stones present, general wear to high points, marks clear, stamped 18ct and Plat

An Art Deco 18ct gold 0.25ct solitaire diamond ring, palladium-topped birdcage setting with modern round brilliant-cut diamond, colour approx F/G, clarity approx SI1/SI2, size L, 3gNo damage or repair, diamond bright white and fiery, light wear to high points, mark clear, stamped 18ct and Pall

DAVID HOCKNEY (B. 1937)Study for the First Marriage (A Marriage of Styles I) 1962 signed, dated '62 and inscribed Berlin; numbered 6723 on the reverseink, pencil and coloured pencil on paper34 by 49 cm.13 3/8 by 19 5/16 in.Footnotes:ProvenanceGift from the artist to the present ownerThe present drawing from 1962, is a preparatory drawing for one of David Hockney's celebrated canvases from the same year, The First Marriage (A Marriage of Styles I) that today resides in the Tate Britain in London. Here, Hockney focuses on his female sitter featured in the final painting, who has been portrayed in the manner of an ancient Egyptian identified by her headdress and the pointed cups covering her breasts. Hockney roughly sketches the outline of the palm tree behind her keeping to a primitive representation and also includes the grey gothic arch shape seen to the lower left in the final canvas. His male figure has not been drafted in the present study, but in the canvas, he represents him in modern dress standing in profile behind the woman. As in several of Hockney's paintings made in the 1960s, much of the finished canvas has been left in its natural state with little detail or imagery in the background. 1962 marked an integral year for Hockney, it was the year that he graduated from the Royal College of Art in London and The First Marriage (A Marriage of Styles I) was painted in September after a trip to Germany. On a visit to the Pergamon Museum in Berlin, Hockney saw his friend standing in profile at the end of a corridor, next to an ancient Egyptian seated wooden figure. He explained: 'from the distance they looked like a couple, posing as it were for a wedding photograph' (the artist in a letter to the Tate Gallery: 'The First Marriage (A Marriage of Styles I)', tate.org.uk, 9 June 2023). He was interested in the idea of a marriage between these two people, ancient and modern, real and unreal and the accompanying idea of a 'marriage of styles', which he chooses in the title of both drawing and canvas. The raw draughtsmanship of Hockney's drawing is unboundedly apparent, revealing his mastery as an artist and his ability to work across an array of media. During his formative years at Bradford School of Art in the early 1950s he received traditional training which was based on drawing from life, producing figurative studies, portraits and cityscapes in graphite and coloured pencil. Indeed, his early graphic works can be said to have laid the foundations for his highly celebrated artistic oeuvre.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

BANKSY (B. 1974)Congestion Charge 2004 tagged; signed and dated Dec 2004 on the overlap oil on canvas, in the artist's frame 68.5 by 78.7 cm. 26 15/16 by 31 in.Footnotes:This work is accompanied by a certificate of authenticity issued by Pest Control Office and will be issued with an updated certificate to the buyer. ProvenanceLondon, Santa's GhettoAcquired directly from the above by the present owner in 2004ExhibitedLondon, Santa's Ghetto, 2004 Tokyo, Warehouse TERRADA, WHO IS BANKSY?, 2021Congestion Charge from 2004 is a unique and rare example of Banksy's Vandalized Oil series also referred to as Crude Oils. Bought from Santa's Ghetto by Sir Paul Smith in 2004, the work has remained in the British fashion icon's distinguished private collection ever since and comes to auction for the very first time. Made famous through a now iconic show in 2005 with the same title, the Crude Oils consist of reimagined old master paintings such as such as Show Me The Monet and Sunflowers From Petrol Station alongside modified traditional oils on canvas like the present work. Bought at flea markets around London, Banksy would add his own subversive touches to classical canvas paintings, a congestion charge sign in an otherwise idyllic traditional landscape, injecting new paradoxical meaning into the outdated artwork. This act of subversion serves as a commentary on the commercialisation of art and the collective memory of historical and present events. Banksy's modifications challenge the original context and narrative of the paintings, highlighting the power of art to disrupt and provoke critical thought about societal issues and the role of art in shaping collective consciousness. As one of the most acclaimed and sensationalist contemporary artists in the world, Banksy's career has garnered a following unlike any other. Firmly written into the art history books, alongside the likes of Jean-Michel Basquiat, Keith Haring and Richard Hambleton, Banksy belongs to a rarified group of artist-outcasts whose inimitable styles took seed in their early years as rogue street artists; styles and stories that were hotly embraced by their local contemporary art scene. His political statements and subversive mise-en-scène have adorned cities across the globe at vital junctures in recent history, provoking alternative perspectives and fomenting spectacle and theatre in the art world. With his distinct, cool, disarming wit and charm, Banksy's anti-establishment panache earned him a cult following and unparalleled acclaim. His iconic and universally recognisable works are fiercely sought after by collectors globally.From his emergent years, Banksy associated with the graffiti subcultures that were abundant across European towns and cities in the 1990s, turning to freehand graffiti as a teenager having been inspired by the thriving graffiti community of his hometown. Turning his hand to stencilling after a close encounter with the police, the new technique enabled him to work quickly and avoid apprehension by the authorities. Unlike many of his graffiti counterparts, whose exaggerated script and cartoon characters had become practically conventional in the modern city, Banksy's bold and iconic stencils combined an astute sense of current affairs, transcendent ideas and a stylised technique that has captured audiences and launched him from outsider street artist to one of the most important political and cultural voices of the twenty-first century.First introduced in 2003, the year before the present work was executed, congestion charge is a fee imposed on vehicles entering certain areas of London during peak hours to reduce traffic and promote public transportation. Banksy's artwork ridicules the policy, suggesting an absurd placement of the charge sign in a remote farm path that is unusable due to flooding. As with many of Banksy's works, Congestion Charge has a playful and thought-provoking nature. It captures attention and prompts viewers to question the effectiveness and consequences of urban policies. Around the same time, Banksy famously placed some of his Vandalized Oils in prominent galleries, where they would hang unnoticed amongst the institutions permanent collection, at times for days. At the British Museum for example, he secretly placed a modified version of a prehistoric cave painting, adding a figure pushing a shopping cart and a barcode. The act drew attention to the commercialisation of art and the consumer-driven society we live in with the modified artwork remaining on display for several days before being discovered and removed by museum officials. The act allowed Banksy to circumvent the traditional art world and its gatekeepers, making a direct impact on the public sphere and challenging the notions of ownership, authenticity, and the commercialization of art. His disruptive tactics challenged viewers to re-evaluate their perceptions of art and the institutions that house it.As Banksy's profile and collectability has developed, unique works of exceptional history and quality become still more prized. Presented here for sale is such a painting that demonstrates the British artist's indisputable and enduring currency as social commentator and contemporary artist that has remained in the highly distinguished art collection of Sir Paul Smith for nearly two decades. In common with many of Banksy's most successful works, Congestion Charge intends to amuse the viewer, yet it also aims to engender thought provoking discourse within a broader socio-political context. Graffiti Art has long been the leading means of expression for the visual counterculture. The irrepressible spontaneity of protest art and then early street art was mirrored in the music of Hip-Hop and dynamism of breakdance. These three pillars dominated much of urban culture in America from the 1970s and had a keen influence on Banksy as it came to impact corresponding areas in Britain in the 1980s. Today Banksy has solidified his position as one of the most well recognised and sought after street artists of the century having completely transformed graffiti culture. His identity, even after more than twenty years, still remains delightedly anonymous and the present auction represents an opportunity to acquire one of the finest examples from the Crude Oils of Banksy's career to date.This lot is subject to the following lot symbols: AR ○AR Goods subject to Artists Resale Right Additional Premium.○ The 'Seller' has been guaranteed a minimum price for the 'Lot', either by 'Bonhams' or a third party. This may take the form of an irrevocable bid by a third party, who may make a financial gain on a successful 'Sale' or a financial loss if unsuccessful.For further information on this lot please visit Bonhams.com

OSCAR MURILLO (B. 1986)Untitled (Fried Chick) 2012 oil, oil stick, spray paint and dirt on canvas 248 by 181 cm.97 5/8 by 71 1/4 in.This work was executed in 2012.Footnotes:ProvenancePrivate Collection, LAPrivate Collection, UK (acquired directly from the above in 2013) Sale: Bonhams, London, Modern & Contemporary Art, 27 June 2019, Lot 33Acquired directly from the above by the present ownerCompelling, spirited and grand in scale, Untitled (Fried Chick) (2012) is foundational work by the Colombian-born, Turner Prize nominated artist Oscar Murillo; exhibiting all the hallmarks of his energetic and spontaneous style that combines raw panels of canvas, flashes of text and colour with aggregated dirt and impressions from the studio floor. Rising to artistic maturity and institutional acclaim in monumental fashion, his inclusion in such major exhibitions as The Forever Now: Contemporary Painting in an Atemporal World at the Museum of Modern Art, New York, in 2014, in addition to solo exhibitions at the Centro Cultural Daoíz y Velarde, Madrid and the Institute of Contemporary Arts, London, has cemented Murillo's international standing as one of the foremost contemporary painters currently working; culminating in his nomination for the Turner Prize in 2019 for his exhibition Violent Amnesia at Kettle's Yard, Cambridge. Untitled (Fried Chick) is an elegant example of Murillo's collaging of surfaces and techniques that flaunts the dirt from the artist's studio floor, bringing the painting to life through its closeness to the 'authentic' detritus and rubble of Murillo's workspace. In the present work, the raw support of the canvas plays host to an almost performative mark-making, suffused with a palpable energy that channels the automatic motions of Jackson Pollock, complemented by a revisionist ideology that Murillo credits to the Neo-concretism of Lygia Clark, Lygia Pape and Hélio Oiticica. The present work comes to market following Murillo's nomination for the Turner Prize in 2019 – a significant recognition of the artist's distinguished practice and place amongst his contemporaries. An exemplary early work by Murillo, Untitled (Fried Chick) is an immense painting of masterful austerity, eliciting all of the methods and conceptual hooks that has made Murillo such an internationally lauded artist.Activating the more static, Modernist modes of abstract painting through installations, social gatherings and interactive artworks, Murillo's multifaceted practice has continued to express the artist's experiences of displacement and multiculturalism, demonstrated in the present work with a bravura charm and dynamic materiality. For Murillo, the process of painting provides a method of accumulation; composing his works through a build-up of material, of folds, marks and daubs of paint that illustrate the artist's own relationship to his itinerant lifestyle and 'layering' of identity. Born in La Paila in South East Colombia, Murillo remains deeply influenced by his roots and his arrival in London as an immigrant at the age of ten. The present work represents a superbly nuanced evocation of these themes, employing single words or phrases that encourage a reading of Murillo's paintings through the lens of cultural critique. Where words such as 'pollo,' 'yoga,' 'milk' and 'mango' appear across Murillo's oeuvre, they become aesthetic devices in tandem with their implicit meaning – impactful hand-sketched lines of text that divide the canvas in a similar vein to the paintings of Jean-Michel Basquiat. Murillo interprets his own unique style thusly: 'the words are very displaced. Like cultural displacement with performance, in painting it's material displacement, object displacement [...] I also like to think that these paintings also imply a displacement of time. They're like rugs. An unstretched painting is a kind of abstract thing, one that suggests that it perhaps has been found or comes from some other space or time. But while it has this aura of being a historical thing when placed out of context, it just comes from the studio' (the artist in conversation with Legacy Russell, 'Bomb Magazine', www.bombmagazine.org, 1 Jan 2013).This lot is subject to the following lot symbols: AR TP ▲AR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.▲ 'Bonhams' owns the 'Lot' either wholly or partially or may otherwise have an economic interest.For further information on this lot please visit Bonhams.com

GEORG BASELITZ (B. 1938)Magentaaufgang 2005 signed, titled and dated 17.V.05 on the reverseoil on canvas250 by 200 cm.98 7/16 by 78 3/4 in.Footnotes:ProvenanceGalerie Thaddaeus Ropac, Salzburg/Paris (GB 2083) Vonderbank Art Galleries, BerlinPrivate Collection, EuropeSale: Sotheby's, London, Contemporary Art Day Auction, 15 October 2007, Lot 314Private Collection, Europe Acquired directly from the above by the present ownerExhibited Paris/Salzburg, Galerie Thaddaeus Ropac, Georg Baselitz - Spaziergang ohne Stock, 2005, p. 25, illustrated in colour Berlin, Vonderbank Art Galleries, Georg Baselitz, 2006, p. 27, illustrated in colourMonumental in scale and breath-taking in its visual effect, Magentaaufgang from 2005 is an outstanding work by the celebrated contemporary German artist Georg Baselitz. Suspended upside down, a dense forest of majestic trees extends dramatically from the top of the canvas in the artist's instantly recognisable and expressive style. The towering trees stretch down the surface, creating a profound movement of verticality whilst a spark of bright magenta illuminates the ghostly white tree trunks against a stark black background. This assertive focus of pure colour immediately draws the viewer's gaze upwards to what would ordinarily be the sky, thus giving the name to the composition as auf gang possibly referring to a rising sun. From 1969 Baselitz explored a revolutionary technique of painting the subject matter upside down, thereby literally turning the viewer's comprehension of the subject on its head in a ground-breaking and unconventional way of seeing. Pushing the boundaries not only for the viewer but also for himself in terms of construction, the first work that Baselitz painted upside down was fittingly of a woodland landscape titled The Wood on Its Head from 1969 and is poetically revisited here in the present work. By inverting figures and landscapes, Baselitz is able to achieve a form of radical and innovative abstraction whilst oscillating the line of figuration in his own distinctive and lyrical language. Magentaaufgang was first exhibited at Baselitz's solo show Georg Baselitz Spaziergang Ohne Stock in 2005 at Thaddaeus Ropac. A central theme of this exhibition was the analysis and study of Edvard Munch (1863 – 1944) and his artistic methods. Renowned for his expressive compositions that discussed human angst, psychological disturbance and atmospheric landscapes, the famed Norwegian artist had a great influence on German expressionism, resonating strongly with artists such as Ludwig Kirchner and Karl Schmidt-Rottluff in the late 19th and early 20th Centuries. After years of travelling abroad, Munch purchased an estate in Ekely near Oslo where he would spend most of his time from 1916 until his death in 1944. This period was incredibly productive but also rather revolutionary for Munch as it was here that he was inspired by the changing seasons of his garden and the imposing trees in the adjacent woods. This exposure to nature resulted in monumental pieces as he was able to explore larger formats due to open air studios unencumbered by the restrictions of a small studio, and an experimentation with a brighter colour palette that would saturate his compositions. The trees in Magentaaufgang and other works in this highly regarded series are inspired by Munch's time at Ekely. Yet it is not only the subject of nature that stirred Baselitz creatively; there is also an expression of freedom that he emulates from Munch's later liberal style and the air of haunting nostalgia that permeates Munch's body of work. When standing in front of this large canvas, one can imagine being engulfed by the trees in a moving sensory and atmospheric experience. Steeped in memory and rich with nostalgia, the present painting, like all of Baselitz's work, is a biographical vision and a personal memoir. As a young man, Baselitz applied to forestry school and this fascination and passion bleeds through the surface and calls to mind sentimental depictions of an enchanted forest, such as the German fairy tale of Hansel and Gretel. One of the most influential artists of our time, Georg Baselitz was a leading figure in shaping a new identity for art in Germany after the Second World War, as a response to the trauma and loss from the first half of the 20th Century. Drawing upon art history and his own extensive oeuvre Baselitz rejected abstraction in favour of more recognisable subject matter, embracing the European arm of Neo-Expressionism. With works residing in museums internationally, including Fondation Beyeler, Basel; Kunsthalle Hamburg, Hamburg; The Metropolitan Museum of Art, New York; The Museum of Modern Art, New York; and the Tate Gallery, London to mention only a few, this represents an opportunity to acquire a work of exceptional quality by one of the most prominent and celebrated European artists of the modern era.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

EMILIO VEDOVA (1919-2002)De America-1 1976 signed, titled and dated 1976 on the reverseacrylic, sand, charcoal and paper collage on canvas207.3 by 200 cm. 81 5/8 by 78 3/4 in.Footnotes:This work is registered in the Fondazione Emilio e Annabianca Vedova, Venice, under no. AFV 682. ProvenanceTelemarket, BresciaAcquired from the above by the present owner in 1993LiteratureGermano Celant (Ed.), Emilio Vedova, Venice 2020, p. 86, no. 60, illustrated in colourGermano Celant, Vedova De America, Milan 2020, p. 513, no. f146, illustrated in colourDe America forms a series, or a 'cycle' as referred to by Venetian artist Emilio Vedova, of some fifty paintings on paper and canvas created between 1976 and 1977. The monumental group of works was the subject of an important exhibition organized by the Galleria dello Scudo and the Fondazione Emilio e Annabianca Vedova and is today recognised as a pinnacle moment in the artist's oeuvre where he triumphantly returned to painting after having spent the previous years dedicating his attention almost exclusively to printmaking and teaching projects. After the war, New York encouraged a dialogue between American Abstract Expressionism and European art activities and direct communications were established between Venice and America. Vedova was deeply affected by America's social context in the post-war years and this cycle of works is an evident allusion to his experiences in the United States. Bold contrasts of black and white paint which cover his De America canvases reveal the artist's own recollections of New York slums and of the desolate outskirts of the city where the problems of immigration, destitution and social marginalisation were intense. We experience this through the use of expressive strokes and smears of paint that seek to convey a raw and violent reaction to the political reality of the post-war period.Excitingly, this present work, aptly titled De America-1, is the very first in the De America cycle. The collation of forms, symbols, and cypher-like signs that we see here fuse together; angular shapes and rough forms connect into a compressed unity speaking of a complex urban experience. Across all the works in this cycle, the energy and direction of the brushstroke alone is redirected into a series of informal marks of pure painterly energy that help determine the ultimate form of the artwork. Vedova's use of paper collage and newspaper has been considered on one level to reflect the trials and tribulations of everyday life whilst also introducing an element of reality helping to define the logic of painting. In a move that to some degree emulates Willem de Kooning's practice of painting, a unity of fragments by using a layering of paper, it is more widely thought that Vedova was in fact looking towards the work of the Berlin Dadaists and the Merz collages of Kurt Schwitters. Born in Venice, Emilio Vedova is regarded as one of the most influential Italian artists of the second half of the 20th century. He fervently believed that revolutionary art had to be abstract and sought to push painting into new territories with his visceral and gestural works that engage the viewer and redefine the space they inhabit. In the late 1950s, Vedova was associated with French Informel and later with Action painting and the resurgence of expressionism, yet arguably he has always defied specific categorisation. Largely self-taught, he learned to draw and paint by sketching Venetian churches and frescoes, particularly those of Tintoretto who was a key inspiration to the artist throughout his career; he was fascinated by the Mannerist painter's bold brushstrokes, accentuated gestures, and dramatic use of light, but also by his persona. Although Vedova split his time between Venice and Berlin for many years, his work remained anchored in the city of his birth and its painting traditions. Vedova made his debut at the Venice Biennale in 1948 and, from that point onwards would become a regular exhibitor: in 1952 he had a room devoted to his work, in 1960 he won the prize for Italian painting and in 1997 was honoured with the Golden Lion for lifetime achievement. He was the Italian representative at the first documenta in Kassel in 1955, and his work was exhibited there again in 1959, 1964 and 1982. Today his work is exhibited in many major Global institutions, notably at The Albertina, Vienna; Berlinische Galerie and Nationalgalerie, Berlin; Museo Nacional De Bellas Artes, Buenos Aires; Museu de Arte Contemporânea da Universidade de São Paulo; The Museum of Modern Art, New York and the Peggy Guggenheim Collection, Venice. The Fondazione Emilio e Annabianca Vedova, created by the artist and his wife, continues to promote his exceptional life and legacy, highlighting Vedova's importance in the history of 20th century art.The De America cycle is considered to conclude a period of transition, of experimentation in technique and style and in broader terms, Vedova's efforts to decipher the deep social and cultural changes that were taking place at the time; and De America-1, being the very first of its kind, is undoubtedly an exceptional and pivotal painting of the period.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

JEAN FAUTRIER (1898-1964)Oregon 1957 signed and dated 57 on the lower right; titled on the stretchermixed media on paper laid on canvas64.5 by 80.7 cm. 25 3/8 by 31 3/4 cm. Footnotes:ProvenanceGalerie Rive Droite, ParisProspero Guarini Collection, Milan Private Collection, Europe Gift from the above to the present owner LiteraturePalma Bucarelli, Jean Fautrier pittura e materia, Milan 1960, p. 357, no. 374, illustrated in black and whiteOregon from 1957 and Surfaces de couleurs, tableau à quatre cotés from 1958 are two truly outstanding examples of Jean Fautrier's famous haute pâte (high paste) technique. Characterised by an almost alchemistic use of materials, both works masterfully incorporate the thick layers of impasto and vibrant accents of colour so typical for the artist's practice, and one cannot fail to notice the influence of Art Brut and his fellow collaborators Jean Dubuffet and Wols. Succeeding Fautrier's famous 'Hostages', a series that is widely regarded as one of the most significant examples of post-war European painting, the present works have been executed in a mature phase of the artist's life, shortly before he was internationally acclaimed at the Venice Biennale in 1960, where he shared the Grand Prize for Painting with Hans Hartung. Both Surfaces de couleurs, tableau à quatre cotés and Oregon have a distinctly non-objective quality, with the titles offering little information as to the subject matter. With a desire to express reality through the materiality of paint, Fautrier strove to achieve a liberated figuration in his later life. Edouard Roditi explained that '[Fautrier] now paints qualities or substances rather than objects, achieving a new kind of sensual abstraction which is far more appropriate, in the art of painting, than the puritanical denial of sensual delights that one can detect in the merely geometrical abstractions of Mondrian' (Edouard Roditi, 'Foreword,' in Jean Fautrier: Paintings, Gouaches, Drawings ed. Hanover Gallery, London 1959, p.8). Signed in all four corners, Surfaces de couleurs, tableau à quatre cotés has more than one possible orientation which adds to the element of abstraction and the feeling of the artist relinquishing control over the viewing experience. This particular motif began to appear in selected works from 1957 onwards and has been linked to the artists interest in the writings of French theorist, Georges Bataille and his notion of 'formlessness' that seeks to undermine rational modes of understanding.A painter as well as an illustrator and sculptor, Jean Fautrier is widely known for his contribution to the Tachisme movement in the 1940s and 1950s. Emerging after World War II as a response to the trauma and devastation caused by the war, Tachisme - also known as Art Informel - can be seen as the European equivalent to Abstract Expressionism. The movement emphasised spontaneous and intuitive creation, with a strong focus on gesture and texture. Fautrier's technically adept oeuvre is characterised by a deep concern for the human condition and deals with themes of abstract lyricism and melancholia founded in his experiences during the war. His characteristic Haute Pâte technique was achieved by a rejection of canvas painting; instead, he worked on paper which would then be laid on canvas using a knife or spatula. The artist said that: 'The canvas is now merely a support for the paper. The thick paper is covered with sometimes thick layers of a plaster – the picture is painted on this moist paper – this plaster makes the paint adhere to the paper perfectly – it has the virtue of fixing the colours in powder, crushed pastels, gouache, ink, and also oil paint – it is above all thanks to these coats of plaster that the mixture can be produced so well and the quality of the matter is achieved' (the artist in: Karen Butler, Fautrier's First Critics: André Malrauz, Jean Paulhan and Francis Ponge, London 2002, pp. 43-44). Born in Paris in 1898, Jean Fautrier studied at the Royal Academy and at the Slade School in London. During his time abroad, he was influenced by the works he saw in the National Gallery and the Tate, especially the work of J.Y.M. Turner whom he admired and whose influence especially in regard to colour can be felt in the present works. During the 1930s, Fautrier's work began to shift from the rigid academic style commonly taught; he abandoned traditional painting techniques and began to experiment with new materials and processes, becoming increasingly abstract and expressionistic. He soon began to incorporate non-traditional materials such as sand, gravel and plaster into his paintings, creating textured surfaces that were both tactile and visually striking. It is to this end that Fautrier considered himself a sculptor rather than a painter, carving and moulding his teasingly tangible surfaces to achieve spectral luminosity and raw presence.Throughout his life, Jean Fautrier composed intricate, radiant harmonies whose impastos and textures induce a certain quiet anxiety and intense grandeur. His work has been exhibited extensively throughout Europe and the United States and can be found in the collections of the Museum of Modern Art, New York, the Art Institute of Chicago, the National Gallery of Art in Washington D.C., the Museo Nacional Centro de Arte Reina Sofía, Madrid, the Musée d'Orsay, Paris and the Tate Collection in London. He died during the summer of 1964, just after his first retrospective at the Musée d'Art Moderne de la Ville de Paris and just a few years after the two present exquisite works were executed.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

JEAN FAUTRIER (1898-1964) Surfaces de couleurs, tableau à 4 cotés 1958 signed with the artist's initial and dated 58 at the four corners; signed, titled and dated 1958 on the stretchermixed media on paper laid on canvas 45.5 by 55 cm. 17 15/16 by 21 5/8 in. Footnotes:ProvenanceGalerie Arditti, ParisGalerie Birch, CopenhagenGalerie Bonnier, Geneva (A20100)Private Collection, EuropeGift from the above to the present owner Literature Palma Bucarelli, Jean Fautrier pittura e materia, Milan 1960, p. 361, no. 397, illustrated in black and whiteOregon from 1957 and Surfaces de couleurs, tableau à quatre cotés from 1958 are two truly outstanding examples of Jean Fautrier's famous haute pâte (high paste) technique. Characterised by an almost alchemistic use of materials, both works masterfully incorporate the thick layers of impasto and vibrant accents of colour so typical for the artist's practice, and one cannot fail to notice the influence of Art Brut and his fellow collaborators Jean Dubuffet and Wols. Succeeding Fautrier's famous 'Hostages', a series that is widely regarded as one of the most significant examples of post-war European painting, the present works have been executed in a mature phase of the artist's life, shortly before he was internationally acclaimed at the Venice Biennale in 1960, where he shared the Grand Prize for Painting with Hans Hartung. Both Surfaces de couleurs, tableau à quatre cotés and Oregon have a distinctly non-objective quality, with the titles offering little information as to the subject matter. With a desire to express reality through the materiality of paint, Fautrier strove to achieve a liberated figuration in his later life. Edouard Roditi explained that '[Fautrier] now paints qualities or substances rather than objects, achieving a new kind of sensual abstraction which is far more appropriate, in the art of painting, than the puritanical denial of sensual delights that one can detect in the merely geometrical abstractions of Mondrian' (Edouard Roditi, 'Foreword,' in Jean Fautrier: Paintings, Gouaches, Drawings ed. Hanover Gallery, London 1959, p.8). Signed in all four corners, Surfaces de couleurs, tableau à quatre cotés has more than one possible orientation which adds to the element of abstraction and the feeling of the artist relinquishing control over the viewing experience. This particular motif began to appear in selected works from 1957 onwards and has been linked to the artists interest in the writings of French theorist, Georges Bataille and his notion of 'formlessness' that seeks to undermine rational modes of understanding.A painter as well as an illustrator and sculptor, Jean Fautrier is widely known for his contribution to the Tachisme movement in the 1940s and 1950s. Emerging after World War II as a response to the trauma and devastation caused by the war, Tachisme - also known as Art Informel - can be seen as the European equivalent to Abstract Expressionism. The movement emphasised spontaneous and intuitive creation, with a strong focus on gesture and texture. Fautrier's technically adept oeuvre is characterised by a deep concern for the human condition and deals with themes of abstract lyricism and melancholia founded in his experiences during the war. His characteristic Haute Pâte technique was achieved by a rejection of canvas painting; instead, he worked on paper which would then be laid on canvas using a knife or spatula. The artist said that: 'The canvas is now merely a support for the paper. The thick paper is covered with sometimes thick layers of a plaster – the picture is painted on this moist paper – this plaster makes the paint adhere to the paper perfectly – it has the virtue of fixing the colours in powder, crushed pastels, gouache, ink, and also oil paint – it is above all thanks to these coats of plaster that the mixture can be produced so well and the quality of the matter is achieved' (the artist in: Karen Butler, Fautrier's First Critics: André Malrauz, Jean Paulhan and Francis Ponge, London 2002, pp. 43-44). Born in Paris in 1898, Jean Fautrier studied at the Royal Academy and at the Slade School in London. During his time abroad, he was influenced by the works he saw in the National Gallery and the Tate, especially the work of J.Y.M. Turner whom he admired and whose influence especially in regard to colour can be felt in the present works. During the 1930s, Fautrier's work began to shift from the rigid academic style commonly taught; he abandoned traditional painting techniques and began to experiment with new materials and processes, becoming increasingly abstract and expressionistic. He soon began to incorporate non-traditional materials such as sand, gravel and plaster into his paintings, creating textured surfaces that were both tactile and visually striking. It is to this end that Fautrier considered himself a sculptor rather than a painter, carving and moulding his teasingly tangible surfaces to achieve spectral luminosity and raw presence.Throughout his life, Jean Fautrier composed intricate, radiant harmonies whose impastos and textures induce a certain quiet anxiety and intense grandeur. His work has been exhibited extensively throughout Europe and the United States and can be found in the collections of the Museum of Modern Art, New York, the Art Institute of Chicago, the National Gallery of Art in Washington D.C., the Museo Nacional Centro de Arte Reina Sofía, Madrid, the Musée d'Orsay, Paris and the Tate Collection in London. He died during the summer of 1964, just after his first retrospective at the Musée d'Art Moderne de la Ville de Paris and just a few years after the two present exquisite works were executed.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

[Evans (Marian)], "George Eliot". Silas Marner: The Weaver of Raveloe, first edition, lacking half-title, advertisements and publisher's catalogue, some light foxing, upper hinge cracked but holding, contemporary green half morocco, rubbed, upper joint starting, William Blackwood and Sons, 1861 § [Glasse (Hannah)] The Art of Cookery, Made Plain and Easy, sixth edition, title with a few small chips to head and repaired to verso, foxing and some light soiling, rear free endpaper repaired, modern calf-backed boards, spine gilt, for the Author, 1758 § Major (Thomas) Les Ruines de Paestum, facsimile reprint, engraved plates, the odd spot, original cloth, some light soiling, a few nicks and scratches to lower cover, 1969; and others, various subjects, v.s. (lge qty in 12 boxes)

Nottingham.- Hutchinson (Lucy) Memoirs of the Life of Colonel Hutchinson, Governor of Nottingham Castle and Town, second edition, engraved frontispiece, 2 plates, 1 facsimile, 1 engraved plan, 1 folding genealogical table, scattered spotting, occasional water-staining, ex-library with usual labels and ink-stamps, twentieth-century cloth, library label to upper cover and spine foot, a little rubbed, bumping to corners and extremities, 1808 § Mellors (Robert) Letters from the United States to the Nottingham Pleasant Sunday Afternoon Class, one or two spots, ex-library with usual ink-stamps, modern cloth, Nottingham, 1890 § Wallis (G. H.) City of Nottingham Art Museum, Nottingham Castle. Illustrated Catalogue ... of the Permanent Collection, plates, chipping and browning to first and last few ff., tissue-repairs to edges, original printed wrappers bound-in, tears and loss to edges, tissue-repairs, ex-library with usual labels and stamps, twentieth-century cloth, Nottingham, 1913 § Marshall (George W.) The Register of Perlethorpe in the County of Nottingham, bookplate, original vellum-backed boards, rubbed, bumping to corners and extremities, Worksop, 1887 § Stapleton (Alfred) The Churches and Monasteries of Old and New Nottingham, frontispiece, plates, illustrations, scattered faint spotting, ex-library with remnants of labels, ink-stamps, contemporary cloth-backed boards, a little rubbed, Nottingham, 1903; and others on Nottingham, v.s. (c.75)

AFTER XIE ZHILIU (1910-1997), BUTTERFLIES AND LILIESChina, 20th century. Ink and watercolors on paper. Inscribed including the artist name Zhiliu jushi Xie Zhi and with red seals. Finely painted with butterflies fluttering above lilies, the flowers in full bloom, with petals of coral and foliage of evergreen, matted in silk. The subject of butterflies, an animal that undergoes a form of 'rebirth' from their chrysalis, is seen as an auspicious symbol of longevity. Lilies and butterflies together form a rebus, 'Xuān Die Tú', meaning 'May mother live up to a ripe old age', and are often a theme for mothers' birthday gifts. Framed in a vintage frame, behind glass.Condition: Very good condition with very minor ink stains and creasing.Provenance: US trade.Dimensions: 89 x 42 cm (image cut-out), 105.5 x 66 cm (frame)Xie Zhiliu (1910-1997) was a leading traditional painter, calligrapher, and art connoisseur of modern China. He was a noted member of the Shanghai School. Xie and his wife Chen Peiqiu are one of the most famous couples in Chinese art. Xie began learning to paint at the age of nine and received an education according to the Chinese artistic tradition, which is a combination of drawing directly from life and copying the paintings of old masters. At the age of 19, he began to emulate the style of Ming dynasty master Chen Hongshou. In the 1930s, Xie Zhiliu befriended the famous painter Zhang Daqian. In 1942 Xie went to Dunhuang with Zhang to study the art of the Mogao Caves. After returning he published several books including 'Records of Dunhuang Art' and 'Compilation of Dunhuang Cave Art'. In 1943, Xie was hired as an art professor by the National Central University (now Nanjing University), then exiled in Chongqing during the Second Sino-Japanese War. He held personal exhibitions in many Chinese cities including Chengdu, Chongqing, Kunming, Xi'an, and Shanghai. After the founding of the People's Republic of China in 1949, he worked on cultural relic preservation, and served as a consultant for the Shanghai Museum.

A PAINTED POTTERY ROULEAU VASE, HAN DYNASTYChina, Han dynasty (206 BC-220 AD). Of rare cylindrical shape with short neck, the vessel made of terracotta with original painting in black, blue, and iron red, painted with floral decoration and geometric borders.Provenance: Galerie Zacke, Vienna, 5 November 1997. Dr. Mons Fischer, acquired from the above, sold at ATS 5,445 (approx. EUR 800 after inflation). Being a seasoned private collector of modern and contemporary art, Dr. Mons Fischer has acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria.Condition: Overall good condition, and commensurate with age as expected from Han dynasty excavations. Wear to the pigments, encrustations, flaking, repairs, and chips.Weight: 910 gDimensions: Height 18 cm, diameter 11 cm

A RARE POTTERY FIGURE OF A FEMALE, WESTERN HANChina, Western Han Dynasty (206 BC-8 AD). A rare female figure, which corresponds to the so-called 'Stickmen' from the area of the Yangling tomb of Emperor Jingdi (157 - 141) in Xi'an, these stick-shaped human sculptures formed the army and the court in the shafts, whilst male "stickmen" figures are more frequently found in the art trade, female figures are much rarer. The wooden arms and clothes made of fabric have now deteriorated and are missing. The present figure shows accurately represented sexual characteristics and small breast, the hair tied on a topknot and painted black, the skin painted in flesh color. Set into a modern metal and plexiglass base. Condition: Good condition, commensurate with age, with repairs as expected from Han dynasty excavations. Wear to the pigments, encrustations, and minor chips. Provenance: From an Austrian private collection, acquired at Galerie Zacke around 2005. Weight: 4960 g Dimensions: Height 54 cmLiterature comparison: For a related pottery figure of a female see The Victoria & Albert Museum, accession number FE.45-2008.

A FINE PYU BURIAL NECKLACE WITH 122 AGATE BEADSPyu city-states, c. 10th century. The necklace composed of 100 round and few disc-shaped beads increasing in size towards the center, the semitranslucent stones of pale to deep red tones with irregular etched decoration, on a modern wire string. Condition: Very good condition, the beads with expected traces of wear and weathering. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 76 g Dimensions: Length 46 cm (when fastened)

A ROMAN LIMESTONE PORTRAIT HEAD OF JULIUS CAESAR, AUGUSTAN PERIODAugustan period, c. late 1st century BC to early 1st century AD. Sculpted with finely detailed features, the face revealing an intense expression, with deep-set eyes beneath arched eyebrows, a sharp nose, slim, narrow lips, and a prominent chin. A minor wrinkle is noticeable on his forehead, positioned between the eyes and extending to the sides of the mouth, denoting maturity but not advanced age. His hair is meticulously carved. Mounted to a modern wood and metal stand. Condition: Good condition commensurate with age. Extensive wear with signs of natural weathering and erosion, some nicks, and losses. Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book "Remembrances of a Journey in Tartary, Tibet, and China". French Export License: Certificat d'exportation pour un bien culturel Nr. 185424 dated 3 July 2017 has been granted and a copy is accompanying this lot.Dimensions: Height c. 39 cm (incl. the stand)Julius Caesar, born in 100 BC, was a key figure in Roman history and played a pivotal role in transforming Rome from a regional power to a vast military empire. His achievements set a standard for leadership that influenced world leaders for centuries.

A WHITE MARBLE RELIEF DEPICTING VISHNU, HOYSALA EMPIRESouth India, 10th-14th century. The central deity seated with four arms holding various attributes, adorned with beaded jewelry, the serene face with almond-shaped eyes, gently arched brows, mustache, and long beard, the head surmounted by a tall elaborate crown, the figure flanked by two standing female attendants.Provenance: A noted Belgian private collection, acquired between 1985 and 1990. Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, chips, signs of weathering and erosion, and encrustations. The marble fragment with remnants of cement, indicating it was once set into a wall. Dimensions: Height 51.5 cm (excl. stand) and 55 cm (incl. stand)Fitted with a modern metal stand. (2)The Hoysala Empire was a Kannadiga power originating from the Indian subcontinent that ruled most of what is now Karnataka, India between the 10th and 14th centuries. The capital of the Hoysalas was initially located at Belur but was later moved to Halebidu. The Hoysala rulers were originally from Malenadu, an elevated region in the Western Ghats. In the 12th century, taking advantage of the warfare between the Western Chalukya Empire and Kalachuris of Kalyani, they annexed areas of present-day Karnataka and the fertile areas north of the Kaveri delta in present-day Tamil Nadu. By the 13th century, they governed most of Karnataka, parts of Tamil Nadu, western Andhra Pradesh and Telangana in the Deccan Plateau. The Hoysala era was an important period in the development of art, architecture, and religion in South India. The empire is remembered today primarily for Hoysala architecture. Over a hundred surviving temples are scattered across Karnataka.

A MUGHAL HARDSTONE AND IRON DAGGER, KHANJARNorthern India, 19th century. The hilt carved from a glossy black stone, highly polished and portraying the head of a lion, terminating at the base with a leafy flower. The long, curved iron blade features running animals amidst scroll decoration incised on both sides. With a modern wood and metal stand. Condition: Good condition with some wear and minor nicks here and there. The blade with corrosion. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 499 g (excl. the stand), 761 g (incl. the stand) Dimensions: Length 43 cm

A LURISTAN BRONZE AXE HEAD, IRAN, CIRCA 1350-1000 BCThe axe with a rimmed, fan-shaped blade. The cylindrical socket extending into four molds terminating in spikes, with bands crossing over and merging above the blade. Overall with a rich, naturally grown, solid patina with distinct areas of encrustations.Provenance: Galerie Persepolis, Brussels, exhibited from 28 October to 13 November 1971. Collection Monsieur H., Brussels, acquired from the above. Collection Madame D.T., acquired from the above. Condition: Good condition, commensurate with age. Extensive wear, few nicks, light scratches, minor losses, signs of weathering and corrosion, and encrustations.Weight: 385.5 g (excl. stand) Dimensions: Length 23.5 cmWith a modern metal stand. (2)Luristan bronzes are small cast and decorated objects from the Early Iron Age (first millennium BC) which have been found in large numbers in Lorestan province and Kermanshah in western Iran. They include a great number of ornaments, tools, weapons, horse fittings, and a smaller number of vessels including situlae and are characterized by a wide range of idiosyncratic forms and a highly stylized conception of human and animal representation. Those from recorded excavations were generally found in burials. The ethnicity of the people who created them remains unclear, though they may well have been Iranian, possibly related to the modern Lur people who have given their name to the area. Luristan bronze objects came to the notice of the world art market from the late 1920s onwards. They were excavated in considerable quantities by local people and are found today in many of the world's most important museums.Literature comparison:Compare a related bronze axe, 22.5 cm long, dated circa 1350-1000 BC, in the Los Angeles County Museum of Art, accession number M.76.97.457. Compare a related bronze axe, 25.3 cm long, dated to the 9th century BC, in the British Museum, registration number 1973,1220.17. Compare a related bronze axe, 19.3 cm long, 1000-800 BC, in the Louvre, inventory number AO 20399. Compare a related bronze axe, illustrated in Alexis Cabrol, Bronzes prehistoriques de Perse. Bulletin de la Societe prehistorique de France, 1932, vol. 29, no. 9, pp. 429-432.Auction result comparison:Type: RelatedAuction: Christie's New York, 12 April 2022, lot 53Price: USD 21,420 or approx. EUR 19,500 converted and adjusted for inflation at the time of writingDescription: A Luristan bronze axe head surmounted by an ibex, circa 1200-900 BCExpert remark: Note the similar size (25.4 cm)

A LURISTAN BRONZE ´DOUBLE MASK´ FINIAL, IRAN, c. 8TH CENTURY BCAncient Persia, ca. 8th-7th century BC. Finely cast in the form of a cylinder, one end with a pair of Janus-masks, the other with a pair of zoomorphic masks. With a modern metal stand. Condition: Very good age-related condition with wear, signs of weathering and corrosion. Naturally grown patina overall with areas of malachite green. Provenance: Old French collection, acquired before 1945. Weight: 67 g (excl. stand, 145 g (incl. stand) Dimensions: Length 9 cmLiterature comparison: For a related Luristan tube see The Metropolitan Museum of Art, accession number: 30.97.10.Luristan bronzes are small cast and decorated objects from the Early Iron Age (first millennium BC) which have been found in the Lorestan province and Kermanshah in Western Iran. They include a great number of ornaments, tools, weapons, horse fittings, and a smaller number of vessels including situlae and are characterized by a wide range of idiosyncratic forms and a highly stylized conception of human and animal representation. Those from recorded excavations were generally found in burials. The ethnicity of the people who created them remains unclear, though they may well have been Iranian, possibly related to the modern Lur people who have given their name to the area. Luristan bronze objects came to the notice of the world art market from the late 1920s onwards. They were excavated in considerable quantities by local people and are found today in many of the world's most important museums.

A LAPIS LAZULI FRIEZE OF A DIGNITARY WITH SNAKEWestern Asiatic region, presumably 7th century. Of irregular rectangular form, carved in relief with a dignitary seated on a stool and a further figure with a staff, both grasping a snake depicted in the center. The stone of a deep, striking blue hue amid patches and veins in various shades of gray beneath subtle glimmering mica flecks.Condition: Good condition with traces of age and wear, minor losses, the stone with natural imperfection and minor encrustations. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 1266 g (excl. stand) Dimensions: c. 15 x 16 cm (excl. stand)With a modern stand. (1)

A LAPIS LAZULI FRIEZE WITH WARRIORSWestern Asiatic region, presumably 7th century. Of irregular rectangular form, carved in relief with two warriors, one prepared to shoot an arrow, and a man kneeling before them. The stone of a deep, striking blue hue amid patches and veins in various shades of gray beneath glimmering mica flecks.Condition: Good condition with traces of age and wear, minor losses, the stone with natural imperfection and minor encrustations. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 1176 g (incl. stand) Dimensions: c. 14 x 15.5 cm (excl. stand)With a modern stand. (1)

Pair of modern art glass sculptures, max H35cm

Chinese modern art glass triple sommerso teardrop sculpture, orange speckled glass vase, Voyage Maison glass vase with polychrome banding and one other modern art glass vase, max H30cm (4)

VINCENZO DI BIASE - Italian abstract modern art. (1940-2020) Titled - Dal Colore Alla Forma Dated 2013. Signed and titled to verso. Oil on canvas 50x40cm This was exhibited at www.megaart.it

Claudio Giulianelli - Italian modern art. Titled La Belle Zzac 2022 - oil on canvas 50x40cm This was exhibited at www.megaart.it & Lojelo Art Gallery

MODERN ART DECO LAMP with glass shade65cm high

‡ A COMPOSITE NORTH ITALIAN CAP-A-PIE ARMOUR WITH ETCHED DECORATION, LATE 16TH CENTURY comprising morion in the ‘Spanish’ fashion, with one-piece almond-shaped crown rising at its apex to a vestigial backward-directed 'stalk', and slightly down-turned narrow integral brim projecting to an obtuse ‘point’ front and rear, its edge formed with a file-roped inward turn accompanied by a narrow groove with later brass rivets, fitted at the nape with a later brass plume-holder, and the base of the crown encircled by fourteen brass-capped lining-rivets with brass rosette-washers; collar of a deep main plate front and rear surmounted in each case by a restored upper extension-lame; breastplate formed of a main plate of deep 'peascod' fashion, fitted at its arm-openings with fixed gussets (restored) and flanged outwards at its lower edge to receive a pair of pendent tassets attached in each case by three modern straps, and formed of nine simulated lames (cracked and patched across the width in two places); backplate formed in one piece and flanged outwards at its base; two large symmetrical pauldron (not a pair) formed of seven lames overlapping outwards from the third and largest, the lower four extending inwards only to the armpit; a pair of fully articulated tubular vambraces, each fitted at its upper end with a turner of one lame, and at its elbow with a winged bracelet couter of three lames; two gauntlets (not a pair) each formed of a flared and round-ended tubular cuff, four metacarpal-plates, and a shaped knuckle-plate (thumb-plate and finger-scales restored and partly lost); a pair of cuisses (restored) each formed of a gutter-shaped main plate rising to a convex upper edge and fitted at its lower edge with a poleyn of four lames formed at the outer end of its second with a small medially-puckered oval side-wing, both cuisses engraved in a panel on the inside ‘jambière fait en Suisse 1914 gravé par R. Bartel 1916. 1 cotté de molette ancient, 2 grèves fait R. Bartel 1916’; and a pair of greaves (restored) each open at the rear and formed of two plates joined by hinges, the rear plate of the right greave painted in red ‘ancient part’ and a pair of toe-caps each engraved on the inside ‘piece fait en Suisse 1914 gravé par R. Bartel 1916’; the main edges of the armour formed almost throughout with file-roped inward turns, and its surfaces decorated in bands and borders with etching on a stippled and blackened ground, that of the morion consisting of four warriors in strapwork cartouches, divided by trophies-of-arms within cabled borders, the remaining surfaces with bands of warriors, fabulous beasts, birds and trophies of arms within cabled borders framed by plain lines, and the breastplate, backplate and pauldrons with volutes filled with portrait profiles (the pauldrons, vambraces and gauntlets with restorations and showing extensive wear, the cuisses and greaves restored, the etching with restorations); all on a wooden stand with base Provenance Bashford DeanThe Cleveland Museum of Art, sold: Arms and Armor mainly removed from a Midwestern Educational Institution, Parke-Bernet Galleries Inc., 30th March 1961, lot 205 ($325 to Kindig)Joe Kindig Jr. (1898-1971), thence by descent LiteratureHelen Ives Gilchrist, A Catalogue of the Collection of Arms and Armor presented to the Cleveland Museum of Art, Cleveland 1924, pp. 31-32 no. A10. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

After Louis Villeminot (1826-c1914)small gilt bronze model of a bird, on a marble rectangular base, signed, 10cm long x 7.2cm deep x 7.5cm highProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection. With original glass eyes, some wear and marks and a small chip to the underside of the base.

Titled: Go-See for Ocean Drive. Scene of the infamous Ocean Drive in the South Beach area of Miami Beach, Florida. Christopher Makos was born in Lowell, Massachusetts, grew up in California, and moved to New York after high school. He studied architecture in Paris and briefly worked as an apprentice to Man Ray. Andy Warhol, Makos' good friend and frequent portrait subject, once called Makos "the most modern photographer in America." His photographs have been exhibited in galleries and museums such as the Guggenheim Museum in Bilbao, the Tate Modern in London, the Whitney Museum of American Art in New York, the IVAM in Valencia (Spain) and the Reina Sofia Museum in Madrid. His pictures have appeared in magazines and newspapers, including Paris Match and Wall Street Journal. He is the author of several important books, like the volumes Warhol/Makos In Context (2007), Andy Warhol China 1982 (2007) and Christopher Makos Polaroids (2009).Sight size: 17"H x 36"L. Frame size: 31"H x 33.5"L x 1.75"Depth. Artist: Christopher MakosIssued: 1995Country of Origin: United StatesProvenance: The Bass Museum of Art Condition: Good condition.

Gloss finished photographic print of an architectural sketch by American architect Walter DeGarmo, who was known for his Mission and Mediterranean revival style luxury residences in South Florida. Print features two sketched views of a modern styled firehouse with multiple bays and rounded exterior walls. This photograph is included in the 1991 book, 70 Years of Miami Architecture, by Millas J. Aristides, published by the Bass Museum of Art. Mounted on white matboard. Title and description labeled to back. Print size: 16"H x 20"W; with matboard: 22"H x 28"W. Artist: Walter DeGarmoProvenance: The Bass Museum of Art Condition: Good condition.

Ezra Stoller (American, 1915-2004) is an international recognized leader of Modern architecture photography. This highly detailed photograph exemplifies Stoller's preponderance for sharply defined angles and curves and plays between shadows and light. Modernist architect Alfred Browning Parker (American, 1916-2011) redesigned the Miamarina (Miami + Marina) in Bayside Miami, Florida in 1971. This silver print photograph is represented in the 1991 book, 70 Years of Miami Architecture, by Millas J. Aristides, published by the Bass Museum of Art. Housed with a white mat. Mat size: 20"W x 16"H. Photo size: 14"W x 11"H. Artist: Ezra StollerIssued: c. 1970Country of Origin: Miami, FloridaProvenance: The Bass Museum of Art Condition: Good condition.

Ezra Stoller (American, 1915-2004) is an internationally recognized photographer of Modern architecture. Stoller photographed the Alliance Machine Company in Coconut Grove in Miami, Florida, that Modernist architect Alfred Browning Parker (American, 1916-2011) designed in 1957. Housed with a white mat. Mat size: 20"W x 16"H. Photo size: 14"W x 11"H. Artist: Ezra StollerIssued: 1959Country of Origin: Miami, FloridaProvenance: The Bass Museum of Art Condition: Good condition.

This silver print photograph represents an aerial view of the landmark Vizcaya Villa and its sprawling Italianate gardens in Biscayne Bay, Miami, Florida. Industrialist James Deering (American, 1859-1925) built Vizcaya as "a modern and subtropical interpretation of an eighteenth-century Italian villa" between 1914 and 1922, Housed with a white mat. Mat size: 16"W x 20"H. Photo size: 14"W x 11"H. Issued: c. 1950Country of Origin: Miami, FloridaProvenance: The Bass Museum of Art Condition: Good condition.

Isometric drawing interior of a dining space and a living room in a small scale apartment in Miami Beach, Florida. Inscribed on the paper "Frederick T. Rank, A.I.D, Miami Beach, Fla." Frederick Rank was a well known Mid-Century Modern designer in Miami. This particular work was featured as part of The Promises of Paradise exhibition from The Bass Museum in 2007/2008which showcased work from Miami's Mid-Century Designers and Architects. Site size: 15.25" L x 11.20"H. Frame size: 23"L x 18.45"H x 1.25"W. Artist: Frederick T. RankIssued: c. 1940Country of Origin: United StatesProvenance: The Bass Museum of Art Condition: Good condition.

These three drawings represent same sized wall units with books, decorative items, and a television space designed with three different design styles. Inscribed on lower part of each drawing: "Frederick T. Rank, A.I.D, Scale 1"=1'0". Frederick Rank was a well known Mid-Century Modern designer in Miami. This particular work was featured as part of The Promises of Paradise exhibition from The Bass Museum in 2007/2008which showcased work from Miami's Mid-Century Designers and Architects. Drawings mounted on a frame with three sites. Each sight size: 8.35"L x 11.45"H. Frame size: 36.75" L x 19.55"H x 1.25"W. Artist: Frederick T. RankIssued: c. 1950Country of Origin: United StatesProvenance: The Bass Museum of Art Condition: Good condition.

Andy Warhol (American, 1928-1987)Mick Jagger, from Mick Jagger Portfolio (Feldman & Schellmann II.145) Screenprint in colours, 1975, on Arches Aquarelle paper, signed in pencil, an unrecorded proof aside from the edition of 250, further signed and annotated '1st artist proof' in pencil verso, framedSheet 1105 x 737mm (43 1/2 x 29in)Footnotes:ProvenanceDr Maury P. Leibovitz Collection, Connecticut.Private collection, US, UK and Greece (by descent from the above in 1992).Thence by descent to the present owner.The present work by Andy Warhol was originally part of the collection of Dr. Maury Leibovitz. As the Vice-Chairman and President of Knoedler-Modarco, as well as close associate of billionaire industrialist and philanthropist Dr. Armand Hammer, owner and founder of Hammer Galleries, Leibovitz was a prominent figure in the New York art world in the 1970-1990s.In his role as head of one of the USA's oldest and most established galleries, Leibovitz was well-placed in the blossoming New York art scene to meet and integrate with some of the biggest names of the time, including the likes of Andy Warhol, from whom it is probable that the present work was acquired. Despite this significant role in the contemporary market, his eclectic personal collection of art was very broad; it spanned the centuries and included works by the Old Masters, Impressionists, Modern European artists such as Salvador Dalí. His legacy in the New York art world remains to this day, having gifted a number of works to various institutions, including the Metropolitan Museum of Art, the National Portrait Gallery and the New York Historical Society Museum and Library.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Postcards - Late Victorian, Edwardian and later, including pictorial seasons greetings, Welsh Highland Railway in Aberglaslyn Pass, RP postcards of a seal pup, Easter Greetings, classical art series, modern advertisement examples, Christmas cards, Early European landmarks, destination examples, etc QTY (1 box)

A lady's suede handbag, Art Nouveau chrome clasp;   a Victorian morocco leather-bound pocket edition of Book of Common Prayer and Hymns Ancient and Modern in slip-case;  a Victorian leather and brass bound photograph album;  etc

A Polished Stone Effect Modern Art Sculpture of Kneeling Figure, 38cms High

Modern ceramic Art Nouveau style female bust & lime wash look table lamp

§ § John Bratby R.A. (English, 1928-1992) 'The Cliffs at Birling Gap'oil on canvasModern British Art label verso46 x 36cm***CONDITION REPORT***Oil on canvas in honest clean condition, later stepped painted wood frame, label verso for Louise Kosman / Modern British Art listing it as exhibited at Fairfield Halls, Croydon 1974, further labels for sale relating to a sale at Bonhams Scotland.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A mixed selection of traditional and modern ceramics and glass, comprising: a late Victorian 'Harvest' stoneware tyg, the three handles modelled as hunting dogs, the body relief moulded with bucolic scenes, 15cm high, 14cm diameter; a pink lustreware jug decorated with a landscape; a jug with partially worn iridescent yellow glaze; an Art Deco-style angular tapering twin handled green and red glazed vase with triangular cover, unmarked; a small footed dish with pierced border; a light brown glazed baluster vase with everted rim, indistinctly stamped; a Chris Prinell porcelain 'shot pot'; a Chris Keenan small tenmoku and wax resist tapering vase, stamped to base; a Gillies Jones clear and light blue footed glass bowl; a blue glass tapering vase; and a Scottish shaped oval light blue ground ceramic dish decorated with sea life (lot)  

JOE STRUMMER - MODERN LPs/ RARITIES. A fantastic pack of 5 LPs by The Clash frontman Joe Strummer. All modern releases/ rarities. Titles include Rock Art And The X-Ray Style (80521-1, M/ Sealed with inserts), Global A Go-Go (99977-1, M/ Sealed), The Action EP (Limited Edition No. 0945 of 1000. Ex+/ Ex), Streetcore (80454-1SC, Ex+/ Ex+) & Assembly: The Collection (DH0002, M/ Sealed).

A group of assorted items including a vintage mantel clock; a modern table sculpture of a figure within a pine block and works of art (a lot)

A large assortment of vintage and modern clocks and timepieces, including various Art Deco mantel clocks, travel clocks; also clock parts and cases (a lot)

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

In Memory of My Feelings. Frank O`Hara. Mit Lithographien von 30 Künstlern. 1967. Je auf Mohawk Superfine Smooth Velin. Blattmaße je 30 x 22,5 cm (unaufgefaltet). Viele im Stein signiert bzw. monogrammiert. Je gefaltet und lose inliegend in original Leineneiband und original Leinenschuber. Mit dem Titel- und Textblatt sowie Impressum. Dort nummeriert. - Die Lithographien je mit werkimmanenter, vertikaler Mittelfalz. Vereinzelt an Kanten etwas angestoßen und mit leichten Griffspuren. Punktuell wenige Blätter und der Leineneinbad mit leichten Fleckchen. Insgesamt in gutem Zustand. Ausgezeichnete, kräftige Drucke. Eines von 2500 Exemplaren. - Enthält Arbeiten von: - Alex Katz - Robert Motherwell - Helen Frankenthaler - Joan Mitchell - Elaine de Kooning - Niki de Saint Phalle - Barnett Newman - Jasper Johns - Robert Rauschenberg - Willem de Kooning - Lee Krasner - Larry Rivers - Reuben Nakian - Alfred Leslie - Marrisol - Joe Brainard - Al Held - Roy Lichtenstein - Jane Wilson - John Button - Philip Guston - Claes Oldenburg - Grace Hartigan - Michael Goldberg - Matsumi Kanemitsu - Norman Bluhm - Allan D'Arcangelo - Giorgio Cavallon - Nell Blaine - Jane Freilicher. - Hg. v. The Museum of Modern Art, New York 1967. - Die Graphiken werden je ergänzt durch ein typographisches Gedicht von Frank O'Hara. In Memory of My Feelings. Frank O`Hara. With lithographs by 30 artists. Each on Mohawk Superfine Smooth wove paper. Mostly print signed resp. monogrammed. Each folded and loose in original linen ribbon and original linen slipcase. With title and text page and imprint. There numbered. - The lithographs each with a vertical centrefold immanent to the work. Occasionally a little bit bumped at the edges and with slight traces of handling. A few sheets with slight stains. All in all in good condition. Excellent, strong impressions. - One of 2500 copies. - With works of artists as listed above. - Published by The Museum of Modern Art, New York. - The prints are each complemented by a typographical poem by Frank O'Hara.

Minimalismus - - Sol LeWitt. (1928 Hartford, Connecticut - 2007 New York). Lines in four directions aus: Rubber Stamp Portfolio. 1976. Gummistempeldruck auf Arches Satin Velin. 5 x 5 cm (20,2 x 20,2 cm). Verso mit dem typographischen Künstlernamen bezeichnet und handsigniert bei Unity Engraving. Mit dem originalen Umschlag. Dort mit typographischen Werks- und Editionsangaben. - Kante mit minimalen Anstoßungen. Der Umschlag mit sehr leichten Gebrauchsspuren. Insgesamt in ausgesprochen gutem Zustand. Prachtvoller, kontrastreicher Druck mit dem vollen Rand. Krakow 1976.06. - Eines von 1000 Exemplaren. - Zusammen hg. v. Parasol Press, Ltd. und dem Museum of Modern Art, New York 1977. - Druck bei Aaron Arnow. 1 Rubber stamp print from: Rubber Stamp Portfolio. 1976. On wove paper. Inscribed with the typographic artist's name on the verso and signed by hand by Unity Engraving. With the original envelope. There with typographical indications of work and edition. - Edge with minimal bumping. The cover with very slight traces of use. At all in a very good condition. Splendid impression, rich in contrast, with the full margins. - One of 1000 copies. - Co-published by Parasol Press, Ltd. and the Museum of Modern Art, New York. - Printed by Aaron Arnow.

Anni Albers. (1899 Berlin - 1994 Orange/Conneticut). Do-C. 1973. Farbserigraphie auf leicht strukturiertem Velin. 39 x 39 cm (47,2 x 42 cm). Signiert, datiert, betitelt und nummeriert. - Punktuell blasser, kaum merklicher kleiner Fleck, unten rechts winzige Oberflächenbereibung in der Darstellung, vereinzelte leichte Griffspur im Rand, verso oben rechts kaum merkliche Oberflächenbereibung, insgesamt sehr gut. Prachtvoller, farbintensiver und klarer Druck mit schmalem, unten mit breitem Rand. Eines von 20 Exemplaren. - Meisterlich verschränkt Anni Albers in ihrem Schaffen Kunst mit Weberei, revolutioniert das Handwerk mit modernistischen Ideen. Gefeiert als eine der innovativsten und einflussreichsten Textil-Künstlerinnen unserer Zeit, steht sie ihrem Mann Josef Albers und seinem Schaffen in nichts nach. Vielmehr sind beide als künstlerisches Powerduo zu begreifen, das sich der Kunst auf erforschende Weise widmete. Beide lernen und lehren am Bauhaus, der Institution, die Kunst als Gesamtwerk betrachtete. Ausgehend hiervon, wird Anni Albers zur Pionierin eines ganz eigenen, einzigartigen Webstils und erhält 1949 als erste Textil-Künstlerin eine Einzelausstellung im New Yorker Museum of Modern Art. Verstärkt wendet sie sich in ihren letzten Lebensjahren der Graphik zu, verarbeitet die Farbfelder ihrer geometrisch-konkreten Kompositionen zu webartigen Mustern von spielerischer Sensibilität. In den zunächst scharfkantigen abstrakten Darstellungen entfaltet sich ein unendliches Fließen und Bewegen. Colour silk-screen on light structured wove paper. Signed, dated, titled and numbered. - Isolated faint, hardly noticeable stain, tiny surface abrasion on lower right depiction area, isolated very light handling traces in margins, hardly notcieable surface abrasion on the verso, all in all very good. Splendid, colour-intense and clear impression with narrow margin, at the bottom with wide margin. - One of 20 copies. - In her work, Anni Albers masterfully intertwines art with weaving, revolutionising the craft with modernist ideas. Celebrated as one of the most innovative and influential textile artists of our time, she is in no way inferior to her husband Josef Albers and his work. Rather, both are to be understood as an artistic power duo who devoted themselves to art in an exploratory manner. Both studied and taught at the Bauhaus, the institution that regarded art as a complete work. Based on this, Anni Albers became a pioneer of her own unique weaving style and became the first textile artist to receive a solo exhibition at the New York Museum of Modern Art in 1949. In the last years of her life, she turned increasingly to graphic art, processing the colour fields of her geometric-concrete compositions into web-like patterns of playful sensitivity. In the initially sharp-edged abstract representations an infinite flow and movement unfolds.

Günther Uecker (Wendorf/Meckl. 1930). Wintersonne im Engadin. 1982. Farblithographie. 40 x 40 cm. Ungerahmt. R. u. mit Bleistift sign. und dat. Uecker 82, sowie l. u. num. e.a., verso bez. Herbstliches Abendrot im Engadin. - Bedeutender deutscher Nachkriegskünstler, bekannt durch seine dreidimensionalen Nagelbilder. U. studierte in Wismar sowie an den Kunstakademien Berlin-Weißensee und Düsseldorf. 1961 wurde er Mitglied der Gruppe 'ZERO' und wandte sich vermehrt der kinetischen Lichtkunst zu. Daneben entwarf er mehrere Bühnenbilder und nahm an den Documenta III, IV und VII teil. Bis 1995 hatte U. eine Professur an der Düsseldorfer Akademie inne. Mus.: Düsseldorf (Museum Kunstpalast), London (Courtauld Institute of Art), New York (Museum of Modern Art), Paris (Centre Pompidou) u. a. Lit.: Brockhaus 'G. U. - Graphein' (2002), Ortheil 'G. U. - Wasser Veneziana. Aquarelle von G. U.' (2005) u.a.