We found 19747 price guide item(s) matching your search

(1) Art & Project Bulletin No.85, Jan 1975. Single folded sheet, 29.5 x 21 cm, 4 pp. Text piece. Edges show light toning, else a good unmailed and unfolded copy. (2) Set of 13 exhibition announcement cards including: Städtisches Museum Mönchengladbach, Galleria Sperone Turin (very rare card), Dwan New York (1969), 'Weathering Piece' Wide White Space Antwerp (1970), Sonsbeek 72, two cards from the project by Bonger (1972), 'Carl Andre: Waterbodies' Museum of Modern Art New York (1973), 'Sculptures and Poems' Kunsthalle Bern (1975), 'Tree Bones' ACE Los Angeles (1976), 'Secant' Sperone, Westwater, Fischer New York (1977), Whitechapel Art Gallery London (1978) and ARC Musée d'Art Moderne de la Ville de Paris, Le Musée d'Art Contemporain Montreal (1979). (total 14)

featuring exhibitions held after the artist's untimely death at the age of 24. Includes: (1) Various invitations by Paul Maenz hosting shows with works from the estate as well as book launches in 1971, 1977 (3 cards), 1981, 1985, 1988. (2) Other gallery and museum exhibition announcements from: Videogalerie Schum Dusseldorf (1971), Sperone Turin (1972), Annemarie Verna Zurich (1975), Van Abbemuseum Eindhoven (1977), Museum of Modern Art Oxford (with poster), Kunstmuseum Luzern (1978), Galerie Mueller-Roth Stuttgart (1989). (total 17) The German artist Peter Roehr (1944-1968) became known for his serial montages which included objects, photo, film and sound montages as well as text or 'typo-montages'. He collaborated closely with Paul Maenz, amongst others in organizing the 1967 exhibition 'Serielle Formationen' with André, Dibbets, Haacke, Judd, Manzoni and Schoonhoven. Paul Maenz gallery was instrumental in keeping the artist's legacy alive.

(1) Bruce McLean, Early Works. Museum of Modern Art Oxford, 1975. Poster, 59 x 42 cm. Folded twice. Minor dog-ear on lower right. Signature performance document. The artist himself stated 'The poster of an event records the event, and is sometimes more of the event than the event itself.' (2) Possibly a nude by a coal bunker, a new performance by Bruce McLean. Riverside Studios, Hammersmith 1980. Postcard, with pinholes. (3) Bruce McLean at the Whitechapel. Whitechapel Art Gallery London, 1983. Announcement flyer, folded as issued. (total 3)

PHILIPPE HALSMAN STUDIO PORTRAIT POSTER, MODERN ART EDITIONS, STUDY OF MARILYN MONROE, FRAMED AND GLAZED, APPROXIMATELY 90cm x 48cm

A 1985 Pablo Picasso, Museum of Modern Art, New York Exhibition poster

Walter Steggles (1908-1997)"Sussex Landscape, Lewes"Signed, oil on canvas, 37cm by 49cmProvenance: The Artist's Estate and thence by descent.Christie's, Modern British and Irish Art, 14th December 2012, lot 381Some light surface dirt, the odd hair and brush bristle trapped within the paint. Canvas slightly buckling upper left corner. Otherwise appears in good overall condition.

Pat Douthwaite (1934-2002) Scottish"Annie Steiner with Sacrificial Goat" (1984-85)Oil on canvas, 151.5cm by 120cmLiterature: Illustrated in the artist's obiturary in The Times, by Douglas Hall on Wednesday 31 July 2002, p.29Illustrated on the back cover of "Douthwaite Paintings and Drawings 1951-1988", Third Eye Centre, Glasgow, Peacock Printmakers, Aberdeen, 1988Provenance: Directly from the artist Born in Glasgow, Pat Douthwaite (1934-2002) initially studied movement, mime and modern dance with Margaret Morris. Following several years successfully performing with the Celtic Ballet she decided to become an artist, a decision often linked to the influence of Morris’s husband, Scottish Colourist J.D. Fergusson. In 1958 she moved to Essex where she knew several artists, including William Crozier, were working.From 1959 and for some years, she travelled worldwide, then settling to work as a painter and printer in Britain. Douthwaite’s works pursue a variety of themes, often reflecting the torment of humanity and particularly that of a female nature. Her expressive dark imagery combines vibrant colours with a fragile line. During her lifetime, she exhibited with Richard Demarco, at the Talbot Rice Gallery, the Royal College of Art, Third Eye Centre and at the Scottish Gallery, who also held a memorial exhibition in 2005. Douthwaite’s work is held at The Scottish Arts Council, Aberdeen Art Gallery and Ferens Art Gallery.The vendor was a great companion and advisor of the artist. The two shared a close relationship and were evidently kindred spirits. He later became her executor. See p.74 "Pat Douthwaite" by Guy Peploe, The Scottish Gallery.

§ Marlow Moss (1889-1958) - Untitled, pencil and blue wax crayon pigment on paper, signed and dated '1944' in pencil to the lower margin, unframed, the full sheet 23.8 x 18.8cmThe vendor states that this work come from the estate of his late brother-in-law, who lived in Hampstead and had friends and associates in the modern British art world. Unfortunately, there is no documented paperwork to support this. The suggestion is that this would have been a gift at some stage.Paper is slightly unevenly cut to edges.Very minor areas of spotting and handling to edges.Overall good.Unframed and loose.

Sam Francis1923 San Mateo/Kalifornien - 1994 Santa Monica - "Sam Francis - Fondation Maeght 19 mars - 5 mai 1983" - Ausstellungsplakat (Farblithografie)/Papier. 89,5 x 84,5 cm. Bez. l. u.: Imp. Arte, Paris. Das Blatt liegt lose. Leichte Knickspuren im Randbereich. Francis ist einer der bedeutendsten Vertreter des abstrakten Expressionismus. Kennzeichen für seine Aktionsmalerei sind organisch geformte Farbflecken, die zusammen mit dünnen Farbrinnsalen und -spritzern auf weißem Bildgrund meditative Klänge erzeugen. Seine Werke hängen u. a. in der Tate Gallery und im Museum of Modern Art.

HARUMI NAKASHIMA: TWISTING BACK, MULTIPLYINGBy Harumi Nakashima, signed by the artistJapan, 2011Outstanding and large porcelain biomorphic abstract sculpture covered in clear glaze and regularly distributed opulent cobalt blue polka dots of varying sizes, titled 'Twisting Back, Multiplying', hand-built by the famous Japanese ceramic artist Harumi Nakashima 中島晴美 (1950). Signed at the bottom in a dot '1104 晴' (1104 Haru). Made in 2011.HEIGHT 41 cm, WIDTH 53 cm, DEPTH 33 cm Condition: Excellent condition.Born in 1950 in Ena, Gifu Prefecture, Harumi Nakashima 中島晴美 is known for his biomorphic porcelain sculptures decorated with opulent blue dots. He excels in clay creations far removed from both tradition and functionality. Taking great care to achieve a flawless surface and form, each piece is created over the course of six months. Nakashima's early reputation was cemented as one of the leading teachers at the Tajimi Pottery Design and Technical Center, having trained and influenced many of the promising young ceramicists of Japan since 1976. Nakashima has received leading prizes and tributes. With works collected by 20 public institutions the world over, including the Museum of Arts and Design in New York and the Faenza Ceramics Museum in Italy, he is one of Japan's most celebrated porcelain artist. Influenced by the blue sometsuke (under-glaze) motifs of traditional Japanese porcelain, Nakashima's motifs also use cobalt blue over-glaze. Yet unlike traditional methods, Nakashima's blue dots are painted over the body of a work after the main firing, and then fired into the white glaze of the porcelain with a second firing using the technique of "in-glazing", thereby leading to the sinking of the dots upon the white overglaze. Perhaps more surprising is the fact that his organic, sprawling and fluid porcelain bodies are entirely hand-built. As porcelain is extremely difficult to manipulate by free-hand, Nakashima intentionally uses this method to create not only tension, but an epic "battle with clay". He is currently based in the port city of Nagoya, and some of his more recent exhibitions are: 2021 Art Market San Francisco, Duane Reed Gallery Duane Reed Gallery, St. Louis, MO 2020 Sokyo Gallery, Kyoto, Japan Gallery VOICE, Tajimi, Gifu, Japan 2019 SOFA Chicago, Duane Reed Gallery Taijimi City Pottery Design and Technical Center, Gallery Suki, Aichi, Japan The National Museum of Modern Art, Tokyo 2018 Meguro Gallery, Yokkaichi, Mie, Japan The Tsinghua University Art Museum, Beijing, China SOFA Chicago, Duane Reed Gallery Art Market San Francisco, Duane Reed Gallery 2017 Nihonbashi Mitsukoshi, Tokyo SOFA Chicago, Duane Reed GalleryAuction comparison:Compare a closely related porcelain sculpture by Haruma Nakashima, titled 'Struggling Form T-1', at Sotheby's, A Collection That We Dreamt Of: Art and Design from the New York Townhouse of Delphine and Reed Krakoff, 8 June 2022, New York, lot 88 (sold for 32,760 USD).

HONDA SYORYU: SPRINGBy Honda Syoryu (Shoryu, born 1951), signed SyoryuJapan, 2004Of abstract from, intricately carved from madake bamboo and rattan, signed on an inlaid bamboo tablet to the underside. With the original box.SIZE 29 x 25.4 x 30.5 cmCondition: Excellent condition.Provenance: Tai Modern, Santa Fe, USA, 2004. Collection Robert and Ruth Vogele, Chicago, USA, acquired from the above. Robert and Ruth Vogele were avid collectors of fine art, folk art, and modern design. More than patrons, the Vogeles believed in establishing personal relationships with artists to better understand the artwork and inform their collecting. Tai Modern regularly features artworks by Honda Syoryu and has published several catalogs on the artist.Honda Syoryu himself remarks about his work: “I create sculptures about space and time, about the magnificence and mystery of the universe. Six years ago, I moved to the city of Matsumoto, where the sky and mountains spread out before my eyes. I am becoming more and more inspired by the beauty of this area. Working with bamboo, it is almost impossible to have total control over the form that you intend to make. When I make my art, I am in constant dialogue with the bamboo. This material's unique pliability allows me to draw beautiful, naturally curving lines in space. The textures I create cannot be achieved with any other medium. I feel great satisfaction when working together with the bamboo leads me to create a sculpture beyond my imagination.”Syoryu has virtually abandoned traditional ideas about the function of basketry acquired during his early training, choosing instead to create dramatic curvilinear sculptures from fine stained bamboo strips woven in nawame (twining) technique. Once a few rows of twining have been completed, he leaves the verticals exposed for several inches at both ends, uses hot water to soften the entire piece, and then kneads it into shape, pulling up some of the rows to form the gaps seen in the finished work. The free ends of the verticals are then plaited and secured with a binding of rattan.Syoryu works are held in various museum collections such as The Metropolitan Museum of Art, New York, The Museum of Fine Arts, Boston, MA, and The Asian Art Museum, San Francisco. He has received many prizes for his bamboo sculptures.Auction comparison:Compare a related bamboo sculpture by the artist, titled Galaxy (Seiun) 2001, at Christie's, The Collection of Victoria, Lady de Rothschild, 9 December 2021, London, lot 161 (sold for 18,750 GBP).

NURUDEAN MITSUHIDE: A RARE LACQUER TSUBA WITH AUTUMN GRASSES AND MOONBy Nurudean Mitsuhide (Nurudean Koei, 1802-1871), signed Nurudean sakuJapan, mid-19th century, Edo period (1615-1868)Of nadekaku-gata shape, the nakago-ana with some carved 'sekigane', the ground finely lacquered to simulate shibuichi, the design lacquered in gold and silver takamaki-e depicting autumn grasses and the moon partially obscured by clouds, the verso with three gold-lacquered kamon including the sixteen-petaled imperial seal (kikumon), a mitsudomo-e crest, and the Minamoto clan mon. Signed in gold lacquer NURUDEAN saku [made by Nurudean]. With a wood storage box.SIZE 9.5 x 9.2 cmCondition: Very good condition, some minor wear and rubbing to lacquer.Nurudean Mitsuhide (1802-1871) studied lacqer at the Kajikawa school workshop in Edo and returned to his home town and served as an official lacquer artist to Matsudaira Naritaka, the 9th daimyo lord of the Matsue Domain, in modern Shimane Prefecture. His son Shunko (1847-1906) also became a lacquer artist.Auction comparison:Compare a related lacquer tsuba with a design of geese and the moon, at Zacke, Fine Chinese Works of Art, Japanese and Buddhist Art, 29 September 2018, Vienna, lot 170 (sold for 3,400 EUR).

KASHIMA KEISAI: A SET OF 20 SUPERB ZESHIN-SCHOOL LACQUERED WOOD OSHIKI-ZEN TRAYSThe lacquerwork by Kashima Keisai, each tray signed Keisai, the woodwork by Maeda Nansai (1880-1958), the tomobako with a paper label signed Nansai sakuJapan, Tokyo, Taisho period (1912-1926)Each of rectangular form, bearing a wood ground of attractive grain and color, finely decorated in iro-e takamaki-e and hiramaki-e with various plants and vegetables, including eggplant, cucumber, bamboo shoots, lotus, chili peppers, daikon radish, edamame, chestnuts, and fungi. Each tray with a gold-lacquered signature KEISAI.The set of twenty trays is stored inside the original wood tomobako storage box with inscription to the hakogaki: 野菜盡し慶哉蒔繪、桑製、彫抜脇膳、貮拾人前 大正八年十二月、指物師、前田南斎作Yasai zukushi, Keisai, makie, kuwa sei, horinuki wakizen, nijuunin mae [A set of twenty lacquer serving trays, with the designs of fruits and vegetables, made of mulberry wood, made by Keisai (Kashima Keisai)].With a collector's seal: 浅見蔵印 Asami zo in [The seal of the Asami Family].With an applied label written in ink: 第智十号、桑彫貫、果物画蒔絵、折敷膳、南斎作 廿人前 Dai chi ju go, kuwa horinuki, kudamono ga makie, oshikizen, Nansai saku, nujunin mae [A set of twenty lacquer serving trays, made of carved mulberry wood, with the designs of fruits and vegetables, the woodwork by Nansai].SIZE 30.5 x 31.5 cm (each)Condition: Excellent condition with minor wear.Kashima Keisai was a pupil of Ikeda Keishin, who studied lacquer under Ikeda Taishin (1825-1903) and later became his adopted son. Ikeda Taishin was the chief pupil of the famous lacquer artist Shibata Zeshin (1807-1891).Maeda Nansai (1880-1958) exhibited at the 1925 (Taisho 14) Paris Exposition. He also exhibited at the 1926 (Taisho 15) Philadelphia Exposition, USA, and won a gold prize. His family continues its woodwork crafting tradition and its 4th generation in practice. Maeda Nansai's works can be found in the collection at the National Museum of Modern Art, Tokyo.Auction comparison:Compare a single black lacquer tray by Shibata Zeshin at Bonhams, Japanese and Korean Art, 21 September 2022, New York, lot 571 (sold for 8,925 USD).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

MINKO: AN INLAID WOOD TONKOTSU WITH NOH AND KYOGEN MASKSBy Tanaka Juntoku Minko (1735-1816), signed Minko 岷江Japan, Tsu, early 19th century, Edo period (1615-1868)Of oval section and slightly tapering form, decorated with dark wood inlays depicting various masks comprising Okame, Hyottoko, Oni, Okina, Beshimi, and Shojo. The cord holes to the top of the cover are ringed in stained bone. One side of the box with a wood-inlaid rectangular reserve signed MINKO.WIDTH 8.3 cmCondition: Very good condition, minor wear, few small nicks, few light surface scratches.Noh is a major form of classical Japanese dance-drama that has been performed since the 14th century. Developed by Kan'ami and his son Zeami, it is the oldest major theatre art that is still regularly performed today. Noh is often based on tales from traditional literature with a supernatural being transformed into human form as a hero narrating a story. Noh integrates masks, costumes and various props in a dance-based performance, requiring highly trained actors and musicians. Emotions are primarily conveyed by stylized conventional gestures while the iconic masks represent the roles such as ghosts, women, deities, and demons.Kyogen is a form of traditional Japanese comic theater. It developed alongside Noh, was performed along with Noh as an intermission of sorts between Noh acts on the same stage, and retains close links to Noh in the modern day. Its contents are nevertheless not at all similar to the formal, symbolic, and solemn Noh theater; kyogen is a comic form, and its primary goal is to make its audience laugh.Auction comparison: Compare a related wood tonkotsu with wood inlay by Minko at Galerie Zacke, Fine Japanese Art, 27 May 2022, Vienna, lot 156 (sold for 5,056 EUR). Another related tonkotsu by Minko was sold at Bonhams, Japanese Works of Art, 19 September 2008, New York, lot 5041 (sold for 4,800 USD).

LEONARD TSUGUHARU FOUJITA (1886-1968), FILLETTE AU CHAT, FROM LES ENFANTSJapan, c. 1929Fillette au Chat, from Les EnfantsCatalog Raisonné Buisson I.29.66 Etching and aquatint printed in colors, circa 1929, chine appliqué to japan support, signed in pencil on the bottom right corner, edition numbering mostly erased but last 0 still visible, this etching is most certainly part of the 100 editions, apart from the artist prints, published by Les Editions Artistiques Apollo, Paris, with full margins. SIZE of the sheet 40.5 x 31.7 cmCondition: Well-preserved with detailed impression and great colors. Slightly browned commensurate with age. Evident glue residue and markings where frame was attached to the margin. Sheet is trimmed.Provenance: From the collection of Gaston Lazard (1878-1956) and his wife Jane Levy (1886-1985) and thence by descent within the same family.Leonard Tsuguharu Foujita (1886-1968) was a celebrated Japanese-French painter known for his unique blend of traditional Japanese art and Western modernism. His works featured bold outlines, flat colors, and strong design, often depicting portraits of women, cats, and scenes from everyday life. Foujita was an active member of the School of Paris, a group of international artists who converged in Paris in the early 20th century. His close friendships with prominent artists, including Modigliani and Picasso, contributed to the development of modern art movements in France and beyond.Auction comparison:Compare with another edition (52/100) of this etching sold at Mainichi Auction, Paintings, Prints and Sculpture, 20 April 2019, Tokyo, Lot 13 (sold for 18,750 EUR).

LEONARD TSUGUHARU FOUJITA (1886-1968), TWISTING CAT, FROM LES CHATSJapan, c. 1930Chat couché, from Les Chats Catalog Raisonné Buisson 29.200.1Etching and aquatint printed in colors, circa 1930, chine appliqué to japan support, signed and numbered 78/100 in pencil, published by Les Editions Artistiques Apollo, Paris, with full margins.Foujita had a great fondness for cats and often included them in his paintings. In fact, he is sometimes referred to as the "Cat Painter" and is credited with popularizing the idea of the "artist and cat" archetype. This edition of "Les Chats" is a testament to Foujita's love of felines and features his unique style that blends elements of traditional Japanese art with Western modernism.SIZE of the sheet 44.8 x 51.9 cmCondition: Well-preserved with detailed impression and great colors. Slight signs of wear commensurate with age, minor browning, and few small holes at the margin.Provenance: From the collection of Gaston Lazard (1878-1956) and his wife Jane Levy (1886-1985) and thence by descent within the same family.Leonard Tsuguharu Foujita (1886-1968) was a celebrated Japanese-French painter known for his unique blend of traditional Japanese art and Western modernism. His works featured bold outlines, flat colors, and strong design, often depicting portraits of women, cats, and scenes from everyday life. Foujita was an active member of the School of Paris, a group of international artists who converged in Paris in the early 20th century. His close friendships with prominent artists, including Modigliani and Picasso, contributed to the development of modern art movements in France and beyond.Auction comparison:Compare with another edition (81/100) of this etching sold at Bonhams, Prints & Multiples, 16 November 2016, London, Lot 21AR (sold for 16,250 GBP).

LEONARD TSUGUHARU FOUJITA (1886-1968), SEATED CAT, FROM LES CHATSJapan, c. 1930Chat assis, from Les Chats Catalog Raisonné Buisson 29.06Etching and aquatint printed in colors, circa 1930, chine appliqué to japan support, signed and numbered 37/100 in pencil, published by Les Editions Artistiques Apollo, Paris, with full margins.Foujita had a great fondness for cats and often included them in his paintings. In fact, he is sometimes referred to as the "Cat Painter" and is credited with popularizing the idea of the "artist and cat" archetype. This edition of "Les Chats" is a testament to Foujita's love of felines and features his unique style that blends elements of traditional Japanese art with Western modernism.SIZE of the sheet 52.8 x 43.8 cmCondition: Well-preserved with detailed impression and great colors. Slight signs of wear commensurate with age, and minor browning. Provenance: From the collection of Gaston Lazard (1878-1956) and his wife Jane Levy (1886-1985) and thence by descent within the same family.Leonard Tsuguharu Foujita (1886-1968) was a celebrated Japanese-French painter known for his unique blend of traditional Japanese art and Western modernism. His works featured bold outlines, flat colors, and strong design, often depicting portraits of women, cats, and scenes from everyday life. Foujita was an active member of the School of Paris, a group of international artists who converged in Paris in the early 20th century. His close friendships with prominent artists, including Modigliani and Picasso, contributed to the development of modern art movements in France and beyond.Auction comparison:Compare with another edition of this etching sold at Ader, Estampes Anciennes et Modernes, 19 November 2015, Paris, Lot 235 (sold for 7,200 EUR).

Caesar (Gaius Julius) The Commentaries..., of his Wars in Gallia; and the Civil Wars Betwixt him and Pompey... also the Art of our Modern Training by Clement Edmonds, engraved frontispiece and 14 plates, several folding, letterpress title in red and black, light damp-staining throughout, frontispiece neatly backed with tissue on recto and with some restoration to margins, some chipping to upper margin of title and first few ff., modern calf, [Wing C201], folio, Edward Jones for Mathew Gillyflower, 1695.⁂ A scarce edition.

French (John) The Art of Distillation: or, a Treatise of the Choicest Spagiricall Preparations...to which is added, The London-Distiller, second edition, title in red and black, woodcut illustrations, lacking M4, A3 headline shaved and final leaf with 'Finis' trimmed, a little water-staining and occasional foxing, modern blind-stamped calf, spine slightly faded, [Wing F2170; Duveen, p. 231; Ferguson, I, p. 293; Wellcome III, p. 67; ], 4to, Printed by E. Cotes, for Thomas Williams, 1653.⁂ First published in 1651, includes much on the principals of distillation as well as numerous medical receipts, recipes for raspberry and other flavoured wines and "A new invention for bathers" (essentially a small, personal sauna).

Leybourn (William) The Art of Dialling, first edition, folding engraved plate, engraved illustration, numerous woodcut illustrations and diagrams, lacks engraved portrait frontispiece, title a little toned, some light foxing and minor staining to lower margin, modern calf, [Wing L1900; Tomash & Williams L89], 4to, Printed by S.G. and B.G. for Benjamin Tooke and Thomas Sawbridge, 1669.⁂ This issue has "dialling," in line 2 of title, and the imprint date 1669; another issue has "dialling:" and is undated.

MEYNELL WILFRID.  The Modern School of Art. 4 vols. in two. Eng. frontis & many eng. plates. Quarto. Dark half leather, a.e.g. Cassell, n.d.

A DICTIONARY OF SCIENCE, LITERATURE AND ART.., Ed W T Brande & Joseph Cauvin, London, Longman Brown Green & Longman, 1842, modern half calf marbled boards, 5 raised bands to spine

VOGUE MODES POUR LE PLEIN ETE: Paris, Les Editions Conde Nast Juillet, 1924, vol 5 number 7, 4to, original wraps bound in with ART GOUT BEAUTE FEUILLETS DE L'ELEGANCE FEMININE, Paris, 1924, 15 Novembre 1925 aout, 1925 Septembre, 4to, original wraps, pictorial paper labels, 4to modern cloth

A modern table lamp in the Art Nouveau style with cast metal base and large Tiffany style shade - one pane a/f

A large modern Art Deco style oblong wall mirror with bevelled mirror border - sold with a wood framed bevelled oval wall mirror

A modern Art Deco style revolving globe of the world with polished metal frame and aeroplane finial

Four publications Matthew Lanyon: Tipping Point. Exhibition catalogue. Porthminster Gallery 2013.Joan Gillchrest (1918-2008): Works from The Studio. Exhibition catalogue. Wren Gallery 2010.Gilll Watkiss: Paintings 1974-2002. Published 2002 by Great Atlantic Publications.Aspects of Modern British Art. Exhibition catalogue. Austin/Desmond Fine Art 2008.

A collection of modern, vintage & Edwardian clear & coloured glass items. To include pale blue Art Deco Intaglio glass lidded dish featuring polo players, cranberry glass jug, mid century coloured glass bud vases and Edwardian turquoise glass vase with hand painted lily of the valley detail.

A collection of vintage and modern silver plated items. To include Edwardian and Art Deco teapots by T. Land & Son. Lot also includes, blue glass lined mustard pot and salt with spoons, assorted spoons and a pin dish.

A collection of assorted vintage & modern misc collectables to include Art Deco leather cased bedside clock, pewter animal & bird figures and boxed modern glass photo frame with enamelled detail.

A pair of modern Art Nouveau style silver drop earrings, set with turquoise cabochons & marcasite stones. No butterfly backs. Silver marks to back of each earring. Total drop approx. 6cm.

A modern Art Nouveau style bronzed composite bust of a young maiden, in the manner of Villanis, height 33cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A group of three:a silver Art Nouveau inspired shaped photograph frame;a small modern hallmarked silver armada dish;a white-metal French taste-du-vin with serpent handle.

* DAVID MARTIN (SCOTTISH b. 1975), ALEPPO pencil on paper, signed and titled versomounted, framed and under glassimage size 14cm x 12cm, overall size 29cm x 26cm Note: from "The Cusp of Change: A Journey Through the Middle East". Note: David Martin won the 2006 RSA Alastair Salvesen Art Scholarship. David is from and based in Edinburgh and graduated with an MA Fine Art from the University of Edinburgh in 2000. He was also the winner of the RSA John Kinross Student Scholarship to Florence in 2001. David took an epic journey through the Middle East and into Europe. "This journey represents the dissemination of ancient alchemical knowledge from Egypt, through the Middle East and into Europe, in order to explore the transforming effects of modern development brought about by technologies such as nuclear development and global communications. Without staying in one place for any length of time, this huge journey provided a range of encounters with cultures undergoing transformation, nations being born and people adapting to new ways of life amid their ancient heritage". His work from this journey was exhibited as a solo exhibition at the Royal Scottish Academy "The Cusp of Change: A Journey Through the Middle East" 16th March - 15th April 2007. Alongside his full-time artistic practice, he is also the Founder and Creative Director of Hidden Door, an organisation set up to generate exciting events to showcase new up-and-coming arts talent in Scotland across different art forms, mainly through staging annual ‘underground’ multi-arts festivals in Edinburgh. He is also the Head of the Foundation Course at Leith School of Art and has previously sat on the council of Visual Arts Scotland. David exhibits at the prestigious Open Eye Gallery in Edinburgh and his most recent solo show there was 3rd - 21st November 2020. David Martin has won numerous major commissions including a huge canvas which dominates the impressive lobby of The Edinburgh Grand (hotel) on St Andrew's Square in the city.

A small Sitzendorf figure of a cherub holding a bird and two other figures, a small quantity of Art glass and vintage glassware to include a Dartington water jug and a pair of Julien McDonald wine glasses, together with 'Modern Lifestyle with Wedgwood' daisy napkin rings and other items A/F, Location: R1:4/R1.5

MOHAMMED GHANI HIKMAT ( IRAQ 1929 - 2011 ) CAST STONEWORK - C1970, the finely executed stonework depicting a winged figure beneath a tree, artist signed to the lower section of the tree. Provenance: acquired directly from the artist. 50cm high x 30cm wide. Notes: Mohammad Ghani Hikmat (April 20, 1929 - September 12, 2011) was an Iraqi sculptor and artist credited with creating some of Baghdad's highest-profile sculptures and monuments and was known as the "sheik of sculptors".[1] He is also known as an early member of Iraq's first 20th-century art groups, including Al-Ruwad (the Pioneers) and The Baghdad Modern Art Group; two groups that helped to bridge the gap between tradition and modern art. He was also instrumental in recovering many of Iraq's missing artwork's, which were looted following the 2003 invasion.

JOHN WILLIAM GODWARD (BRITISH 1861-1922)A BIRTHDAY PRESENTOil on canvasSigned and dated 'J. W. Godward 97' (lower left)46 x 56cm (18 x 22 in.)Provenance: Messrs. Thomas McLean, London 21 September 1897Private Collection, UKLiterature:McLean letter to Godward (21 Sept 1897) Mio-Turner CollectionSwanson, Vern Grosvenor, The Eclipse of Classicism¸ 1997, p.195Swanson, Vern Grosvenor, The Eclipse of Classicism¸ 2018, p.275John William Godward (1861-1922) was one of the last of the classical painters of the Victorian age. Slightly younger than his better-known counter parts: Sir Frederic Leighton (1830-1896), Lawrence Alma-Tadema (1836-1912), and John Poynter (1836-1919) he was working in the dawn of a new, modernist era at the end of the 19th century, one which had little place for the Classical ideals of Antiquity which had dominated art for the last 500 years. His career has been described by Swanson as the 'Eclipse of Classicism'. The author goes on to expand that Godward's career 'offers the clearest example of the demise of classical Greco-Roman subject painting' (Swanson, p.8). As a reclusive genius, and someone who almost certainly had Asperger's Syndrome, little is known about Godward's private life. This is partly due to his strict family upbringing and somewhat overbearing mother, Sarah Eboral, who outlived her son by 13 years, dying at the age of 100 in 1932. When Godward moved to Italy with one of his models in 1912, his family broke contact with the artist, destroyed many papers, and removed his image from family pictures. Indeed, only one photo of the artist is thought to exist. Although little is known about the young artist's schooling, as the eldest of five children, by all accounts Godward came from a respectable bourgeois family and ideal Victorian home. It is therefore likely that his family would have been able to afford to send him a private school, as was common for middle class children at that time. What is certain, is that there was pressure for all the Godward children to follow their father's lead into the family profession of insurance, investing and banking. Although his siblings all seem to have succeeded in this expectation, John William did not. Between 1879 and 1881, it is believed Godward studied under the architect William Hoff Wontner (1814 - 1881). This apprenticeship seems the likely source for Godward's ability to render perspective and architectural elements, as well as being able to realistically depict marble and porphyry. It was around this time that Swanson believes Godward turned his aspirations to becoming a fine artist. Whether Godward received any formal art training is purely a matter of speculation as there are no records, but given his family's insistence that he follow in his father's footsteps into the work of business, it seems unlikely that he would have had access to any instructional study. We do know however that by 1881, Wontner had died, and his son William Clarke had taken over the family business. By 1885, Wontner and Godward had become best friends, and the former had taken a post at St. John's Wood Art School. It is perhaps not too much of a leap then, to assume that at least some instruction was taken from his friend. It is most likely that Goward's exposure to specifically Graeco-Roman subject painting came through seeing contemporary work at the Royal Academy or Royal Society of British Artists. In 1887, his own debut work, A Yellow Turban, (No. 721) was accepted into the Royal Academy Summer Exhibition. He continued to exhibit with the Royal Academy until 1905. It was also during 1887, that Godward exhibited for the first time at the RBA, with a painting called Poppaea (No. 401). Three years later, he was officially elected as a member of the organisation. In 1888, Godward exhibited his oil, Ianthe (No. 941), at the Royal Academy. Upon seeing the painting, he was approached by the infamous art dealer Arthur Tooth who asked whether he might include it in his own Winter Show of that year. In addition to Ianthe, Godward produced nine further paintings for Tooth's show. His relationship with Tooth ultimately failed to extend beyond the exhibition however, as he decided to proceed with another dealer and Tooth's next-door neighbour, Thomas Miller McLean (1832-1909). Throughout his career Messers. Thomas McLean would deal hundreds of oils for the artist with great success.The present lot is no exception, and together with another work from the previous year, Winding the Skein (Sawnson, p.69, illustrated), is one of only a handful of works from this period to include more than one figure. Here, in a marble walled garden, we see the skill in which the artist depicts the red and grey tones in the smooth creamy stone set against a planter of poppies and blooming oleanders. Classical motifs are arranged throughout the work, including a small bronze statue of Venus, a white marble carving of Pan pulling a thorn from a hoofed Satyr, a variation of the sculpture in the Pio-Clementine Museum, and to the right of the work, a bronze vase atop a round marble table with lion monopodia leg. Centre stage are two figures dressed in beautiful turquoise and purple tunics. One woman seated on a tiger skin, a common motif in Godward's work, is presented with a birthday gift by her attendant: a beautiful Portland cameo glass vase. The first decade of the new century was one of the best for Godward as an artist. Imperial interest grew as prosperity throughout the British Empire rose. However, by 1911, the art scene in Britain had changed significantly, and this would shortly be echoed throughout the whole of society with the start of the Great War. The founding of the Camden Town Group in 1911, followed by the death of Alma Tadema in 1912, and the emergence of the Vorticist movement just before the start of World War I in 1913-14, as well as the Great War itself, marked the beginning of the end of the Classicist painters. It was amongst this backdrop that Godward moved to Rome, perhaps believing that he could escape the new dawn on the horizon which was already a reality in London. In Italy he found a seductive blend of ancient, medieval, and classical cultures. Unsurprisingly, little is documented of Godward's time in Italy, however by 1916, the new way of painting which he had so hoped to escape in London had made its way to the Continent. Nonetheless, Godward stayed in Rome until 1921. He spent most of his time working out of a studio at the Villa Strohl-Fern despite the villa's one hundred or so studios being filled with younger, more modern looking artists. He returned to England briefly in 1919, to attend his nephew's funeral and again in 1920 to attend his brother's wedding. Returning to Rome, his mood was low. The following year his health deteriorated, affected by Spanish influenza and depression. As a result, he only produced five paintings. This reduced to two in 1921. London was much more hostile to his art than Rome had been, and his depression and ill health did not improve once home. He became a recluse, and failing to feed himself properly, soon became malnourished and fell ill to a peptic ulcer. Rather than continue in his misery, and see his art suffer further at his inability to paint, the artist committed suicide on 13 December 1922, aged 62.

Four hallmarked silver napkin rings, including a modern feature hallmarked pair in gift box, Georgian and later hallmarked silver cutlery, souvenir spoon marked sterling and an Art Nouveau cruet holder or similar, weight of all items 138g

Robertson (Martin). Greek, Etruscan and Roman Vases in the Lady Lever Art Gallery, Port Sunlight [Liverpool Monographs in Archaeology and Oriental Studies], 1st edition, Liverpool: University Press, 1987, monochrome illustrations, original cloth in dust jacket, covers slightly rubbed with to the heads of the front & rear covers, folio, together with:Stewart (Andrew), Greek Sculpture, 2 volumes, 1st edition, New Haven: Yale University Press, 1990, numerous monochrome illustrations, original cloth in dust jackets & slipcase, large 8vo, plusBahat (Dan), Jerusalem Stone and Spirit, 300 years of history and art, New York:Matan Arts, 1997, numerous colour & monochrome illustrations, original cloth in dust jacket & slipcase, folio, and other modern Classical art & architecture reference & related, G/VG, 8vo/folioQTY: (6 shelves)

Al Khemir (Sabiha). From Cordoba to Smarqand, masterpieces from the Museum of Islamic Art in Doha, 1st edition, Paris: 5 Continents Editions, 2006, numerous colour illustrations, original boards, large 4to, together with:Leeum, publisher, Calder, 1st edition, Seoul: Samsung Museum of Art, 2013, numerous colour illustrations, original black cloth with paper wrap around, large 4to, plusMendini (Alessandro), Mondo Mendini, The World of Alessandro Mendini, 1st edition, Groningen: Groninger Museum, 2019, colour illustrations, original boards, 'as new' on original plastic wrap, large 4to, andHanssen (Karin), The Thrill of It All, paintings 1994-2009, 1st edition, Belguim: MER. Paper Kunsthalle, 2010, numerous colour illustrations, original boards, small dent to the foot of the spine, large 8vo, plus other modern art reference, some foreign language, many original cloth/boards, some paperback editions, VG, 8vo/folioQTY: (6 shelves)

Greenwood (Jeremy). Ravilious Engravings, with an Introduction by John Craig, 1st edition, Woodbridge: Wood Lea Press, 2008, portrait frontispiece, colour and black & white illustrations throughout, original cloth in card slipcase, folio, (one of 800 copies of the standard edition, from a total edition of 855 copies), together with:Russell (James), The Lost Watercolours of Edward Bawden, 1st edition, Norwich: Mainstone Press, 2016, colour illustrations throughout, original cloth in card slipcase, 4to, (one of 850 copies), plusEates (Margot, editor), Paul Nash: Paintings, Drawings and Illustrations, 1st edition, London: Lund Humphries, 1948, portrait frontispiece, black & white and tipped-in colour plates, a little spotting, original cloth in dust jacket, slightly rubbed and marked, 4to, plus Cassou (Jean), Paintings and Drawings of Matisse, Paris: Braun & Cie for Soho Gallery Ltd, London, 1939, black & white illustrations to text, colour plates at rear, original cloth in pictorial dust jacket, a little rubbed and soiled, 4to, plus other mostly modern art and illustration interestQTY: (42)

Moore (Munro),. Franck Moore ARCA ATD, a collection of his work, 2 volumes, 2002, numerous colour illustrations, original boards, lightly rubbed to head & foot, oblong 4to, together with:Turull (Richard Bru i, editor), Hamada & Artigas, The colours of fire, 1st edition, Catalonia: Museu Nacional d'Arte de Catalunya, 2012, colour illustrations, original boards, 'as new' in original plastic wrap, large 8vo, plusH?ry?ji Temple, H?ry?ji, Prince Sh?toku and Treasures of Early Buddhsit Faith in Japan, 2021, numerous colour illustrations, original wrappers, large 8vo, and other mostly modern art reference & related, some foreign language, many original cloth in dust jackets, some paperbacks, G/VG, 8vo/folioQTY: (5 shelves)

Joyce (James Gerald). The Fairford Windows, A Monograph, 1st edition, London: Arundel Society for Promoting the Knowledge of Art, 1872, 2 mounted albumen print photographs, 42 full-page hand-coloured mounted woodbury-type plates, bookplate of Sherborne Library to front pastedown, spotting, hinges repaired, endpapers renewed, later burgundy cloth with modern red morocco reback, original cloth gilt title relaid onto upper cover, corners repaired, lightly marked, large folioQTY: (1)

Halifax (George Savile, Marquis of). A Character of King Charles the Second: and political, moral and miscellaneous thoughts and reflections, London: Printed for J. and R. Tonson and S. Draper in the Strand, 1750, title with short closed tear to lower margin, light dust-soiling and scattered spotting, contemporary calf, gilt decorated spine lacking title label, joints cracked, extremities rubbed, 8vo, together with:Booth (John), A Short Statement of Facts, relative to the Duel which took place at Aberdeen, on the 26th of June, 1805, between Ensign Livingston, of the Stirlingshire Regiment of Militia; and Lieut. A. Booth, of the First Regiment of Aberdeen Volunteers, Aberdeen: Printed by J. Burnett 1806, modern maroon morocco, slim 8vo,Willis (Browne), A Survey of the Cathedral Church. Of Bangor; and the edifices belonging to it..., London: Printed for Robert Gosling, 1721, two folding engraved plates and one folding plan, 19th-century half calf, extremities rubbed, 8vo, plus Scott (Walter), The Lady of the Lake, Edinburgh: John Ballantyne and Co, 1810, engraved portrait frontispiece, additional engraved title with imprint dated 1811, 6 engraved plates, some toning and scattered spotting, contemporary half morocco with vellum corners, gilt decorated spine, upper board detached, 4to, and few other 18th-19th century antiquarian volumes (some odd and incomplete volumes), together with Old Christmas, by Washington Irving, London: Hodder & Stoughton, 1908, colour and monochrome plates, front free endpaper signed by the illustrator Cecil Aldin, original cloth, 4to plus other miscellaneous mostly 20th-century books including Folio Society volumes, biographies, history, literature, art reference and general interest etc.QTY: (3 cartons)

Churches. A large collection of modern church & cathedral history, architecture, art & related, many original cloth in dust jackets, some paperbacks, G/VG, 8voQTY: (6 shelves)

Dugdale (William). Monasticon Anglicanum: A History of he Abbies and other Monasteries, Hospitals, Friereis, and Cathedral and Collegiate Churches, with their dependencies, in England and Wales;..., 8 volumes, new edition, London: James Bohn, 1846, numerous monochrome plates, bookplates to the front pastedowns, some minor toning throughout, top edges gilt, contemporary gilt decorated blue half morocco, boards & spines slightly rubbed, folio, together with:Bicknell (C.), The Prehistoric Rick Engravings in the Italian Maritime Alps, Bordighera: printed by Pietro Gibelli, 1902, monochrome plates, dark stain to the foot of the front & rear endpapers, some light toning & minor wear, contemporary blue cloth, slightly rubbed with some minor loss, 8vo, plus other 19th-century & modern miscellaneous literature & reference, including art & bibliography, mostly original cloth, some in dust jackets, G/VG, 8vo/folioQTY: (6 shelves)

Lanes (Selma G.). The Art of Maurice Sendak, 1st edition, London: The Bodley Head, 1980, numerous colour & monochrome illustrations, original cloth in glassine dust jacket, oblong 4to, together with:Muir (Maurice), A history of Australian childrens book illustration, 1st edition, Oxford: university Press, 1982, title page signed by the author, numerous colour & monochrome illustrations, original cloth in dust jacket, covers lightly rubbed to head & foot, includes a typed and signed letter plus a hand written greeting card from the author to the previous owner, large 8vo, plusGavault (Paul), Les Livres de L'Enfance du XVe au XIXe Siecle, 2 volumes, reprinted, London: The Holland Press, 1985, numerous monochrome illustrations, some minor marginal toning, original cloth in dust jackets, covers slightly rubbed with some small tears to the head & foot, large 4to, and other modern juvenile literature bibliography & related reference, many original cloth in dust jackets, some paperbacks, G/VG, 8vo/4toQTY: (6 shelves)

Sunil Das (Indian, 1939-2015)Untitled (sketch of a Bull)charcoal on paper90x58Provenance: Private UK Collection Footnotes: Sunil Das was an expressionist Indian artist, born in Calcutta in 1939. He joined the Government College of Art & Craft, in Kolkata, in 1955, before winning the French Government Scholarship to study at the École des Beaux-Arts in Paris. During this period he had the chance to travel to Spain, where he spent a couple of months and developed his passion for horses and bulls. Hardly ever painting in loud or warm colours, Sunil Das uses soft brown, mauve and white in the background to bring out the drama of life. Das is the only Indian artist to have won a National Award (the Shiromani Kala Puraskar) while still an undergraduate at the Government College of Art and Craft, kolkata. Besides having been featured in several exhibitions, his works are also a part of the collections of renowned museums such as the National Gallery of Modern Art, New Delhi, the Glenbarra Art Museum, Japan, and the Ludwig Museum, Germany. 

PROPERTY FROM THE COLLECTION OF MR. K.B. GOEL, ART CRITIC: Five chemical works by Francis Newton Souza from the Private Collection of the distinguished art critic K.B. Goel Lots 276-280Provenance: The property of Dr. Premlata Goel, widow of the distinguished art critic, K.B. Goel; Gifted by Souza to his close friend, the art critic, K.B. Goel (1930 - 2018).Francis Newton Souza (Indian, 1924-2002), Untitled, Head, signed and dated upper left 'Souza 93', Chemical work on magazine paper, mounted, glazed and framed, 21.5 x 28.5 cm.Provenance: The private collection of Dr. Premlata Goel, widow of the distinguished art critic K.B. Goel (1930-2018) to whom this work was gifted by the artist in the mid 1980s.'Souza is famous for his inflammatory treatment of heads. The iconography is morbidly personal, the distortion grotesque to the point of a neurotic edge; the image proper shows mannerisms played to the dark labyrinth of the psyche, K.B. Goel, 1990. Francis Newton Souza developed a technique of chemically altering images later in his career, which he called chemical alterations or chemical drawings. Using this technique, he would draw over glossy pages of magazines that he would bleach out using chemicals in an attempt to make a connection between the magazine and his very own scribbling over it. The process was not only creatively satisfying but also provided some respite from the execution of a full-blown work.Souza created many heads during the course of his career: 'I have created a new kind of face [...] I have drawn the physiognomy way beyond Picasso, in completely new terms. And I am still a figurative painter [...] He stumped them and the whole of the western world into a shambles. When you examine the face, the morphology, I am the only artist who has taken it a step further'. (Artist statement, Yashodhara Dalmia, The Making of Modern Indian Art: The Progressives, New Delhi, 2001, p. 94).'If he was creating monsters, probably no one would be troubled; but because his images are clearly intended to be human, one is compelled to ask why his faces have eyes high up in the forehead, or else scattered in profusion all over the face; why he paints the mouths that stretch like hair combs across the face, and limbs that branch out like thistles. Souza’s imagery is not a surrealist vision- a self-conscious aesthetic shock- so much as a spontaneous re-creation of the world as he has seen it, distilled in the mind by a host of private experiences and associations'. (Edwin Mullins, Souza, London: Anthony Blond Publishers, 1962, p. 39).See also Shruti Parthasarathy ed., K.B. Goel, Critical Writings on Art, 1957–1998, Tulika Books, 2019Many thanks to Simon Brandenburger, a friend of the Goel family, for his contribution to this entry

Sunil Das (Indian, 1939-2015)Untitled (sketch of a Bull)charcoal on paper90x58Provenance: Private UK Collection Footnotes: Sunil Das was an expressionist Indian artist, born in Calcutta in 1939. He joined the Government College of Art & Craft, in Kolkata, in 1955, before winning the French Government Scholarship to study at the École des Beaux-Arts in Paris. During this period he had the chance to travel to Spain, where he spent a couple of months and developed his passion for horses and bulls. Hardly ever painting in loud or warm colours, Sunil Das uses soft brown, mauve and white in the background to bring out the drama of life. Das is the only Indian artist to have won a National Award (the Shiromani Kala Puraskar) while still an undergraduate at the Government College of Art and Craft, kolkata. Besides having been featured in several exhibitions, his works are also a part of the collections of renowned museums such as the National Gallery of Modern Art, New Delhi, the Glenbarra Art Museum, Japan, and the Ludwig Museum, Germany.

Sunil Das (Indian, 1939-2015)Untitled (sketch of a Bull)charcoal on paper90x58Provenance: Private UK Collection Footnotes: Sunil Das was an expressionist Indian artist, born in Calcutta in 1939. He joined the Government College of Art & Craft, in Kolkata, in 1955, before winning the French Government Scholarship to study at the École des Beaux-Arts in Paris. During this period he had the chance to travel to Spain, where he spent a couple of months and developed his passion for horses and bulls. Hardly ever painting in loud or warm colours, Sunil Das uses soft brown, mauve and white in the background to bring out the drama of life. Das is the only Indian artist to have won a National Award (the Shiromani Kala Puraskar) while still an undergraduate at the Government College of Art and Craft, kolkata. Besides having been featured in several exhibitions, his works are also a part of the collections of renowned museums such as the National Gallery of Modern Art, New Delhi, the Glenbarra Art Museum, Japan, and the Ludwig Museum, Germany.

Jagannath Panda (Indian, b.1970)GoatSculptureCloth laid on fibreglass42 x 65 cmProvenance: Private UK CollectionFootnotes: Born in 1970 in Bhubaneshwar, Odisha, Jagannath Panda completed his BFA from the B.K. College of Arts & Crafts, Bhubaneshwar, in 1991 and an MFA from the Faculty of Fine Arts, M.S. University, Baroda, in 1994. He also completed an MFA in sculpture from the Royal College of Arts London in 2002. Panda’s oeuvre predominantly manifests the conflict between knowledge and faith. Engaging with diverse themes, concerns and emotions like the human and natural worlds, death and desire, social and economic inequalities, issues of urbanization and dislocation, and shifts in cultural and religious paradigms, he posits contradictory elements making visible the ruptures in our understanding of these elements.Panda has had significant solo shows since 1998; in Tokyo, Mumbai, New Delhi, London, Berlin and San Francisco, including the upcoming group show Visions from India hosted by the Pizzuti Collection, Columbus, Ohio (2020–21); Vadehra Art Gallery, New Delhi (2017); Halcyon Gallery, London (2015); Frey Norris Contemporary and Modern Gallery, San Francisco (2012); MSU Gallery, Baroda (2012); Nature Morte, Berlin (2011); Alexia Goethe Gallery, London (2009); Gallery Chemould, Mumbai (2009), among others. His most recent group shows include the Jeju World Natural Heritage Center, Korea (2019); Palette Art Gallery, New Delhi (2019); Mori Art Museum, Tokyo (2018); the Modern Art Museum, Shanghai (2016); the Museum of Modern and Contemporary Art, Seoul (2013), to name a few.Panda’s works are also in several collections such as the GVK Mumbai International Airport; Mori Art Museum, Fukuoka, Japan; Lalit Kala Akademi, New Delhi; the National Gallery of Modern Art, New Delhi; Hindustan Times, New Delhi; and the International Centre for Genetic Engineering and Biotechnology, New Delhi. He was a visiting researcher at Fukuoka University of Education, Fukuoka, Japan, in 1997 as well as a recipient of the Lalit Kala Akademi Research Fellowship, Orissa State Lalit Kala Akademi Scholarship, and Junior Research Fellowship, Government of India. He has received several awards such as the Centre Prize, C.I.I.C London; All India Fine Arts and Crafts Society Award, New Delhi; Alice Boner Memorial Award; and the All India Drawing Award from Punjab Lalit Kala Akademi and Orissa State Lalit Kala Akademi. He has participated in the Khoj International Residency, Delhi and International City des’Art, Paris.The artist lives and works in New Delhi.   

Rajendra Dhawan (Indian, 1936 - 2012), Untitled, Watercolour and ink on paper, Signed and dated 'DHAWAN 75' lower right16.6 x 17 cm. (6 ⅝ x 6 ⅝ in.)Executed in 1975Provenance: The Surya Collection: Property from Mrs Ute RettbergBorn in 1936 Rajendra Dhawan studied at the Delhi School of Art from 1953-58, and at Belgrade from 1960-62. He had founded a group "The Unknown" which held shows from 1960-64. Has held several exhibitions of his work in India and Europe. Some of his one man shows are, in 1972,74 77,81,89 Galerie du Haut-Pave, Paris 1973, 75 Galerie Horn, Luxembourg. 1989 and 1993 Gallery Chemould, Mumbai, Dhoomimal Gallery, Delhi. 1990 Galerie Francois Mitaine. His work is represented in several collections in India and France, including the National Gallery of Modern Art, the Lalit Kala Akademi, Bharat Bhavan Museum and National Foundation of Contemporary Art, Paris. He lived and worked in Paris since 1970. Rajendra Dhawan passed away in 2012.Read Less

Selection of Modern Masters art posters.Thank you for your enquiry.We should be able to put the posters into a cardboard tube and post to a UK address for a charge of £15.Kind regardsAmandaReeman Dansie

Two boxes containing a large quantity of postcards in 16 albums, mostly modern cards 1960s to 1990's period, themes include holidays, GB and foreign topography, art, churches, aviation etc.

AN IMPORTANT ARCHAIC BRONZE RITUAL FOOD VESSEL, YA CHOU FU XIN GUILate Shang dynasty/early Western Zhou dynasty, ca. 11th century BCheavily cast with a deep rounded body raised on a high splayed foot, rising to a flared rim, the sides set with a pair of handles issuing from streamlined flat-eared bovine heads, and issuing short hooked tabs, the body cast on east side with a large taotie mask flanked by a pair of taloned and quilled dragons, below a narrow neck band containing two beaked single-bodied dragons centering on a raised animal head in axial position on each side, the foot similarly decorated with two beaked confronting dragons on either side of a ridge with a taotie shield, the inside cast with a four-character inscription reading 'ya chou fu xin', the bronze a smooth, dark brownish-red colour.30cm (11 3/4in) wide; 15.8cm (6 1/4in) high.Footnotes THE PROPERTY OF A LADY 女士藏品商晚期/西周早期，約公元前十一世紀 亞醜父辛簋Provenance:Collection of Huang Jun (1880-1951), Zungu Zhai, Beijing, by 1936Collection of Hans-Jürgen von Lochow (1902-1989), Beijing, by 1943Dr. Ernst Hauswedell & Co., Hamburg, 5 May 1958, lot 3A German private Collection since 1958, and thence by descentPublished, Illustrated and Exhibited:Huang Jun, Zungu zhai suojian jijin tu , Beijing, 1936, chapter 1, fol.47Luo Zhenyu, Sandai jijin wencun, Beijing, 1936, chapter 6, fol.17Gustav Ecke, Sammlung Lochow: Chinesische Bronzen, Beijing 1943, pl.XI a-dYin Chih-yi, 'Shandong Yidu Subutun mudi de Ya Chou tongqi', in Kaogu xuebao, 1977 (2), pp.23-33, p.24, fig.5, and p.25Vadime Elisseeff, Bronzes Archaïques Chinois au Musée Cernuschi. Archaic Chinese Bronzes , Vol. I - Tome 1, Paris, 1977, p.141Yan Yiping, Jinwen zongji (Corpus of Bronze Inscriptions), Taipei, 1983, vol.3, no.1049Minao Hayashi, In Shū Jidai seidōki no kenkyū: In Shū seidōki souran (Research on Bronze ware of the Shang and Zhou Dynasties), Tokyo, 1984, p.94, no.113Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Washington D.C., 1990, vol.1, p.362, fig.38.1Zhongguo shehui kexueyuan kaogu yanjiusuo, Yin Zhou jinwen jicheng shiwen, Hong Kong, 2001, vol.3, p.58, fig.3332Shandong Museum, Shandong jinwen jicheng, Jinan, 2007, p.262來源：黃濬 (1880-1951）舊藏，尊古齋，北京，1936年入藏馮洛侯（1902-1989）舊藏，鐃齋，北京，1943年入藏Dr. Ernst Hauswedell & Co.，漢堡，1958年5月5日，編號3德國私人收藏，1958年入藏，並由後人保存迄今出版：黃濬，《尊古齋所見吉金圖卷》，北京，1936，卷1，圖版47羅振玉，《三代吉金文存》，北京，1936, 卷6，圖版17艾鍔風，《鐃齋吉金錄》，北京，1943年，圖版XI a-d殷之彝（张长寿）：《山東蘇埠屯墓地和"亞醜"銅器》，《考古学报》1977年第2期，頁23-33，頁24-25，圖25， 頁25Vadime Elisseeff，《塞努奇博物館藏中國古代青銅器》，巴黎，1977年，卷1，頁141嚴一萍，《金文總集》，臺北，1983，卷3，編號1049林巳奈夫，《殷周時代青銅器的研究》，東京，1984年，頁94，編號113杰西卡·罗森，《赛克勒所藏西周青銅禮器》, 華盛頓，1990年，卷1，頁362, 圖38.1中國社會科學院考古研究所編, 《殷周金文集成釋文》， 香港，2001年，卷3， 頁58，圖三三三二山東省博物館，《山東金文集成》，濟南，2007年，頁262Cast in Brilliance: The von Lochow 'Ya Chou Fu Xin Gui'This archaic bonze gui, which may be referred to as the Ya Chou Fu Xin gui, was acquired by the father of the present owner in 1958 when he bought it at auction from Dr. Ernst Hauswedell & Co., a long-established auction house in Hamburg, Germany (Dr. Ernst Hauswedell, Hamburg, 5th May 1958, lot 3). In the 1950s, the market for Chinese art in Germany was insignificant yet between 1955 and 1959 Hauswedell in Hamburg sold several important Chinese archaic bronzes. Like the present gui , quite a few of these vessels had illustrious late 19th and early 20th century provenances, at least one bronze vessel had been in the Imperial collection, see Dr. Ernst Hauswedell & Co, Hamburg, 9th December 1957, lot 4. Similarly, the provenance of this bronze gui can also be traced back to the first half of the 20th century.The 1958 Hauswedell catalogue entry notes that the Ya Chou Fu Xin gui had first been published by Huang Jun (1880-1951), a prominent Beijing dealer in Chinese antiquities and owner of Zungu Zhai, a well-known Beijing antique shop founded by his uncle. Huang Jun, also known by his literary name Huang Bochuan, had been trained in foreign languages, and was fluent in German, English and French. He was well acquainted with Western collectors and dealers living in Beijing at the time. Huang Jun handled, studied, collected, and eventually sold many important archaic bronzes. His interest was academic as well as commercial, and he published several catalogues on archaic bronzes including the Zungu zhai suojian jijin tujuan (1936) and Ye zhong pianyu erji/sanji (1937 and 1942).These catalogues were printed in small numbers and were made using the most advanced techniques. Objects were illustrated in collotype technique, a laborious photomechanical flat printing process that allowed to reproduce the fine lines and varying tones and shades of the works more accurately than traditional rubbings used to duplicate archaic bronzes in older catalogues. A collotype print of the Ya Chou Fu Xin gui appears in the Zungu zhai suojian jijin tujuan next to a rubbing of the inscription cast on the interior, see Zungu zhai suojian jijin tujuan, Beijing, 1936, vol. I, 47. Subsequently, the collotype technique was used by other collectors and researchers documenting archaic bronzes including Duan Fang and Rong Geng. Gustav Ecke, another German living and collecting in Beijing at the time also adopted the collotype technique in his publications of two important German collections of archaic bronzes, and it is in one of these that the Ya Chou Fu Xin gui reappears in 1943. It was included in Gustav Ecke's seminal catalogue of twenty-two archaic bronzes from the important collection of Hans-Juergen von Lochow (1910-1989) and is illustrated in collotype and with several detail rubbings as well as the inscription , compare Gustav Ecke, Sammlung Lochow: Chinesische Bronzen, Beijing, 1943, pl. XI a-d. Hans-Juergen von Lochow was a German railroad engineer who lived and worked in Beijing between 1921 and 1955. He formed an important collection of Chinese art which comprised modern and classical Chinese paintings, furniture, and archaic bronzes, many of which are now in the Asian Art Museum in Cologne. Von Lochow acquired many pieces in his collection in Beijing from fellow German Otto Burchard (1893-1951), a renowned Berlin Chinese art dealer who had emigrated to China in the 1932. Other pieces were bought from Huang Jun (1880-1951). Of the twenty-two archaic bronzes illustrated in his catalogue, many later found their way into Western museum collections, very few remained in private hands, the present Ya Chou Fu Xin gui being one of them.The Ya Chou Fu Xin gui that was documented in the von Lochow collection in 1943 disappeared after it was last published, and only briefly reappeared in the 1958 Hauswedell sale catalogue. When he returned to Germany in 1955, Hans-Juergen von Lochow was officially allowed bring what was left of his collection of Chinese art including the remaining archaic bronzes. There is no information whether the Ya Chou Fu Xin gui remained in the von Lochow collection or if it changed hands. The provenance information on several archaic bronzes in the Hauswedell catalogues formerly in the von Lochow collection is surprisingly detailed and matches the information noted in Gustav Ecke's catalogue, suggesting that these bronzes may have been consigned by von Lochow at the time. For further information on this lot please visit Bonhams.com

STATUETTE D'AVALOKITESHVARA EN ALLIAGE DE CUIVREVALLÉE DE SWAT, VIIE/VIIIE SIÈCLE Himalayan Art Resources item no. 1446 10.5 cm (4 1/8 in.) high Footnotes:A COPPER ALLOY FIGURE OF AVALOKITESHVARA SWAT VALLEY, 7TH/8TH CENTURY斯瓦特 七/八世紀 觀音銅像 Located in the foothills of the Hindu Kush mountains in modern-day Pakistan, the Swat Valley became a haven for monastic communities fleeing from invading Huns and their persecution of Buddhism in ancient Gandhara during the 5th century. Buddhist bronzes from Swat therefore constitute an important artistic and religious link between the former Gandharan civilization, the Gupta period of Northern India, and the rising states of Kashmir, Gilgit, and Western Tibet. Although much of the Greco-Roman realism that informed Gandharan art is lost here, the confident posture, downcast expression, and pleated lower garment recall some of Gandharan art's key idioms, as well as those from the Gupta period of North India (4th-6th centuries). Several stylistic features of the present sculpture are consistent with other early Swat Valley images attributed to the 7th century. Two other Swat figures of similar quality depicting the same deity can be found in the Cleveland Museum of Art (1971.20), and in the Ashmolean Museum, Oxford (EA1997.250). Furthermore, Avalokiteshvara's tripartite crown and dark, lustrous patina with green and reddish hues are comparable in appearance to a bronze Maitreya from the Pan-Asian Collection, sold at Christie's, New York, 21 September 2007, lot 229.Published:John Siudmak, Indian and Himalayan Sculpture and Thangkas from the Late Simon Digby Collection, 2011, no. 24. Provenance:Sotheby's, London, 24 April 1990, lot 45 Simon Digby Collection John Siudmak, London, 2011 Private European CollectionFor further information on this lot please visit Bonhams.com

A GROUP OF CUT GLASS DECANTERS AND WATERFORD CRYSTAL, comprising a Waterford Crystal mantel clock, a paperweight in the form of a knife, a Waterford Crystal bud vase, an art deco style Waterford Crystal vase, biscuit jar (missing lid), two preserve pots, bonbon dish, a footed bud vase, six Webb Corbett short stemmed wine glasses, a ship's decanter, comport, a clear modern style decanter etched 'Transport and General Workers Union- Brighton 1989', etc. (Qty) (Condition Report: one of the wine glasses has a chipped base)

A NEAR PAIR OF ART DECO STYLE CHROME AND GLASS TABLE LAMPS AND OTHER ITEMS OF METALWARE, GLASS AND CERAMICS, the lamps with moulded pale green spherical shades, heights 45cm and 43cm, the remaining items comprising a bronzed Frith Sculpture 'Enduring Love' by Adrian Frith with booklet, a Royal Crown Derby 'Owlet' paperweight, first quality with gold button, a modern ships decanter and modern cast iron Japanese tea set (10)

TWO BOXES AND LOOSE POSTCARDS AND SUNDRY HOMEWARES, to include a quantity of late twentieth century/contemporary postcards, mostly topographical and art themes, some reproductions of older cards, a lockable grey metal case/box, approximate dimensions 32cm x 21cm x 10cm, with two keys, two adjustable desk lamps, boxed Harman JBL wireless multimedia speakers, a Revitive Medic circulation booster with as new carry bag, a cased Olympus X-705 digital camera, sheets of modern Sri Lankan stamps, etc (2 boxes + loose) (sd)