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.
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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.
Günther Uecker (Wendorf/Meckl. 1930). Abendsonne im Engadin. 1982. Farblithographie. 40 x 40 cm. Ungerahmt. R. u. mit Bleistift sign. und dat. Uecker 82, sowie l. u. num. e.a. - 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.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Gräser am Meer. 1979. Tempera. 43,5 x 62 cm. L. u. sign. und dat. Sprotte 79, unter Glas gerahmt, ungeöffnet. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Rosa Rugosa. 2002. Aquarell. 39,5 x 30 cm. Ungerahmt. L. u. sign. und dat. Sprotte 02. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Veronica Persica. 2002. Aquarell. 29 x 21 cm. Ungerahmt. L. u. sign. und dat. 21.4.02 Sprotte, im Passepartout montiert. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Mohn. 2003. Aquarell. 32 x 24 cm. Ungerahmt. L. u. sign. und dat. S. Sprotte 03. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Flaschenpost an einen Unbekannten-Bekannten. 1993. Gouache. 52 x 78 cm. Ungerahmt. U. mittig sign., dat. und bez. Siegward Sprotte 1.I.93. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Gräser. 2001. Farbkreide/Filzpapier. 50 x 65 cm. Ungerahmt. L. u. sign. und dat. Sprotte 2001. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Kakteen. 1980. Tempera. 41 x 31,5 cm. R. u. sign. und dat. S. Sprotte 80, unter Glas gerahmt, ungeöffnet. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Strandhafer. 1992. Pastell. 51 x 73 cm. L. u. sign. und dat. S. Sprotte 92, unter Glas gerahmt, ungeöffnet. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Braune Woge. Aquarell. 51 x 73 cm. Unter Glas gerahmt, ungeöffnet. L. u. sign. Sprotte. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Amaryllis. 1978. Tempera/Japan. 46 x 31 cm. L. u. sign. und dat. S. Sprotte 78, unter Glas gerahmt, ungeöffnet. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.
Monica Poole (British 1921-2003) "Dandelion" Signed, titled and numbered 8/75 in pencil in the margin, wood engraving.25.5 x 21.5cm (framed 42 x 37cm)Poole is recorded as having produced 36 wood engravings from 1977 to 1993, all of which rarely appear on the market. Examples of her work can be found in the Ashmolean Museum in Oxford, the Fitzwilliam Museum in Cambridge, the Victoria and Albert Museum, the British Museum in London, the Scottish National Gallery of Modern Art in Edinburgh, the Boston Public Library and in many other collections. Her close friend and fellow wood engraver, George Mackley, published a book on her prints in 1994.Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. The paper has browned universally across the sheet and there are some minor spots of foxing. There are some minor undulations across the paper and one or two minor surface marks and scuffs. The print is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
ANTOINE-LOUIS BARYE (1796-1875)Cheval Turc N°2, antérieur gauche levé modèle en bronze à patine verte nuancée à rehauts brun ; reposant sur une base rectangulaire ; numéroté « 52 » sous le ventre du cheval ; signé sur la terrasse « BARYE » et numéroté « 058 » ; portant une étiquette en papier sous la base « Spécialité d'Encadrement/A. BEUGNIET. /10 Rue Laffitte. Paris. Vente et Location / Tableaux & Aquarelles »épreuve ancienne, entre 1857-1875A bronze model of Cheval Turc N°2, left foreleg up, Antoine-Louis Barye (1796-1875)green patina with brown highlights; standing on a rectangular base numbered '52' under the horse'stomach; signed on the terrace 'BARYE' and numbered '058'; bearing a paper label under the base 'Spécialité d'Encadrement/A. BEUGNIET. /10 Rue Laffitte. Paris. Sale and Rental / Paintings & Watercolours'old cast, 1857-187530 x 31.5 x 12.5 cm (11 13/16 x 12 3/8 x 4 15/16 in)Footnotes:安托万·路易斯·巴里(1796-1875)土耳其马，编号2，左前蹄抬起青铜，古代作品，画于1857-1875年间Provenance Louis Adolphe Beugniet (1820-1893), Paris.Bibliographies comparatives Catalogue des Bronzes de Barye, Paris, 1847-1848, n°52.Catalogue des Bronzes d'Antoine-Louis Barye, Paris 1865, n°99 et 100.A. Alexandre, Antoine-Louis Barye, Paris 1889, p. 65.R. Ballu, L'œuvre de Barye, Paris, 1890, p. 85.S. Pivar, The Barye Bronzes, catalogue raisonné, Woodbridge, Suffolk, Antique Collectors Club 1974, p. 206, n° A 150.M. Poletti et A. Richarme, Barye, catalogue raisonné des sculptures, Paris, 2000, n° A 128, p. 265.Louis Adolphe Beugniet (1820-1893), célèbre marchand d'art et collectionneur, possédait sa galerie et son magasin d'encadrement au 10 rue Laffitte à Paris. Il était l'ami de nombreux peintres de cette seconde partie du XIXe siècle et influença grandement le goût de ses clients. Eugène Delacroix, qu'il représentait, Joseph Meissonnier, Jean-François Millet, Henri-Joseph Harpignies, Honoré Daumier, Charles-Joshua Chaplin, Jongkind, Edgar Degas, Pierre-Édouard Frère, Félix Ziem comptent parmi les plus célèbres. Avec Durand-Ruel, il fut l'un des promoteurs de l'art moderne.Louis Adolphe Beugniet (1820-1893), a famous art dealer and collector, had his gallery and frame store at n°10 rue Laffitte in Paris. He was a friend of many painters of the second half of the 19th century and greatly influenced the taste of his customers. Eugène Delacroix, whom he represented, Joseph Meissonnier, Jean-François Millet, Henri-Joseph Harpignies, Honoré Daumier, Charles-Joshua Chaplin, Jongkind, Edgar Degas, Pierre-Édouard Frère, and Félix Ziem are among the most famous. With Durand-Ruel, he was one of the promoters of modern art.Voir notice précédente.See the previous catalogue note.For further information on this lot please visit Bonhams.com
Andy Warhol (1928-1987)Mao (Feldman and Schellmann II.125A)Screenprint in colours on wallpaper, 1974, published by the estate and foundation of Andy Warhol, for the exhibition 'Andy Warhol 1989 Retrospective' at The Museum of Modern Art, New York, February 6-May 2 1989, on wove paper, the full sheet printed to the edges, sheet 1117 x 765mm (44 x 30in)
Andy Warhol (1928-1987)$1.57 Giant Size (Feldman & Schellman II.2)Screenprint and spray paint on coated record cover stock, 1963, with the accompanying record of artist interviews, a proof aside from the edition of 75, printed by Andy Warhol and Billy Klüver, published by Billy Klüver, New York, published to coincide with the 'Popular Image Exhibition' at the Washington Gallery of Modern Art, Washington, D.C., April 18-June 2, 1963, the full sheet printed to the edges, sheet 311 x 313mm (12 1/4 x 12 1/4in)
A collection of silver to include; a small rectangular engine turned decorated 1960s silver cigarette box with wooden innards, a matching condiment set including mustard pot, salt cellar, pepper pot and two spoons (both pots with blue glass liners), a Liberty & Co Birmingham silver spoon with slight hammered effect, a Baker & Son Birmingham silver propelling pen, a sterling silver propelling pencil, a Harrison & Howson Ltd silver small pill box, a modern hallmarked silver pill box, a Charles Horner silver thimble, two Georgian era spoons, a set of six 830s silver twisted stemmed teaspoons by Marius Hammer, sugar tongs with filigree by Marius Hammer, a London silver "Gin" decanter label, with some various silver spoons including commemorative, art nouveau style, weighable 925 silver approx. 307 grams (9.7ozt)Further Details: Some general wear, tarnishing, surface scratching etc.
Christopher Wood (British, 1901-1930)Spring Flowers in a Jug oil on canvas laid on board28 x 20.7 cm. (11 x 8 1/8 in.)Painted in 1928Footnotes:ProvenanceRex Nan KivellWith The Redfern Gallery, London, March 1942William MasonPrivate Collection, U.K.ExhibitedLondon, The New Burlington Galleries, Christopher Wood: Exhibition of Complete Works, 3 March-2 April 1938, cat.no.307LiteratureEric Newton, Christopher Wood 1901-1930, The Redfern Gallery, London, 1938, p.73, cat.no.331Painted in 1928, Spring Flowers in a Jug, belongs to a time when Christopher Wood was working closely with both Ben and Winifred Nicholson. The three had become increasingly close friends and spent much time together in London with Wood exhibiting alongside Winifred at the Seven & Five exhibition at the Beaux Arts Gallery during February of that year. As Spring dawned, an invitation to visit Bankshead, their farmhouse near Brampton in Cumbria, arrived and offered with it the opportunity to accelerate his learning and rejuvenate in the country. Writing to his mother, Wood noted that 'This is a dear old farmhouse. My room is lovely with great beams going up into the roof and across the room, all whitewashed and a huge window across the end, a box bed with a pretty blue cover, a table, a row of pots of tulips and little hyacinths and outside some ducks and a little farmyard like Beatrix Potter things' (Christopher Wood quoted in Richard Ingleby, Christopher Wood, An English Painter, Allison & Busby, London, 1995, p.181). The stay was to have a crucial impact on his hosts too with Winifred describing how 'he came in March, his arrival was like a meteor' (ibid, p.181).The work they produced during this time has been described as sharing the same spirit with a multitude of ideas flowing back and forth. Ben Nicholson and Wood explored the necessity of elimination in their drawing, a lesson which the latter had started to learn whilst in Rome in 1925 and taught by Jean Cocteau and Picasso. Many of these works, incorporating box shaped farm buildings and an assortment of trees and animals, are almost impossible to differentiate and reflect the intimacy of the working relationship. However, it was to Winifred that the artist appears to have been closest and they shared a deep appreciation of colour along with a spiritual connection that would extend beyond his untimely death. It is through their respective depictions of flowers that the influence of one another is most evident, the present work being a striking example.Whilst both artists were well versed in more formal still life arrangements, they were most successful when working with bunches of wild flowers placed informally within a mug, jug or glass as can be seen in the present composition. Although Wood is not known to have painted any floral pictures at Bankshead itself, he spent much time observing Winifred and upon his return to Paris in April, he was focused on exploring the subject, requesting she send him bunches of spring flowers in the post. Several pictures, including Still Life, Bankshead (Private Collection), which depicts colourful flowers sent in one such package by Winifred emerged from the French capital. Placed in a blue glass to Winifred's influence, they are set within a composition drawn from Ben Nicholson's Walton Wood Cottage No 1 (Scottish National Gallery of Modern Art) with the wood itself and cottage almost identical but a heightened sense of colour throughout to give a unique identity. Spring Flowers in a Jug combines the strong influence of both Ben and Winifred from this important moment and is a visual record of the significant relationship between the three artists. The patterned complexity of the soft and muted background echoes the compositions of Ben whilst the flowers radiate in Winifred's own words as 'sparks of light, built of and thrown out into the air as rainbows are thrown, in an arc', set to Wood's own painterly gestures (Winifred Nicholson, quoted in Jovan Nicholson, Art and Life 1920-31, exh.cat., Dulwich Picture Gallery, London, 2013, p.33).We are grateful to Robert Upstone for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Robert Upstone, c/o Bonhams, Modern British Art Department, 101 New Bond Street, London, W1S 1SR, or email britart@bonhams.comFor further information on this lot please visit Bonhams.com
Tristram Hillier R.A. (British, 1905-1983)Derelict signed 'Hillier.' (lower right) and dated '1951.' (lower left)oil on canvas22.9 x 15.9 cm. (9 x 6 1/4 in.)Footnotes:ProvenanceMiss N. Cullinan, TexasPrivate Collection, U.S.A.Derelict takes its composition from the left-hand portion of an undated drawing (Private Collection, U.K.). The right-hand portion of the same drawing contains elements seen in Hillier's painting Almería, Spain 1951 (Collection of Nottingham Castle), suggesting the present scene was also observed on the Andalusian coast. The small boat in the far distance, intricate netting, piled rags and discarded jerrycan or toolbox are all details Hillier has added following the drawing stage. The motif of a single run down and unseaworthy vessel, languishing ashore with the sea beyond is one that Hillier painted on a handful of occasions, including Hulks, 1957 (Collection of Glasgow Museums). The Estate of Tristram Hillier is preparing a forthcoming catalogue raisonné of the Artist's paintings and would like to hear from owners of any works by Hillier. Please write to The Estate of Tristram Hillier, c/o Modern British and Irish Art, Bonhams, 101 New Bond St, Mayfair, London W1S 1SR or email britart@bonhams.com.This lot is subject to the following lot symbols: * 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
Patrick Heron (British, 1920-1999)FLOWERS IN A WINDOW : OCTOBER 1952 signed and dated 'Patrick Heron/52' (lower right)pencil, watercolour and gouache 28 x 14.4 cm. (11 x 5 5/8 in.)Footnotes:ProvenanceWith The Redfern Gallery, London, 9 November 1983, (as Untitled Composition I), where acquired byProfessor Jack W.C. HagstromHis sale; Doyle, New York, 6 October 2021, lot 3, where purchased by the present ownerPrivate Collection, U.K.ExhibitedNew York, Brooklyn Museum, British Watercolours and Drawings of the 20th Century, 1953-4, cat.no.18; and touring (catalogue untraced)The Estate of Patrick Heron is preparing a forthcoming catalogue raisonné of the Artist's work and would like to hear from owners of any works by Patrick Heron, so that these can be included in this comprehensive catalogue. Please write to the Estate of Patrick Heron, c/o Modern British and Irish Art, Bonhams, 101 New Bond St, Mayfair, London W1S 1SR or email britart@bonhams.comThis 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
Craigie Aitchison C.B.E., R.S.A., R.A. (British, 1926-2009)Lamentation oil on canvas20.3 x 25.4 cm. (8 x 10 in.)Painted in 1963Footnotes:ProvenanceWith Beaux Arts Gallery, London, where acquired by Lady Alexandra DacreWith Peter Nahum at the Leicester Galleries, LondonWith Jenna Burlingham Fine Art, KingsclerePrivate Collection, U.K.ExhibitedLondon, Serpentine Gallery, Craigie Aitchison Paintings 1953-1981, organised by the Arts Council of Great Britain, 1 December 1981-24 January 1982, cat.no.30; this exhibition travelled to Nottingham, Midland Group, 6 February-7 March 1982, Old Portsmouth, City Museum and Art Gallery, 7 April-16 May 1982, Milton Keynes, Central Library Exhibition Gallery, 26 May-26 June 1982, Bolton, Museum and Art Gallery, 3 July-7 August 1982We are grateful to Graham Snow for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Graham Snow, c/o Bonhams, Modern British Art Department, 101 New Bond Street, London, W1S 1SR, or email britart@bonhams.comThis 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
Sir William Nicholson (British, 1872-1949)Mrs Reginald McKenna and her sons, Michael and Davidoil on canvas 106.8 x 122 cm. (42 1/8 x 48 1/8 in.)Painted in 1927Footnotes:ProvenanceCommissioned by Reginald and Pamela McKenna, thence by family descent to the present ownerPrivate Collection, U.K.ExhibitedBelfast, City of Belfast Museum and Art Gallery, Loan Exhibition of Paintings and Prints by William Nicholson, January-February 1934, cat.no.5 (as On the Grass)LiteratureLillian Browse, William Nicholson, Rupert Hart-Davis, London, 1956, p.101, cat.no.434Patricia Reed, William Nicholson, Catalogue Raisonné of the Oil Paintings, Modern Art Press, London, 2011, p.449, cat.no.561 (col.ill.)Painted in the summer of 1927 at Mells Park House, Somerset, the present work is the first in a series of conversation pieces by William Nicholson that included Sidney and Beatrice Webb 1928 (London School of Economics) and The Ridley Family 1930 (Private Collection); the best known work features Winston Churchill and his wife Clementine in 1934 Breakfast at Chartwell (National Trust).Having moved to Sutton Veny in 1923 Nicholson was soon making frequent visits to Mells some 12 miles away. Initially to Lady Horner and her widowed daughter Katherine Asquith and family at the Manor House beside the church, and after 1925 also to Park House close by where her niece Pamela Jekyll (1889-1943) and husband Reginald McKenna (1863-1943) lived with their two sons, Michael (1910-1931) and David (1911-2003). In 1920 Nicholson had painted Pamela's aunt, Gertrude Jekyll (National Portrait Gallery) but the introduction came not from the celebrated garden designer but from their mutual friend, the architect Sir Edwin Lutyens who designed several houses, and memorials, for the families. From the meagre correspondence that survives it would seem that Pamela McKenna commissioned the painting, rather than her husband who was Chairman of the Midland Bank and formerly Chancellor of the Exchequer in Asquith's wartime coalition government. When a student at Trinity Hall, Cambridge, McKenna had been a notable rower and a member of the winning crew in the 1887 Oxford and Cambridge Boat Race. He was keen that his sons, who were now both at Eton, should follow in his footsteps. In the late 18th century the landscaping of Park House gardens included broadening the Mells Stream and creating two lakes separated by a weir that formed a waterfall with stepping stones above. They were part of the footpath from Lily Batch Lodge to Park House. By 1925 the upper lake with its Victorian boathouse was too congested with water weed to be suitable for rowing but McKenna had the lower lake excavated and a small island created near the weir from which a pair-oar could be launched and he could encourage the rowers. This island appears in the foreground of Nicholson's composition. Here Pamela McKenna is seated on a rug happily reading a book. Behind her and to the right is her younger son David who is in the green-and-white-painted dinghy which he had built himself and launched earlier that year. David later recalled that Nicholson had him continuously tacking in a circle so that he could capture the effect of the wind in the sails, though the wind wasn't always there. The waterfall forms the backdrop to the composition with a marked division between the smooth flow of the water on the right-hand side which is in shadow, while to the left the water cascades out in irregular bursts catching the sunlight with a silvery pool of smooth water beside the island. Michael is striding purposefully over the stepping stones in the direction of Park House carrying an oar on his shoulder. He is followed by a Shetland pony and the family dog, a golden retriever known as Briney. More than half of the canvas is a cloudscape, capturing the sunny-cloudy day with the playful breeze - possibly suggesting that oars are more reliable than sails.The finished work was hung in the library at Park House. The earlier 18th century house had been destroyed by fire in 1917 and Reginald McKenna had acquired a lease on condition that he rebuild the house, which he did to the designs of Sir Edwin Lutyens 1924-5. The interior design and decoration was by Sir Herbert Jekyll, Pamela's father. Unusually for Nicholson he executed three figure paintings preparatory to the finished work. Pamela McKenna had first refusal on these. She acquired the two of her sons but not the larger painting Mrs McKenna on the Grass, first exhibited in 1928 as Seaward Island (Reed 564). In this version she is seated on a smaller rug which she shares with the dog Briney. The work is more brightly lit than the other two (which are in Private Collections). While David McKenna in a Dinghy (Reed 563) is similar to the finished work, Michael McKenna in a Landscape (Reed 562) is more a study of the waterfall. Michael is standing on the right with his back to the viewer and is looking diagonally across to the waterfall. He is dressed in a jacket and knickerbockers, whereas in the finished work he appears to be wearing a white shirt, or jumper, and long shorts. One reason for these studies might have been that Nicholson just enjoyed being at Park House. He found Pamela, like her aunt Lady Horner, very sympathetic. Often he played tennis with Michael and David, another cousin making up a foursome, and while Nicholson did not share their love of music he was happy to take Michael to the National Gallery during the school holidays.This rapport is manifest in the double 'leaving portrait' of Michael and David that Nicholson executed in three or four sittings in December 1928. The boys had more than fulfilled their father's expectations – both becoming Captain of Boats and Head of School at Eton and gaining places at Trinity College, Cambridge, Michael with a scholarship. The portrait was presented in 1930 (Eton College). We are grateful to Patricia Reed for compiling this catalogue entry.This lot is accompanied by an illustrated letter from William Nicholson addressed to Mrs McKenna, which reads 'I'll expect Mike at 1.15 and will trot (if he still wishes it) along with him to the N.G. after lunch. I couldn't go in the morning as my Dentist claims me. Edie and I are just recovering from a painting injury. I have tennis elbow from holding my brush for 8 hours solid (I got to bed at 4.30. hoping that picture was better than it looked.)'For further information on this lot please visit Bonhams.com
Ivon Hitchens (British, 1893-1979)Tree, Sky & Ragwort (Giant Oak Series) oil on canvas40 x 106.2 cm. (15 5/8 x 41 3/4 in.)Painted in 1978Footnotes:ProvenanceThe Artist's EstateWith Waddington Galleries, London (as Tree, Sky & Ragwort (Giant Oak Series) aka Open Country with Ragwort), 25 March 1993, where acquired byMiss Elizabeth CreakHer Estate Sale; Bonhams, London, 28 May 2014, lot 66With The Redfern Gallery, London, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Waddington Galleries, Ivon Hitchens, A Retrospective of Paintings, 3 March-3 April 1993, cat.no.14 (col.ill and cover detail)London, The Redfern Gallery, Spring Exhibition: Modern British Art, 13 March-31 May 2019, unnumberedLiteraturePeter Khoroche, Ivon Hitchens, Andre Deutsch, London, 1990, pl.98 (col.ill)Please note that this work has been authenticated by John Hitchens, the artist's son, and bears a studio stamp (verso).Tree, Sky & Ragwort (Giant Oak Series) was one of the very last works that Hitchens' completed prior to his death in 1979, and his mastery of colour and form is plain to see. Filled with the speed and energy of a lifetime's experiment and practice and distilled into the simplest of visual languages, the work celebrates the landscape of the artist's beloved Sussex, that was the touchstone for much of his output.Hitchens' work, particularly from the forties onwards, barrelled towards further abstraction, culminating in the evocative landscapes of his later work that epitomise the artist's oeuvre. His landscapes in particular can at times be quite challenging to decipher with their sweeping fields of vivid colour and abstract shapes and planes. These shifting patchworks of colour invite the participation of the viewer, as we are drawn in to examine the form and surface of each work. Patrick Heron once said when describing one of Hitchens' woodland paintings in 1955, 'the tree is paint, and the paint is tree.' (Patrick Heron, quoted in Ivon Hitchens: Forty-Five Paintings, foreword by Alister Warman and Caroline Collier, Serpentine Gallery, London, 1989, p.5). In this work, the giant oak dominates the centre of the canvas. Boldly painted in deep browns and brilliant purples, put to canvas in sweeping painterly gestures, Hitchens brings to life the dark and brooding maturity and majesty of the tree, and draws the viewer into the landscape through this focal point. The oak is framed by the suggestion of a still-watered pond to the left, and the swathes of blues and orange above that hint at a sky at sunset. Flashes of the bright yellow of Ragwort flowers are licked at intervals across the canvas in languorous brushstrokes, at once almost entirely removed from the initial subject matter, and yet wholly anchored to it.As Hitchens so succinctly stated, 'nature contains everything, really' (ibid., p.6). An evergreen source of inspiration for the artist even until his later years, Tree, Sky & Ragwort (Giant Oak Series) perfectly illustrates the boundless enthusiasm Hitchens had for his beloved landscape.We are grateful to Peter Khoroche for his assistance in cataloguing this lot.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
Sean Scully R.A. (Irish, born 1945)London 6.9.01 signed, titled and dated 'London. Sean Scully 6.9.01' (lower right)pastel76.2 x 55.9 cm. (30 x 22 1/8 in.)Footnotes:ProvenanceWith Ingleby Gallery, Edinburgh, 2001, where acquired by the family of the present ownerPrivate Collection, U.K.ExhibitedEdinburgh, Ingleby Gallery, Sean Scully, 1 August-15 September 2001Edinburgh, Ingleby Gallery, Twenty Five, 28 January-31 March 2023Though Irish-born, Scully spent the formative years of his career living and working in the London of the present work's title until he emigrated to the United States in 1975, a place where he felt art was 'taken seriously' (Sean Scully, quoted in C. Bray, 'Sean Scully: In Search of the Light', in Art World, Issue 7, October/November 2008, p.48). Here, he helped lead the transition from Minimalism to Emotional Abstraction in painting, abandoning the reduced vocabulary of Minimalism in favour of a return to metaphor and spirituality in art. But it was trips to Morocco in the 1960s, and later Mexico in the 1980s, where his imagination was ignited by the sight of strips of dyed wool hanging out to dry, coloured tiles, fading facades and rich kilim carpets that acted as a foundation stone for the artists lifelong obsession with the stripe.London 6.9.01 is a prime example of the interlocking bands and tonal gradation that is quintessential Scully at the height of his artistic power. In the present work, three dense background bands of blue, black and red cohabit easily but do so without giving up their identities. Layered on top is a picture within a picture, a smaller inset or 'window' of five vertical stripes of ochre and russet. The positioning of narrow vertical stripes set into a background of broader horizontal stripes invite the viewer to move forward and backward, introducing a physical and emotional dynamism. Here is an abstraction that encourages dialogue and Scully has regularly cited the 'spiritual' aspect of his oeuvre, commenting that he 'is trying to get at deep emotions through simple forms' (Irish Arts Review, Spring 2006, p.75). The present example on paper is executed on a large scale and speaking to the immediacy of the medium, the artist said 'Pastel is like putting makeup on. There is a dust on the paper, which I rub in. I push it right into the paper with a piece of cloth or paper. Once it's embedded into the surface, I fix it. And then I work it up, adding a layer, fixing it, adding another layer, fixing it again, and so on until the pastel starts to stand up a little from the paper. At a certain point, if you keep pushing, you start taking it off. So you have to give in' (Sean Scully, quoted in M. Poirier, Sean Scully, New York, 1990 p.143).Scully is one of the foremost artists of his generation with art critic Arthur Danto confirming 'Sean Scully's name belongs on the shortest of short lists of the major painters of our time' (Arthur C. Danto, 'Sean Scully', Unnatural Wonders: Essays from the Gap Between Art and Life, Columbia University Press, New York, 2005). His work is housed in some of the most prominent public and private collections worldwide including Metropolitan Museum of Art, New York; Guggenheim Museum, New York; Tate Gallery, London; Arts Council of Great Britain, London and Irish Museum of Modern Art, Dublin, among others.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
Eliot Hodgkin (British, 1905-1987)Irises signed and dated 'Eliot Hodgkin '61' (lower right)oil on board46.2 x 33.3 cm. (18 1/8 x 13 1/8 in.)Footnotes:ProvenanceSir John Masterson, July 1962Sale; Sotheby's, London, 8 March 1978, lot 89, where acquired byMrs F. Davami, U.S.A.We are grateful to Mark Hodgkin for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Mark Hodgkin, c/o Bonhams, Modern British Art Department, 101 New Bond Street, London, W1S 1SR, or email britart@bonhams.comThis 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
Eliot Hodgkin (British, 1905-1987)Robert Melville's Picture signed and dated 'Eliot Hodgkin 13.V.1962' (lower left)tempera on board6.3 x 24 cm. (2 1/2 x 9 3/8 in.) (image); 8.5 x 25 cm. (3 3/8 x 9 3/4 in.) (board)Footnotes:ProvenanceRobert Melville, thence by family descent to the present ownerPrivate Collection, U.K.Robert Melville (1905-1986) was an author, gallerist and long serving art critic for both the New Statesman and Architectural Review.We are grateful to Mark Hodgkin for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Mark Hodgkin, c/o Bonhams, Modern British Art Department, 101 New Bond Street, London, W1S 1SR, or email britart@bonhams.comThis 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
Uhrengarnitur mit Frau und ZickleinWerknr. 77800. Ungemarktes Werk mit Halbstundenschlag auf Glocke, läuft an. Verglastes Metallzifferblatt mit arabischen Zahlen, Minutenkranz und modernen Zeigern. Verschiedenfarbiger Marmor, bronzierter Metallguss, Bronze/Messing neu gefasst. Uhr ca. 44,5 x 50,5 x 18 cm, Beisteller H 35 cm. Gesamt 28 kg. Gerundeter Rechtecksockel mit Vasenapplikationen und einem bekrönenden Jugendstil-Mädchen mit kämpfendem Zicklein. Dazu 2 Vasenbeisteller mit Metalleinsätzen Verwendung alter und neuer Teile, partiell leichte Kantendefekte, Zifferglastür schließt nicht, Retuschen. Mit Schlüssel und Pendel. Watch set with woman and kidWerknr. 77800. Unmarket movement with half-hour strike on bell, starts. Glazed metal dial with Arabic numerals, minute ring and modern hands. Various colored marble, bronzed metal casting, bronze/brass repainted. Clock approx 44.5 x 50.5 x 18 cm, side plate H 35 cm. Total 28 kg. Rounded rectangular base with vase appliqués and a crowning Art Nouveau girl with fighting kid. In addition, 2 vase side plates with metal inserts Use of old and new parts, partial slight edge defects, dial glass door does not close, retouching. With key and pendulum. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Uhrengarnitur mit Tänzerin und 2 SchwänenWerknr. 15182. Ungemarktes Werk mit Halbstundenschlag auf Glocke, läuft. Schräg verbautes Metallzifferblatt mit arabischen Zahlen und modernen Zeigern. Verschiedenfarbiger Marmor, Messing neu gefasst. Uhr ca. 43 x 52,5 x 12 cm, Beisteller H 15,3 cm. Gesamt 18,3 kg. Breiter Sockel mit Rechteckgehäuse, flankierenden Schwänen und einer bekrönenden Tänzerin im Art-déco-Stil. Dazu 2 passende Beisteller Verwendung alter und neuer Teile, partiell leichte Kantendefekte und Kratzer, Tänzerin locker. Mit Pendel, ohne Schlüssel. Watch set with dancer and 2 swansWerknr. 15182. Unmarket movement with half-hour strike on bell, running. Slanted metal dial with Arabic numerals and modern hands. Various colored marble, brass re-set. Clock approx 43 x 52,5 x 12 cm, side plate H 15,3 cm. Total 18,3 kg. Wide base with rectangular case, flanking swans and a crowning dancer in art deco style. In addition, 2 matching side plates Use of old and new parts, partial slight edge defects and scratches, dancer loose. With pendulum, without key. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Kaminuhrengarnitur mit RehbockWerknr. 55987. Ungemarktes, falsch verbautes Werk mit Halbstundenschlag auf (fehlender) Glocke, läuft nicht. Verglastes Metallzifferblatt mit arabischen Zahlen, Minutenkranz und modernen Zeigern. Verschiedenfarbiger Marmor, Bronze. Uhr ca. 25,5 x 46 x 12 cm, Beisteller H 13,5 cm. Gesamt 13,4 kg. Gestufter Sockel mit sitzendem Rehbock und geometrisiertem Uhrengehäuse im Art-déco-Stil. Dazu 2 passende Beisteller mit Scheibenfront Uhrenfront rückseitig verbaut, Restaurierung empfohlen. Verwendung alter und neuer Teile, Klebespuren. Mit originalem Pendel, ohne Schlüssel. Fireplace clock set with roebuckWerknr. 55987. Unmarket, mismounted movement with half-hour strike on (missing) bell, does not run. Glazed metal dial with Arabic numerals, minute ring and modern hands. Various colored marble, bronze. Clock approx. 25,5 x 46 x 12 cm, side plate H 13,5 cm. Total 13,4 kg. Tiered base with sitting roebuck and geometric clock case in art deco style. In addition, 2 matching side plates with disc front clock front installed on the back, restoration recommended. Use of old and new parts, traces of glue. With original pendulum, without key. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Kaminuhr mit eleganter Art-déco-FrauenfigurAm Kleidersaum bezeichnet "A. Richir". Werknr. 60247. Ungemarktes Werk mit Halbstundenschlag auf Glocke, läuft nicht. Bronzefarbenes Metallzifferblatt mit arabischen Zahlen, Minutenkranz und modernen Zeigern. Verschiedenfarbiger Marmor, bronzierter Metallguss und heller Kunststoff. Ca. 25 x 61 x 15,5 cm. 14,7 kg. Ovaler Sockel mit einer im Stil von Demétre Chiparus gefertigten Frauenfigur, die sitzend ihre Finger betrachtet Leichte Alters- und Gebrauchsspuren, Rand- und Fingerdefekte, Zifferblatt mit Bereibungen, Schlag- und Gehwerk sowie Zeigerstellung defekt. Ohne Schlüssel und Pendel. Fireplace clock with elegant art deco womanMarked "A. Richir" on the dress hem. Movement no. 60247. Unmarket movement with half-hour strike on bell, does not run. Bronze colored metal dial with Arabic numerals, minute ring and modern hands. Various colored marble, bronzed cast metal and light plastic. Approx. 25 x 61 x 15.5 cm. 14.7 kg. Oval base with a female figure made in the style of Demétre Chiparus, seated looking at her fingers Slight signs of age and use, edge and finger defects, dial with rubbing, striking and walking movement and pointer position defective. Without key and pendulum. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
MCCARTAN, Edward (nach)(1879 Albany - 1947 New Rochelle) Große Gartenbronze: Diana mit JagdhundBronze grünlich patiniert. Bezeichnet. 156,5 x 92 x 80 cm. Fast lebensgroße Aktfigur der weit ausschreitenden Göttin, die in aparter Geste ihren Bogen hält, während der Windhund an der Leine voranstürmt. Neuzeitlicher Guss nach dem 1923 entstandenen Original, das heute im Metropolitan Museum New York steht Amerikanischer Bildhauer, Schüler am Pratt-Institute Brooklyn und der Art Students League of New York. 1907-10 in Paris, ab 1914 Lehrer am Beaux-Arts Institute of Design New York.Shipping not available MCCARTAN, Edward (after)(1879 Albany - 1947 New Rochelle) Large Garden Bronze: Diana with Hunting DogBronze greenish patinated. Inscribed. 156.5 x 92 x 80 cm.Almost life-size nude figure of the wide striding goddess, who holds her bow in a distinctive gesture, while the greyhound rushes forward on a leash. Modern casting after the 1923 original, which is now in the Metropolitan Museum New York American sculptor, student at the Pratt Institute Brooklyn and the Art Students League of New York. 1907-10 in Paris, from 1914 teacher at the Beaux-Arts Institute of Design New York.Shipping not available*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
3 Jugendstil-Vasen mit Blumenmalerei| siehe NachtragStempelmarke Germany, um 1900. Polychrom bemalt, goldstaffiert. H 1x 31 cm und 2x 22 cm. Balustervasen mit quadratischem Stand und zwei Henkeln. Schauseitig die Darstellung von Narzissenpflanzen | Nachtrag 06.06.23: Neuzeitliche Ausführung. 3 Art Nouveau vases with floral painting| see supplementStamped Germany, circa 1900. Polychrome painted, gold decorated. H 1x 31 cm and 2x 22 cm. Baluster vases with square base and two handles. On the front the representation of daffodil plants | Addendum 06.06.23: Modern version. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
ESCOFFIER, A "Kochkunst-Führer""Ein Hand- und Nachschlagbuch der modernen französischen Küche und der feinen internationalen Küche". Internationaler Verband der Köche. Frankfurt/M. 1914. 22 x 17 cm. Autorisierte deutsche Übersetzung der dritten französischen Auflage. 959 Seiten mit Rotschnitt im goldgeprägten Halbledereinband Leichte Alters- und Gebrauchsspuren, vorn eingeklebtes, altes Kuvert. ESCOFFIER, A "Culinary Art Guide""A handbook and reference book of modern French cuisine and fine international cuisine". International Association of Chefs. Frankfurt/M. 1914. 22 x 17 cm. Authorized German translation of the third French edition. 959 pages with red edges in gilt-stamped half leather binding Light signs of age and wear, old envelope pasted in front. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
COLQUHOUN (ITHELL)Archive of 'magical writings', manuscripts, typescripts, original illustrations and printed material, comprising: i) Manuscript and typescript essays and lecture notes, including typed essays on Qabalah with manuscript amendments ('The Crown and the Kingdom' in four parts '...The ten circles, centres or concentrations of force are the Sephioth or Divine Emanation...'), Druidry and Gnosticism, 'Fire and the Pyramid of Flame' ('...the progeny of Electricity... the essence of our divine ancestors, the celestial hierarchies...'), typescript of her one-act play 'The Pilgrimage', essay on Aleister Crowley ('Heaven & Earth: The Dying Kick of the Dying-God'), on ritual ('Ceremony Connected with the Banishing Ritual of the Pentagram... The altar is arranged as for the Neophyte Grade of the G.D... Rose and Dagger in E., Incense, lamp and Fire-Wand in S., Cup in W.... if the pentacle is not ready, a gold coin may be substituted...'), on interior stars ('De Astris Interioribus'), a long descriptive essay on 'The Isiac Tablet of Bembo', also 'The Taro as Colour', 'Zodiacal Rulership of the Taro Court Cards' and descriptions of 17 of the 22 Major Arcana of the Tarot ('The Fool', 'The High Priestess', 'The Hanged Man', etc.), and much else; illustrated with some 23 original diagrams in biro, some coloured in gouache, including 'The Cube' (5), the Tree of Life (10), 'Tatwass Through the Day' (collection of loose coloured-paper shapes), 'Taro Trumps in the Cube of Space' (4), c.244 pages, typed or written in blue or black biro on lined paper, many annotations and amendments, illustrations and diagrams in biro and gouache, mostly 4to, [undated]; ii) File of incoming correspondence, some published as appendices (Dorothy Empson, Maxwell Armfield (3), Robert Temple (3), Colin Murray of the Golden Section Order), typed article by Mrs Armer on 'Worship of the Old Deity', printed matter concerning Colquhoun's Masonic affiliations, and 4 pages of unpublished notes and diagrams, 80 pages, various sizes, etc. [1970's]; iii) Colquhoun's research material pertaining to W.B. Yeats, Maude Gonne and Ireland, including notes taken at the Yeats International Summer School at Sligo, her 'Irish' address book (including those of Jack Yeats and Mrs W.B. Yeats), various photographs, maps, guidebooks, timetables etc., c.47 pages of notes, c.1966-1968; with first edition copies of Ithell Colquhoun's Sword of Wisdom: MacGregor Mathers and the Golden Dawn, London and New York, 1975, one inscribed by the author to Kitty (2), The Crying of the Wind, Ireland, 1955, and The Living Stones, Cornwall, 1957, [second half twentieth century] (collection)Footnotes:'THE OPENING OF THE SEALS IS FOLLOWED BY THE SOUNDING OF SEVEN TRUMPETS & THE POURING OF SEVEN VIALS': MAGICAL WRITINGS AND ILLUSTRATIONS BY THE IMPORTANT BRITISH SURREALIST PAINTER, OCCULTIST & AUTHOR.Until recently the surrealist works of Ithell Colquhoun (1906-1988) have been somewhat overshadowed by better-known contemporaries such as Leonora Carrington and Eileen Agar, but interest in her art and writing is now firmly in the ascendant. Indeed, the scholar Amy Hale has noted that Colquhoun '...is becoming recognized as one of the most interesting and prolific esoteric thinkers and artists of the twentieth century...' (Amy Hale, 'The Magical Life of Ithell Colquhoun' in Nevill Drury, Pathways in Modern Western Magic, 2012) and argues that through Colquhoun's work '...we can see an interplay of themes and movements which characterizes the trajectory of certain British subcultures ranging from Surrealism to the Earth Mysteries movement and also gives us a rare insight into the thoughts and processes of a working magician...'.The magical material in this archive, save for four pages of notes and diagrams, was gathered together and published as The Magical Writings of Ithell Colquhoun in 2007 by Steve Nichols, a copy of which is included in the lot. It serves as a complement to Colquhoun's 1974 work, Sword of Wisdom: MacGregor Mathers and the Golden Dawn, her only published book on magical theory. The four essays entitled 'The Crown and the Kingdom' were also published by Steve Nichols as a separate volume in 2006. Much of it was delivered as lectures, notably to Countess Tamara Bourkhoun's Golden Dawn-inspired Order of the Pyramid and Sphinx in the 1960's, of which she was a prominent member, or articles in such publications as Prediction. She was an initiate of several different orders representing Hermetic and Pagan traditions including the OrdoTempli Orientis, the Masonic Order, the Fellowship of Isis and the French Gnostic Church. Colquhoun discovered surrealism through the work of Dali and Magritte whilst studying at the Slade under Henry Tonks, and joined the English Surrealist Group in 1939, exhibiting with Roland Penrose at the Mayor Gallery the same year. Her involvement with the British Surrealist movement, however, was to be brief as she was soon expelled from the group for refusing to abandon the occult research which had become central to her work. She was interested in the occult from an early age, particularly the principles of the Hermetic Order of the Golden Dawn, introduced through her cousin Edward Garstin, and she infused her art with elements of occult colour theory and sacred geometry, both of which she returned to in her later writings as evidenced here (see Amy Hale, The Magic Surrealism of Ithell Colquhoun, Art UK online, June 2020).The present collection represents many of her wide-ranging interests, drawing together her magical and artistic careers. In her short article of 1977, 'The Taro as Colour', a modern typed copy of which is included in the archive, she talks of her magical theory of colour and the surrealistic painting technique of automatism: '...It renders the essence of each card by the non-figurative means of pure colour, applied automatically in the manner of the psychomorphological movement in surrealism...' she explains. Also evident is her admiration for Celtic lore (one letter is from a Deaconess of the Ancient Celtic Church) and in particular W.B. Yeats, a Golden Dawn Adept who also used automatism in his work ('...Through his hermetic studies under MacGregor Mathews, Yeats was deeply embued with Qabalistic thought...'). Ithell's influential article about Aleister Crowley which appeared originally in the London Broadsheet, no.4, April 1955, is also present, typed and amended by the author: '...Ithells' attitude to Aleister Crowley was ambivalent. He chased her around a house once, but she managed to escape his advances...' (Nichols, p.3). Amongst the wealth of material here is a detailed description of a ritual, 'The Outline of Preliminary Ceremony Connected with the Banishing Ritual of the Pentagram', running to some five handwritten pages with red and black inks used to clarify which are spoken words and which are actions. As might be expected, there are also several striking illustrations, including a series of colourful painted diagrams depicting various configurations of The Cube. Provenance: Steve Nichols, editor of The Magical Writings of Ithell Colquhoun, 2007.For further information on this lot please visit Bonhams.com
Fergusson, James Tree and Serpent Worship or, Illustrations of Mythology and Art in India in the First and Fourth Centuries after Christ. From the Sculptures of the Buddhist Topes at Sanchi and Amravati ... Second Edition, revised, corrected, and in great part re-written. London: India Museum, 1873. 4to (33 x 24cm), original red half morocco gilt, xvi 274 pp., lithographic frontispiece, 101 plates numbered 1-100 (including 10A), albumen print photographs or lithographs, photographs mounted as issued (often one on each side of a single leaf, numbered in all cases as separate plates), publisher's postscript slip, joints cracked with front board remaining attached only via new endpapers, frontispiece, title-page and first leaf of text strengthened in gutter, dust-soiling and a few spots to top edges of mounts, numerical ink-stamp to margin of p. 33, mount for photographic plates 95 and 96 creased across upper fore corner [Gernsheim 419];Malcolm, John. Malcolm's History of Persia (Modern) edited and adapted to the Persian Translation of Mirza Hairat, with Notes and Dissertations by Lieut.-Colonel M. H. Court, 15th Bengal Cavalry. Lahore: printed at the "Civil and Military Gazette" Press, Lahore, 1888. Folio (32.5 x 20cm), modern half leather, [2] ix [3] 290, title-page slightly nicked and marked and with small annotation to upper inner corner, light marginal soiling elsewhere, last 2 leaves slightly nicked and with damp-staining to corners;Kaye, G. R (editor). The Bakhshali Manuscript. A Study in Medieval Mathematics. Calcutta: Government of India Central Publication Branch [volume 2, Delhi: Manager of Publications], 1927-33. First edition, 2 volumes, 4to, original blue quarter morocco, photogravure plate (spotted), 47 ?collotype plates, volume 2 spine rubbedNote: Note: James Fergusson travelled to India after leaving school, and within ten years as an indigo planter in Bengal had made a sufficient fortune to dedicate himself to the study of art and architecture. Sanchi, near Bhopal in modern-day Madhya Pradesh, is the oldest Buddhist sanctuary in existence, dating from the 2nd and 1st centuries BC. The stupa at Amaravati, in what is now Andhra Pradesh, was founded around 200 BC. Fergusson's account was first published in 1868. The photographs are by W. H. Griggs and James S. Waterhouse; Waterhouse eventually became surveyor-general to the Monumental Photographic Survey of India. The Civil and Military Gazette, publishers of this edition of Malcolm's Persia, was where Rudyard Kipling began his professional life in India, joining as a sub-editor in 1882.
Caesar, Julius The Commentaries Translated into English. To which is prefixed a Discourse concerning the Roman Art of War. By William Duncan. Illustrated with Cuts. London: J. and R. Tonson and S. Draper, and R. Dodsley, 1753. Folio (43 x 26cm), civ 335 [20] pp., modern panelled calf to style, richly gilt spine, marbled endpapers, edges sprinkled red, 79 engraved plates including frontispiece (plates '3' and '4' in fact one plate), most double-page and 3 (nos. 41, 75 and 78) also folding, 6 folding maps, frontispiece offset onto title-page, title-page additionally somewhat marked, signatures 2A-2B with short closed tear to head, plate 41 (buffalo) with repairs and short closed tears along bottom edge, plate 59 (folding map of Italy) with small repair, plate 75 (elephant) with small tear to intersection of folds and short closed tear to foot [ESTC T136453]Note: Note: First Duncan edition. William Duncan (1717-1760) was professor of philosopher at Marischal College, Aberdeen. The plates, many by Cornelis Huyberts, include depictions of Picts, Britons, and 'Germans', battles including the famous 'Battle with the Elephants' scene, military formations and encampments, aerial city views, and a suite of nine plates after Mantegna's Triumphs of Caesar. Remaining in print well into the 19th century, Duncan's translation was influential the 18th-century revival of interest in Britain's Celtic past and helped inspire his pupil James Macpherson in his creation of Ossian, the mythical Scottish bard. Publishing the work a few years after 1745 Jacobite rebellion, Duncan was evidently concerned to present Caesar as a model of leadership, advising his dedicatee the future George III: 'It is likewise well known, that in dangerous domestic seditions ... nothing tends more to confirm the well-affected in their duty, and to check the machinations of the factious, than when a king every was qualified to command, appears in person at the head of his troops'.
A large Reformed Gothic brass mantel clock designed by Bruce Talbert, probably by Cox & Co or Hart, Son, Peard & Co, triangular open scroll work decoration of flowers and foliage, the flowers set with red glass and moonstone cabochon, circular dial enamelled with Roman Numerals, the foliate finial set with agate stone panel, the movement attributed to Gay Vicarino & Co, London, bevelled glass door, movement signed GV 1461, 51.5cm. high LiteratureCharlotte Gere & Michael Whiteway 19th Century Design from Pugin to Mackintosh, page 118 for a comparable example illustrated.The John Scott Collection, Modern English Design From the 1860s and 1870s, Fine Art Society, 11th June-3rd July 2014, catalogue number 68 for a comparable example. Catalogue NotesBruce Talbert (1838-1881) trained as an architect before becoming one of the leading exponents of the Reformed Gothic style. This clock, designed circa 1871, was illustrated in The Illustrated Catalogue of Gothic & other Artistic Domestic Furniture, Fittings, Decorations, Upholstery & Metal work, published by Cox & Sons in 1872. Gay Vicarino worked in London between 1864 and 1875,
(1) Matena. De meisjes van het station. Arboris. Portfolio of ills. by Matena. No. 131 of 400, most ills. signed by the author. (2) Idem. De vrouwen van Alfred H. Portfolio of 4 drawings by Matena, each numb. out of 500 and signed by Matena. (3) 4 var. comics by Matena. (4)) Varenne. Sere Modern. Arboris/ Dynamo, 1984-7. Nos. 1-2, 6, and 16. Ill. sc. (5) L'art erotique d'Alex Varenne. Paris, Albin Michel, 1991. Hc w. ill. dust-j. -and (6) 2 other works by Varenne. Added: (7) Aloys Oosterwijk. Saperlipopette. Arboris, 1994. Ill. hc. No. 145 of 150, signed by Oosterwijk. -and (8) 23 others, and a few loose erotic comic art drawings. (total approx. 37)
Louisiana Museum of Modern Art/Koening Books London, 2017. 1st ed. (2) Carla van de Puttelaar. The Beholder's Eye. Amst., De verbeelding, 2008. (3) Idem. Artfully Dressed: Women in the Art World. London, Unicorn, 2019. (4) Desiree Dolron. Xteriors, 2001-2018. Amst., 2017. Design: Irma Boom. -and 3 more. Hc (5) and sc (2), as new and still shrink wrapped (5). (total 7)
1910-1934. New York, Museum of Modern Art, 2002. 304 p. Hc. (2) Susan Pak. Film Posters of the Russian Avant-Garde. London etc., Taschen, 1995. 319 p. Hc w. ill. dust-j. (3) Ivan Bilibin. Leningrad, Aurora, 1981. 226 p. Hc w. (sl. worn) dust-j. (4) Margarita Tupitsyn. El Lissitzky. Jenseits der Abstraktion (...). Munich, Schirmer/ Mosel, 1999. 239 p. Hc w. dust-j. -and 6 others. (total 10)
Bergamo, Istituto Italiano d'Arti Grafiche, August 1934. 1 issue of this famous Italian periodical on art, the 1st Italian monthly dedicated purely to modern art. Edges sl. worn, covers sl. discol. 14 postcards inserted loosely (some repeats, some circulated) of a.o. the exhibition futurism 1922 and 1 book of postcards of various Italian museums, buildings and landmarks. Ca. 1920s-30s.
(1) Eindhoven, van Abbemuseum, 1966. Softcover, 26 x 23.5 cm, ca. 160 pp. Ills. b/w. Text in Dutch, English, French and German. Includes the Dutch introduction leaflet. Features an exhibition on the use of light in modern art and sculpture, with an amazing cast of international contemporary artists. This copy signed by 37 participants on one sheet, including Fontana, Dan Flavin, Morellet, Peeters, Colombo, Le Parc, Uecker and Piene. Very good copy. (2) Blue portfolio handmade by Henk Peeters titled 'Kunstlichtkunst', 25 x 17.5 cm. Holds 6 sheets with typed and written texts, original drawings and sketches for his contribution to the exhibition. Rare documentation. Both items derive from the Henk Peeters archive. (total 2)
Comprises: (1) Two invitation cards for Lichtenstein exhibitions at Ileana Sonnabend Paris in 1965 (Compositions) and 1967 (Affiches pop-art et autres). (2) Large invitation card for 'Mirrors' at Leo Castelli Gallery New York 1971. (3) Promotional cards and brochures presenting Lichtenstein prints and editions by: Gemini G.E.L., 1970 (leaflet with 4 inlaid cards including a colour photo of a Modern Head relief); Publications I.R.L. New York (Bianchini and Castelli), ca. 1970; Galerie Thomas Munich, 1970; Multiples Inc & Castelli Graphics (Roy Lichtenstein 'Still Lifes') ca. 1974. (total 11)
was written by Barbara Rose for the Museum of Modern Art. New York, MoMA, 1970. Original 'soft-sculpture' type vinyl cover, 23 x 37 cm, 221 pp. Pink decorated endpapers, colour and b/w ills. Contains a dedication. First edition, produced in conjunction with Oldenburg's retrospective exhibition held 25 September to 23 November 1969. Very good copy, cover and endpapers still fresh.
1) Udo Kultermann, Art-Events and Happenings. London, Mathews Miller Dunbar, 1971. Translated in English. Hardcover, 23 x 21 cm, 210 pp. Age toning and irregularity on cover. (2) Treffpunkt Parnass. Wuppertal 1949 - 1965. Cologne, Rheinland-Verlag, 1980. Edited by Will Baltzer and Alfons Biermann. Softcover, 319 pp. Text in German, profusely ill. Moderate rubbing on cover, interior good. (3) Fluxus selections from the Gilbert & Lila Silvermann Collection. New York, Museum of Modern Art, 1988, 66 pp. Some wear on cardboard wrapper, interior very good. (4) Fluxus Da Capo. 1962 Wiesbaden 1992. Edited by René Block. Wiesbaden, Nassauischer Kunstverein, Kulturamt der Landeshauptstadt Wiesbaden, 1992. Softcover, 175 pp. Text in German. (5) Critical Mass: Happenings, Fluxus, Performance, Intermedia and Rutgers University 1958-1972. New Brunswick, Rutgers University Press, 2003. Edited by Geoffrey Hendricks. Softcover, 211 pp. Very good copy. (total 5)
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