* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED pastel on paper, signed and dated '87mounted, framed and under glassimage size 84cm x 60cm, overall size 106cm x 82cmProvenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.
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* 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.
* DRONMA (SCOTTISH b. 1947), BERWICK LAW FROM THE LEITHIES oil on canvas, signed, titled verso framed and under glassimage size 61cm x 61cm, overall size 72cm x 72cm Note: Dronma was born in Glasgow in 1947 and studied at Laurel Bank and then Glasgow School of Art, where she graduated in 1969. After her studies at Jordanhill College of Education, and a period of teaching she was appointed Art Director of Glasgow Arts Centre. Until April 2008 Drӧnma was a part time lecturer at Forth valley College. She now devotes her time fully to her painting, and a member of the Glasgow Society of Women Artists.(GSWA). Awarded Scottish Amicable Award 2007 at their 125th Anniversary Exhibition. Dronma's vibrant landscapes have gained her a fine reputation amongst discerning buyers of contemporary art, as a modern Scottish colourist. Her bold expressive style evokes the character inherent in Scotland's mountains and shores. Dronma has been a Tibetan Buddhist since 1976. Her landscapes may be wild and wind swept, but they also gleam with an inner light. Her work has been exhibited all over the United Kingdom, and in private collections world-wide.
* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003), SLOW BALLAD (BLUES NUMBER) oil on panel, signed, titled and dated 1978 label versoframed image size 45cm x 37cm, overall size 63cm x 56cm Artist's label verso.Note: Neil Dallas Brown was born in Elgin, Moray and studied at Dundee College of Art, Patrick Allan Fraser School of Art in Arbroath and the Royal Academy Schools. He won a travelling scholarship to the continent and a number of notable awards and prizes. In 1967 he visited New York with a Scottish Arts Council bursary; in 1970 took part in the Arts Council of Northern Ireland Open winning a major prize; and in 1981 won a bursary to the Scottish Arts Council studio in Amsterdam. From 1968-78 he was visiting lecturer at Dundee's Duncan of Jordanstone College of Art, then joined Glasgow School of Art where he taught for some 20 years. He lived in Fife until his death in 2003. Dallas Brown participated in dozens of group shows but also had a series of prestigious solo shows, notably at Compass Gallery in Glasgow, a series in the late 1960s at Piccadilly Gallery in London, a touring retrospective in 1975 from Stirling University, Perth Art Gallery 1987, Thackeray Gallery London in 1989 and Glasgow School of Art 1998. Birds and humans featured in Dallas Brown's pictures, which are tinged with mystery, menace and surrealism. He said ''Painting is love. Painting is an affectionate devotion''. More than 50 of Neil Dallas Brown's paintings are held in major public collections in the UK including at Glasgow Museums & Galleries, Fife Council, Hospitalfield (Arbroath), The Glasgow School of Art, Edinburgh City Collection, Nottingham Art Gallery, The Walker Art Gallery (Liverpool), Aberdeen Museums & Galleries, Dundee Museums & Galleries, The Fleming Collection (London), Paisley Museums & Galleries and The Scottish National Gallery of Modern Art.
* JOYCE W CAIRNS PPRSA DEd (hc) HRA (2018-2022) HRHA HRWA HRBA RSW MA (RCA) (SCOTTISH b. 1947), HOMESICK watercolour on paper, signed and dated 1975framed and under glassimage size 49cm x 69cm, overall size 59cm x 79cm Provenance: authenticated by the artist (02.05.23) and although untitled, Ms Cairns suggested "Homesick" as at the time (1975) she was in London and missing her homeland. This is a rare early work by one of Scotland's most significant and critically acclaimed artists of her generation.Note: In 2018 Joyce W Cairns was elected the first woman President of The Royal Scottish Academy in its 192 year history. Given the extraordinary talent of many Scottish women artists both past and present, this honour reflects the high esteem of the Royal Academicians who elected her and her status as one of the most important and respected artists of her time. Note 2: Joyce W Cairns was born and brought up in Edinburgh. She studied painting at Grays School of Art, Aberdeen from 1966 -71 and The Royal College of Art, London 1971 -74. She was awarded a Fellowship at Gloucester College of Art and Design 1974-75 returning to London where she did the Art Teacher’s Certificate Course at Goldsmiths College, University of London 1975-76. In 1976 she returned to Aberdeen where she taught Drawing and Painting at Grays School of Art until 2004 when she took early retirement to complete the vast body of work which culminated in ‘War Tourist’. It was exhibited for 3 months in 2006 at Aberdeen Art Gallery, attracting nearly 30,000 visitors. Her work is mainly autobiographical based on past memories intertwined with present experiences, woven around the backcloth of the once fishing village of Footdee at the mouth of Aberdeen harbour where she has lived for the past 33 years. ‘War Tourist’ was based on her Father’s war backed up by extensive research following in his footsteps through Europe and Tunisia. She now paints in Dundee working in a house and garden overlooking the Tay which will add a further dimension to her work but still retains a residence in Footdee. Cairns has won many awards and is featured in many publications and in the wider media. Cairns’ work has been exhibited in serious group exhibitions since 1970, as well as having numerous celebrated solo exhibitions in Scotland, London and Canada. Her work is held in numerous public collections including Aberdeen Art Gallery, The Scottish Arts Council, BBC Television, Edinburgh City Arts Centre, Fife Regional Council, Fleming’s Bank, Glasgow City Art Gallery & Museum, Glasgow Gallery of Modern Art, Grampian Television, Graves Art Gallery & Museum, Sheffield, Gray’s School of Art, Aberdeen, Lanarkshire County Council, Manchester City Art Gallery, McMaster Museum, Hamilton, Ontario, Mobil, Perth City Art Gallery & Museum, Shell UK, Tidaholm Government Office, Sweden, The Contemporary Arts Society, The Royal Scottish Academy, University of Aberdeen, University of Strathclyde, Unilever, Aberdeen Asset Management, The National Museums of Scotland, The Robert Gordon University, Aberdeen Asset Management,Asia, Singapore, The British Museum, The Victor Murphy Trust, Pier Arts Centre, Inverness Museum and Art Gallery, The Maritime Museum, Irvin, New Hall Art Collection, Cambridge, The National Galleries of Scotland. Further biographical information at: www.joycecairns.co.uk
* BARBARA BALMER RSA RSW RGI (SCOTTISH 1929 - 2017), UNTITLED oil on board, signedframedimage size 102cm x 122cm, overall size 120cm x 140cm Note: Barbara Balmer had a singular vision. Her pictures have a curious, if not surreal, edge. In her instantly recognisable style, she took the everyday and simplified it into shapes and patterns that she filled with subtle gradations of colour. Born in Birmingham, she moved to Scotland by way of a scholarship from Coventry School of Art that took her to Edinburgh College of Art (1949-1953). Her contemporaries are a roll call of familiar names of Scottish art: Elizabeth Blackadder, John Houston and Frances Walker to name a few. Balmer, however, eschewed the expressive brushwork and vibrant palette of the time and developed her own unique visual vocabulary. Throughout her long career, spanning more than five decades, she was twice selected to exhibit at the John Moores Exhibition in Liverpool, and had solo shows at the Richard Demarco Gallery and the Open Eye Gallery in Edinburgh, the Scottish Arts Council Touring Exhibitions and at the Fine Art Society in Edinburgh. Barbara taught at Gray’s School of Art in Aberdeen between 1970 and 1980 and held a retrospective exhibition at Aberdeen Art Gallery which travelled to Dundee, Lincoln and Coventry. Her work is included in many public and private collections including, The Royal Collection, The Scottish National Portrait Gallery (Portrait of Richard Demarco), The City Art Centre, Edinburgh, Leicester City Museum, Aberdeen and Stirling Universities, Aberdeen, Glasgow, Birmingham, Perth, Dundee and Lincoln Art Galleries. Seven of her paintings were used as dust jackets by Virago for the Modern Classics series and she was an elected member of the Royal Scottish Academy, the Royal Glasgow Institute and the Royal Scottish Society of Painters in Watercolour. In Barbara's obituary in The Herald, Richard Demarco wrote: "I hesitate to define her as an English, Scottish or indeed British artist. Her particular art must be viewed as belonging to the great and enduring tradition associated with the latest manifestations of European painting in this age of modern art".
* WILL MACLEAN MBE RSA RGI RSE HON D.LITT (SCOTTISH b. 1941), THE DEPARTURE (AFTER DANIELL) artist's proof screen-print on paper, signed, titled and numbered framed and under glassimage size 31cm x 44cm, overall size 60cm x 74cm Note: Will Maclean RSA, Professor of Painting at the University of Dundee, is one of the outstanding Scottish artists of his generation. He was born in Inverness where his father, a former sailor, was harbour master, and he spent his childhood between Inverness and Skye. His art is rooted in his knowledge of the Highlands, the Highland people and their history and in his own early associations with sailors and the sea. These things make it relevant and immediately accessible, yet it remains uncompromisingly modern in its forms and in its concerns.
* NAEL HANNA (IRAQI/SCOTTISH b. 1959), GLENCOE oil on board, signedframed and under glassimage size 51cm x 81cm, overall size 68cm x 100cmNote: Based in Angus, Scotland, Nael Hanna has long been regarded as one of the UK's most visionary landscape painters. His love of the Scottish north east coastline has provided the inspiration for much of his long career as a modern contemporary artist. He returns to the colours, textures and natural light that he encounters whilst out walking near his home in rural Angus, each time capturing something new, and detail previously unseen in his art. The wonders of the natural world and nature, are captured and form the essence of his painting. Nael first arrived in Dundee in 1983, the year in which he began his studies in drawing and painting at Duncan of Jordanson. In 1987, he won a scholarship to further his study at the acclaimed Hospitalfield Summer School, Arbroath, and it was during that time that he began to depict the dramatic coastline and imposing mountain ranges and spectacular waterfalls that he encountered in his travels throughout Scotland. Nael’s work has attained numerous awards and widespread acclaim in the UK and in many other countries including Malaysia, Egypt and the USA. As well as exhibitions at the RGI, RSA, SSA and the SSAC, Nael has exhibited in countless prominent galleries throughout the UK and his work is included within major public, corporate and private collections worldwide.
* HERBERT WHONE (BRITISH 1925 - 2011), GOVAN FERRY IN A WINTER SUNSET oil on canvas, signed and dated '61framedimage size 62cm x 107cm, overall size 78cm 124cmProvenance: "Govan Ferry in a Winter Sunset" is shown as plate 43 in "Glasgow in Transition" by Herbert Whone. The colour plate occupies page 91 and the text notes "Mr H Howard, Lancs" as the owner of the painting. The current seller is the daughter of Mr Howard. A copy of the hardback book accompanies this lot.Note: Herbert Whone's Glasgow paintings have captivated collectors for many years but in recent times the prices achieved have seen extraordinary growth. Our auctions have set numerous auction records since December 2014 (£2800) followed by £6500, £8000, £13000 and £18000 (2021) - all hammer prices.Herbert Whone was born in Bingley, West Yorkshire, where his parents were both employed in the cloth mills. He was encouraged by his mother to ''improve'' himself culturally, and from an early age took photographs and practised the violin. After education at the Royal Manchester College of Music (now the Royal Northern College of Music) and Manchester University, he secured positions in the Royal Opera House Orchestra and the BBC Symphony Orchestra, before moving to Glasgow in 1955, where he took up the position of deputy leader of the Scottish National Orchestra. He was inspired by Glasgow's changing fortunes and painted a series of notable canvases featuring the beauty of a city and surrounding areas in transition. His paintings of trams and shipbuilding on and around the Clyde, to pick two of his fondest subjects, were presented with warmth and beauty, almost impressionistic in their depiction of glowing sunsets and use of rich colour. Herbert Whone (often incorrectly catalogued as Herbert Bannister Whone, his father's name) continued to paint long after his departure from Glasgow in 1964 and made several trips back to Scotland to paint, but It's the relatively small body of work produced in and around the city that stands testament to his exceptional talent. Whone's paintings, while highly collected and critically acclaimed, are still to attain the full recognition and commercial value they deserve and will surely eventually achieve. Known collectors of Herbert Whone's paintings included Joan Eardley, Margot Sandeman, Cyril Gerber, Johnny Beattie and Magnus Magnusson. Growing collector interest in Herbert Whone has seen his auction record price being beaten on an almost annual basis in recent years. This is even more impressive as auction appearances of his Glasgow paintings are becoming ever rarer. Public collections include: Glasgow Museums & Galleries, The Scottish National Gallery of Modern Art, The Hepworth, Kirklees Museums & Galleries, Salford Museums & Galleries and The Mercer Gallery (Harrogate).
David Shepherd CBE, OBE, FRSA, FGRA (British, 1931-2017), Elephants at the Watering Hole, oil on canvas, signed and dated 1984 lower right, copyright details and date 1984 on reverse, modern reproduction swept frame,9 x 16in. (22.9 x 40.6cm.)* Provenance: Private collection, Chico, California.Jackson Hole Art Auction, 130 East Broadway, Jackson, Wyoming, USA, 19th September 2020, lot 169.** Notes: David Shepherd is well known his paintings of wildlife and steam railways although he also painted aircraft and landscapes. Born in Hendon, Greater London, he attended Stowe School in Buckinghamshire and upon leaving travelled to Kenya with the aim of becoming a game warden. Rejected, he returned to Britain to be turned down by the Slade School of Art. Determined to succeed as a painter, he became the pupil of the artist Robin Goodwin and coupled this with his interest in wildlife conservation and steam railways. The combination of his obvious artistic talent and commercial subject matter brought financial success and since the 1960's his work has been well known through numerous reproductions in print, poster and other forms. He was an outspoken campaigner promoting wildlife conservation and was appointed a Commander of the Order of the British Empire in 2008 for services to charity and wildlife conservation.
Maxime Camille Louis Maufra (French, 1861-1918), "Chaines des Alles - Grenoble", oil on canvas, signed and dated 1901 lower right, modern reproduction swept gilded frame, 14½ x 21in. (36.8 x 53.3cm.).* Label on reverse for G.M Lotinga Ltd, Fine Art Galleries, 9a New Bond Street, London dated July 1962 giving title, artist and date. * Condition: Canvas lined. Light surface dirt, otherwise in good condition.
§ Walter Horst Nessler (1912-2001) John Denham, Mill Lanesigned and dated 'Nessler / 84' (lower right)mixed media35.5 x 50.5cmRemembered as much for his dreamlike imagery as for his courage and fortitude, German-born artist, Waler Nessler's, work often dealt with themes of social and political injustice. In the 1950s and 1960s, he created a series of powerful anti-war paintings that were inspired by his experiences as a refugee and by the devastating effects of World War II. He also created works that explored issues of poverty, racism and the struggles of the working class.Forced to flee Germany in the 1930s, due to his opposition to the Nazi regime, Nessler lived briefly in Paris before moving to London and joining the army shortly thereafter. During his military service, Nessler continued to produce art, sketching his surroundings and fellow personnel. Following the war, Nessler returned to London to study sculpture at St. Martin’s School of Art, before travelling to Paris, where he mixed with artists including Cocteau, Picasso and Matisse. The bright colours and strong use of line associated with both the School of Paris and Cubism proved to have a huge influence on Nessler’s matured style.In addition to his artwork, Nessler was also a dedicated teacher. He taught at a number of art schools in London, including the Central School of Art and Design and the Royal College of Art. Nessler's work has been exhibited in many major galleries and museums around the world, including the Tate Gallery in London and the Museum of Modern Art in New York. His legacy continues to inspire artists today, particularly those who seek to use their art to engage with political and social issues.Not examined out of the frame, so edges and reverse not available for inspection. Appears in very nice condition with some minor surface blemishes, likely on the sheet during execution of the piece, otherwise good.
Mohammed Ghani Hikmat (Iraq, 1929-2011)The Family wooden sculpture signed 'Mohammed Ghani' and dated '1967' (lower right), executed in 1967100 x 120cm (39 3/8 x 47 1/4in).Footnotes:Provenance:Property from a private collection, GermanyAcquired directly from the artist by the present owner's family.'The modulation of sculpted lines in my figures, has been one of the focal points of my work for many years; what drew me in particular to the configuration of these forms is the dual appearance of both conflict and interplay between them. The union and fusion of sculpted figures is an integral part of my work and presents us with a constantly changeable relationship between form and meaning' - Mohammad Ghani HikmatThis remarkable wooden sculpture is a true testament to the unique artistic vision of Mohammed Ghani Hikma. Born in Baghdad, Iraq in 1961, Hikmat has become known for his distinctive stylized approach to sculpture.Executed in an impressive scale, this sculpture portrays a Bedouin family in Hikmat's distinctive stylized manner. Rather than focusing on fine detail, Hikmat uses bold, sweeping curves and outlines to capture the essence of each figure. The result is a powerful and evocative portrayal that emphasizes the emotion and movement of the family.The wood itself is a work of art, with its deep, rich colors and fine-grained texture. Hikmat's skillful use of the medium creates a sense of fluidity and dynamism, adding to the sense of motion and energy in the sculpture.In 1953, Mohammed Ghani Hikmat graduated from the Institute of Fine Art in Baghdad. He then travelled to Rome to train at the Accademia di Belle Arti, graduating in 1959. While in Italy, he also studied metals at the Instituto di Zaka in Florence, specializing in casting bronze. He subsequently taught sculpture at the Baghdad Institute of Fine Art and the College of Architectural Engineering at the University of Baghdad.During his career, Hikmat was a prolific creator and exhibitor, and an active participant in the growing Iraqi art scene. He held several solo shows in Rome, San Remo, London, Beirut, and Baghdad. He also participated in most major national exhibitions in Iraq. He was a member of the Society of the Friends of Art and later the az-Zawiya group headed by Faiq Hassan. Significantly, Hikmat was also an influential member of the Baghdad Group of Modern Art (BGMA). Founded by his teachers and friends, Jewad Selim and Shakir Hassan Al-Said, the BGMA was arguably the most important artist society in modern Iraq and was dedicated to the idea that Iraq's heritage held a preeminent place within its modern art practice.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Faeq Hassan (Iraq, 1914-1992)Baghdadiyat oil on canvas, framedsigned (lower left), executed circa 1950s75 x 62cm (29 1/2 x 24 7/16in).Footnotes:BaghdadiyatOne of the finest examples from Faeq Hassan's cubist period Provenance:Property from a private collection, GermanyAcquired directly from the artist by the present owner's family.Faeq Hassan'His Cubism in the fifties was a mixture of Arab forms largely derived from the 13th century Baghdadi illuminator Yahya al Wasiti, and current European forms. But his peasants, his Bedouins, his fishermen owe much to the waters of Tigris and Euphrates. His harvesters, his curd-sellers, however cubistically stylized, laboured under a clear Mesopotamian sun'- Jabra Ibrahim Jabra'Baghdadiat' is perhaps the most exquisite and sophisticated rendition of Faeq Hassan's brief but fruitful experimentation with Cubism, and more importantly, counts as one of the most graceful and skilfully rendered expressions of 'Baghdad Modernism' ever to come to market, exhibiting a near perfect synthesis of local Iraqi and Mesopotamian forms rendered within a European Modernist artistic vocabulary. Held in the same private German collection for over half a century, the work is part of a formidable collection of Iraqi Modernism amassed by a prominent German industrialist who was based in Iraq in the 1960's and developed a close personal friendship with Faeq Hassan, during which he acquired some of the artists most important artworks One of the defining characteristics of the Baghdad Group of Modern Artists was their unique blending of European and local influences in their work. Many of the artists in the group had studied in Europe and were influenced by the modernist movements that had emerged there in the early 20th century, such as cubism, surrealism, and abstract expressionism.At the same time, the artists in the Baghdad Group were deeply committed to exploring their own cultural heritage and incorporating elements of Iraqi art and folklore into their work. They drew inspiration from traditional Iraqi crafts, such as weaving, calligraphy, and pottery, as well as from the rich history of Islamic art and architecture. The result of this fusion of European and local influences was a unique and distinctive style that was both modern and deeply rooted in Iraqi culture. The deftness with which the present work balances local and Modern elements is hard to overstate; On first impressions, Hassan's composition appears to be overtly inspired by the simplified figuration of artists like Miro or Picasso (notably his depictions of Francoise Gilot painted in the 1940's), but on closer inspection we can see that the almond shaped heads of the figures clearly reference ancient Mesopotamian statuary found in the Lecant and that the composition is punctuated by traditional Eastern symbols like the crescent MoonThe work itself is a playful explosion of colour, shape, and texture that perfectly captures the energy and dynamism of the Baghdad Modern art group. The composition is composed of fragmented shapes, planes, and lines that overlap and intersect to create a complex, multi-layered image that is both striking and evocative.Faeq Hassan is often referred to as the father of Iraqi modern art. During his artistic career he took on many roles within the burgeoning Iraqi art scene, including educator and founder. In the crucial decades of the 1940s and 50s, Hassan was devoted to the creation of an art form that would express the growing feelings of national pride amongst Iraqi citizens. He was also interested in developing his own technical skill and that of his students. In later decades, Hassan would remain a leading artist in Iraq and his artistic legacy continues to be a powerful influence.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Kadhim Hayder (Iraq, 1932-1985)Al Qamar oil on canvas, framedsigned 'K HAIDAR' and dated '1966' on the stretcher, executed in 1966104 x 134cm (40 15/16 x 52 3/4in).Footnotes:Al-QamarA monumental 1966 composition from Kadhim Hayder's Epic of the Martyr series formerly in the collection of the Iraqi Ambassador to Lebanon H.E Nathir Umari'The Hour has drawn near, and the moon was split in two.' Surah Al-Qamar'The horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom'- Kadhim Hayder'The exhibition of The Epic of the Martyr took place in circumstances that were politically and culturally complicated; it turned the idea of martyrdom into a modern symbol that cried out in tragedy apart from any religious interpretation.'- Dia al-AzzawiProvenance:Property from the collection of H.E Nathir Umari, Iraqi Ambassador to Lebanon (1963-1966), acquired directly from the artist, circa 1966, thence by descent Exhibited:Kadhim Hayder, Gallery One, Beirut, 1966 This monumental painting from Kadhim Hayder's Martyrs Epic series is a powerful depiction of the climax of the cycle, the moment of Imam Hussein's death. Painted in 1966, 'Al Qamar' (The Moon) is a poignant and emotionally charged work that showcases the artist's masterful use of religious allegory and cultural mythology.The painting comes to market with an impressive provenance, having belonged to Nathir Umari, a prominent Iraqi diplomat who served amongst other postings as ambassador to Lebanon, the United States, and France throughout the 1960's. Umari was also a senior representative for Iraq at the United Nations. The painting was acquired by Umari in Beirut during his ambassadorshipThe title of the painting, 'Al Qamar' (The Moon), has significant symbolic meaning in Islamic culture and literature. The moon is mentioned numerous times in the Quran, and is often used as a metaphor for the light of God, purity, and guidance. In this painting, the red moon serves as a symbol both of mourning and of the light that Imam Hussein brought to the world through his sacrifice.What makes this painting particularly special is that it was not originally part of the Martyrs Epic series, but was painted a year after the exhibition. It shows the artist's fondness for this particular scene, and his desire to explore it further. In this respect 'Al Qamar' shares a striking similarity ot the painting from the series that is now in the Barjeel Art Foundation, which adds to its significance and rarity.This remarkable painting is a testament to Kadhim Hayder's importance in the history of Iraqi art, and his enduring legacy as an artist who captured the essence of one of the most important events in Islamic history..Saleem Al Bahloly: The Epic of the Martyr:'Haidar began working on the series in 1963 shortly after returning from London where he had studied printmaking and stage-design at the Royal College of Art. On the one hand, the paintings were a continuation of the interests of artists in the 1950s: in the inspiration Haidar found in popular culture and in his adoption of certain pictorial devices from ancient Assyrian sculpture to modern art (associated with the Baghdad Group for Modern Art) as well as in his concern with political struggles for justice (associated with the Pioneers art group). On the other hand, however, Haidar opened a new horizon for the practice of art by structuring the paintings around an act of symbolism.The paintings are composed of horses and warriors, wielding spears and swords and bearing banners and shields, that are positioned on a flat, mythical landscape. This imagery was drawn from the annual taʿziya celebrations that mourn the martyrdom of al-Husayn and other members of the Prophet's family in a stand-off with the Umayyad army in 680 AD; in particular, the imagery is taken from the processions in which a pageant of costumed figures representing characters from the battle fought on the 'plain' west of the Euphrates parade through the street accompanying poets who narrate in a vernacular tradition of verse the injustice suffered by the Prophet's family.In the paintings, this imagery has been reconstructed according to a variety of devices inspired by a range of sources: the bodies of the horses and figures are turned toward the viewer, as if they are appearing on a stage or in an ancient frieze depicting a historic battle; a sense of performance is carried into the image by the intense expressivity of their gestures which seem to dissolve anatomical features and the outline of shapes in a fervour of emotion; the limbs of human and animal bodies alike are often multiplied (an influence of Assyrian sculptural reliefs that Haider almost certainly saw at the British Museum in London) and tapered (a form of modelling inspired by the sculpture of Henry Moore).The reconstructed imagery is arranged in the paintings not to narrate a historical event but to elaborate a concept of the martyr that emerged out of that event—a hero who by his death in a struggle for truth paradoxically triumphs. Haidar developed this concept of the martyr in painting by focusing on the symbolic relation between the fallen martyr and his horse. As he explained to the newspaper al-Jumhuriyya in 1965: 'the horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.' That symbolism is present in the mourning processions where al-Husayn is represented by a riderless white horse; but it has its roots in a legend that, when al-Husayn's horse saw his beheaded corpse, it circled around his body, rubbed its head in his blood, let out a ferocious whine and killed forty men.The paintings in The Epic of the Martyr were different sizes [they] reflect, as Dia al-ʿAzzawi has written, Haidar's desire to collapse the distinction between gallery and street, and between art and ritual, by reproducing the atmosphere of the folk celebration inside the museum. To that end, for the exhibition in 1965, Haidar composed a poem in which each line corresponded to a painting in the series, in this way reproducing the coupling of pageant and poetry in the mourning processions.This attempt to go beyond the conventional materials of painting, in order to use the artwork to stage an experience that is not only visual but also emotive, makes The Epic of the Martyr one of the earliest pieces of contemporary art in the Middle East.'Saleem Al-Bahloly received a PhD from the University of California, Berkeley, and has held fellowships at Johns Hopkins and the University of California, Santa Barbara. He is writing a book about an intellectual shift that occurred in Iraq during the 1960s in response to disillusionment with left-wing politics. The above text has been abridged.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Dia Azzawi (Iraq, born 1939)Red Composition oil on canvas, framedsigned 'Dia Azzawi', and dated '1970' (lower left and on the verso), executed in 1970 125 x 125cm (49 3/16 x 49 3/16in).Footnotes:'Red Composition'A seminal 1970 masterpiece by Dia Azzawi and one of the first large scale works in his mature styleProvenance:Property from a private collection, Beirut'This is part of our 'identity problem': what to do with calligraphy? How do we use it to create something which is related to our history? I was very much influenced by a different part of Iraqi history, mainly by Sumerian art, and this combination with Arabic calligraphy, gave me the ability to create new kinds of abstract imagery'- Dia AzzawiBonhams are proud to present 'Red Composition' , a seminal 1970 masterpiece by the renowned Iraqi artist, Dia Azzawi, painted in the immediate aftermath of his establishment of the 'New Vision Group'. This large and important painting is a landmark work in Azzawi's illustrious career, it is one of the earliest works in the artists mature painterly style and signature palette as well as the first work where the artist introduces a blend of Arabic and Ancient Mesopotamian letterforms. Painted in 1970, 'Red Composition' represents a pivotal point in Azzawi's artistic journey. As he transitioned from the darker palette and more figurative works of the 1960s to a warmer, more vibrant approach, this painting served as a catalyst for his exploration of letterforms and abstract figural references.In the present work, Dia Al-Azzawi draws from ancient cuneiform, humanity's first script along with Egyptian hieroglyphs. This script features 'figurative' pictograms that symbolize objects and 'abstract' signs made up of lines in the shape of 'corners' or 'nails,' which transcribe a sound or syllable. Incisions, signs, pictograms, and symbols form the core vocabulary of Azzawi's formal language, which he liberates from their literal meanings to create a visual poetic equivalent. He deftly captures the sensitive resonance of Sumerian epic extracts within himself, expressing it through colour and semi figural outlines. Executed on a grand scale, 'Red Composition' demands the viewer's attention with its bold use of colour and dynamic composition. The piece's fiery red hues are balanced with black lines and forms that weave throughout the canvas, evoking a sense of movement and depth.It is no surprise that 'Red Composition' is recognized by the own artist an important piece in his oeuvre, representing a turning point in his artistic evolution. This painting truly embodies the essence of Azzawi's mature style.Azzawi started his artistic career in 1964, after graduating from the Institute of Fine Arts in Baghdad and completing a degree in archaeology from Baghdad University in 1962. His studies of ancient civilizations and Iraqi heritage had a profound impact on his art, and a key objective in the early formation of his artistic style was to link the visual culture of the past to the present.In 1969, Azzawi formed the New Vision Group (al-Ru'yya al-Jadidah), uniting fellow artists ideologically and culturally as opposed to stylistically. The group's manifesto, Towards a New Vision, highlighted an association between art and revolution, and sought to transcend the notion of a 'local style'—coined by the Baghdad Modern Art Group—by broadening the parameters of local culture to include the entire Arab world.With exhibitions of his work held worldwide, including a landmark retrospective in 2017 at Qatar's MATHAF, his art features in the collections of some of the world's most prestigious museums and institutions. He is also regarded, in the tumultuous post-conflict climate of 2000s Iraq, considered to be the ultimate authority on modernist and contemporary art from the region.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
Saliba Douaihy (Lebanon, 1915-1994)Blue Abstract oil on canvassigned 'Douaihy' and dated '78' on the verso, collection label of the North Carolina Museum of Art also on verso, executed in 197867 x 86cm (26 3/8 x 33 7/8in).Footnotes:A rare and outstanding abstract composition by Saliba Douaihy from his major 1978 retrospective at the North Carolina Museum, coming directly from the artists familyProvenance: Property from the collection of the artist, thence by descent to his grand-nephew Dr Milad Douaihi, formerly on temporary loan to the North Carolina Museum Of Art (Collection Reference: TL.76.4.3)Published:The Art of Saliba Douaihy, A Retrospective Exhibition, North Carolina Museum of Art Raleigh, 1978 (illustrated) 'Colour is a plastic means of creating intervals... what counts is its use, not its manufacture.' - Barnett NewmanBonhams are proud to be offering an exceptional, large format, published, abstract painting from one of Lebanon's leading 20th Century artists Saliba Douaihy. Exhibited at the artists landmark 1978 show at the North Carolina Museum, the work is a testament to the critical international acclaim Douaihy received after his transition to hard edge painting. Matched by an impeccable provenance, having been on loan to the North Carolina Museum, the work was then passed to the artists nephew, Dr Milad Douaihy, an esteemed professor at the Sorbonne from whose collection it now comes to auction. Born in northern Lebanon within the small town of Ehden, Douaihy was seen as having a talent for the arts from an early age, which led to him being heavily encouraged to develop his craft. Douaihy's work transformed throughout his life, from early works following classical landscape paintings depicting Lebanese villages, to later works such as 'Blue Abstract' following ideas and themes from American Abstract expressionism and Formalism. His body of work involves radical changes and refined artistic instinct. The present work dates from the culmination of his period, when he was selected by the North Carolina museum to stage a major retrospective.'Blue Abstract' from the artists Hard Edge period is an exquisite yet minimalist work. Only five colours are found in the composition, Red, Blue, Yellow, Orange and Green. Each colour is applied to the canvas in precise lines as geometric shapes. The canvas is dominated by a monolithic swathe of azure blue engulfing the work. It leads the viewers eye to the outer edges of the work. Two rich segments of red and a single yellow shape act as barriers to either side of the plane. A lighter marine blue segment darts through the right hand side cutting the outer yellow away from the mass of blueThe application of the paint within the simplistic composition can allude to a lack of perspective in some works. Here it does the opposite. Douaihy uses colour theory and precise geometric shapes to create the feeling of depth and dimension.Douaihy was awarded a grant from the Lebanese government to study abroad. He studied in New York and was introduced to the energetic and modern art scene. This was an integral part to his future themes and his 'Hard edge' series of abstract, minimalist paintings. Rothko and Hans Hoffman were important acquaintances as they were masters of colour theory, knowing how to extract depth from colour with very simplistic compositions. Douaihy became attuned to the ideas of formalism from his readings on Immanuel Kant. This inspired many parts of this work. These influences led to this dedication of hard-edged shapes depicted as flat surfaces. Douaihy's stance encapsulates the ideas and values that influenced all later pieces by him. The painting demonstrates his mastery of the minimalist aesthetic as well as the two fundamental aspects in formalist painting: colour and shape.'Blue Abstract' is truly a compositional masterpiece. Douaihy emphasises the compositional elements along with the purest idea of colour theory that creates the spectacular depth within this work. The work epitomises why he is a true pioneer of Arab Modernism.Douaihy participated in many exhibitions including the Salon Des Artistes Francais, Paris (1934); the New York fair; the Guggenheim Museum; the Salons des Realites Nouvelle, Paris; the Pennsylvania Academy of Fine Arts and University Art Gallery, New York. Douaihy won many prizes and awards. They included the Lebanses National Ord of the cedar (1956), the Philadelphia Academy of Fine Arts Award (1968) and the Medaglia d'Oro of the Accademia d'Itlia dello Arte e del Lavoro (1980).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Adam Henein (Egypt, 1929-2020)Le Repos bronze with brown patinasigned 'A. HENEIN' (under left arm), the present work is an artist proof, from an edition of eight, executed in 197123 x 65 x 30cmFootnotes:Provenance:Property from a private collection, Gizainitially acquired directly from the Artist in 1972Illustrated:S. Wright, Adam Henein, Milan 2005 (illustrated, p. 61)Exhibition catalogue, ARTSPACE Grand Opening Group Exhibition, Artspace DIFC, Dubai, 2008 (another from the edition illustrated in colour, unpaged).S. Eigner, Art of the Middle East: Modern and Contemporary Art of the Arab World and Iran, London 2010 (another from the edition illustrated in colour, p. 289)Note:This work is accompanied by a certificate of authenticity issued by the Artist in 2020.This present sculpture by Adam Henein was executed in 1955 and reflects his sensitivity and artistic complexity even as a young man. During Henein's travels around the region of Luxor, Henein created this work, which combines elements of Pharaonic art with European Modernism. The sculpture depicts an Egyptian man resting in a traditional 'galabiya,' and its rough execution and sharp edges capture the fleeting motion of light, reminiscent of archaeological fragments from Egypt's rich cultural heritage.Henein's sculptures are deeply rooted in his heritage, as he juxtaposes the life of a sculptor with that of a peasant. The sculpture portrays a laid back labourer resting after a long day of work, while Henein himself continues to hammer away at the bronze to create the image of the relaxed worker. Despite giving the sculpture a modernist twist, Henein still manages to delve into Egypt's elaborate history. Through his use of simple, minimalistic lines, he captures a palpable mythic essence while retaining simplicity. Le repos is an exceptional early work by Henein, showcasing the artist's acclaimed career and holding great mystery in the absence of detail.'Le Repos' refers to a state of rest or relaxation; it is a term that has been used to describe many significant paintings throughout art history. There is no singular artwork or style that is definitively referred to as Le Repos, however, one notable Le Repos painting is by French Impressionist artist Pierre-Auguste Renoir. This painting, executed in 1870, depicts a young woman in a state of peaceful repose on a sofa with a book in her lap. This work is significant for its elegant portrayal of the reclining female form and how it beautifully captures a fleeting moment of everyday life. Renoir's soft, sensual brushstrokes and warm, earthy tones emphasize her beauty and femininity. This painting heavily influenced countless artists in the decades that followed, is considered one of Renoir's masterpieces and is housed in the Musée d'Orsay in Paris.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Shakir Hassan Al Said (Iraq, 1925-2004)Female Portrait oil on board, framedsigned 'Shakir' and dated '1954' (upper left), executed in 195438 x 39.5cm (14 15/16 x 15 9/16in).Footnotes:Provenance:Property from the Artist's EstateExhibited:Baghdad, Institute of Fine Arts, Group Show, 19621951 marked the point when Iraq's two most prominent artists, Jewad Selim and his student Shakir Hassan Al-Said, formed the countries first bona fide modern art movement; The Baghdad Group of Modern Art, through its manifesto, membership, and numerous exhibitions would come to signify a 'golden age' in Iraqi modernism.Shakir Hassan Al-Said is often regarded as the theoretical dynamo of the movement; more vocal and prolific in his written output than Selim, Jabra Ibrahim Jabra comments that 'no Iraqi artist has written about art in general, and about the artists reflections on his own work in particular, as much as Shaker Hassan Al Said'.The Baghdad group was defined by an attempt to reconcile the grand visual legacy of the past within the contemporary cultural and nationalistic narrative of twentieth century Iraq. Mesopotamian iconography and Islamo-Arabic cultural motifs were combined with popular modern folk imagery; the high flown formal rigidity of ancient rock reliefs met the convoluted urban landscape of modern Baghdad, populated with the humorous and extravagant characters of daily life, all coming together to form a unique amalgamated aesthetic that reflected the evolving patchwork of Iraqi culture at the time..For further information on this lot please visit Bonhams.com
Lorna Selim (Iraq, 1928-2021)Architectural Composition oil on panelsigned 'Lorna' and dated '1965-1993' (lower right), executed in 1965 and completed in 199340 x 230cm (15 3/4 x 90 9/16in).Footnotes:Provenance:Property from the collection of the Artist's daughterThence by decent to the present ownerBonhams is privileged to present a highly significant and comprehensive set of works by the female artist Lorna Selim. Born in 1928 in Sheffield, Lorna was the wife of the renowned Iraqi modernist Jewad Selim. She received a scholarship to study at the Slade School of Fine Arts in London where she received a diploma in painting and design in 1948. It was there that she met Jewad Selim and in 1950 they got married in Baghdad. She became a member of the Bagdad Modern Art Group founded by her husband and Shakir Hassan Al Said and became a prominent figure in Baghdad's art scene.In 1961, Jewad Selim passed away suddenly at the age of only 41 years old in the midst of a project to complete a major monumental sculpture entitled Nasb Al Hurriyah or 'The Freedom Monument' for the Baghdad's city centre. Following his death, Lorna, along with architect Rifat Chadirji supervised the completion of this iconic monument. In the 1960s, Lorna taught drawing at Baghdad University's Department of Architecture headed by the prominent Iraqi architect Mohamed Makiya. As a teacher she encouraged her students to sketch structures along the Tigris and exposed her young architects to Iraq's vernacular structures, alleyways and historical monuments. This work cultivated and inspired a generation of architects to consider including Iraqi design alongside modern Western architecture in their designs.Lorna was fascinated by the traditional Iraqi houses found along the banks of the Tigris river, from the bayoot (houses) and the mudhif (reed dwellings). Not long after her arrival in Baghdad, the city underwent a period of modernisation, and many traditional homes were being demolished. Dismayed by the destruction of the city's vernacular architecture due to rapid oil-funded modernisation, Lorna took it upon herself to paint these neighbourhoods and document them before they were erased from living memory. Lorna began by sketching a building then she would return home to start the layout of the painting. She would then return to the building to sketch the finer details and note down the colours. Between 1957 and 1963, she sketched many vernacular buildings and homes.Lorna illustrates Baghdad's architecture in her work through abstract forms of simple lines giving hieratic postures to the figures in their daily lives. And with an earthy colour palette, she celebrates the ancient culture from Mesopotamia using symbols from the Iraqi environment such as palm trees or crescent. The yellowish-sepia tones Lorna employed in the 1960s were also meant to render this architecture in an antiquated and ghostly light, a warning that these were already relics of a bygone era. It's fair to say that she immortalised a Baghdad that is all but forgotten.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
Ismael Fattah (Iraq, 1934-2004)Face oil on canvas, framedsigned 'Ismael Fattah' and dated '2000', executed in 2000100 x 80cm (39 3/8 x 31 1/2in).Footnotes:Provenance:Property from a private collection, LondonBonhams, A Century of Iraqi Art Part II and Modern and Contemporary Middle Eastern Art auction, 7 Oct 2015For further information on this lot please visit Bonhams.com
Mohamed Abdalla Otaybi (Sudan, born 1948)Against Violence acrylic on canvas signed 'Otaybi' and dated '017' (lower left), executed in 2017 80 x 79cm (31 1/2 x 31 1/8in).Footnotes:Provenance:Property from a private collection, UKMohamed Abdalla Otaybi is a Sudanese artist known for his unique artistic style that blends traditional Sudanese motifs with modern abstract techniques. His work often features vibrant colors, bold shapes, and intricate patterns that reflect his Sudanese heritage. Many of Otaybi's paintings incorporate references to Sudanese history and culture, including traditional music and dance, as well as images of Nubian pyramids and other iconic landmarks. One of Otaybi's signature techniques is the use of 'molten wax,' a method in which he applies hot wax to the canvas and then paints over it, creating a textured and layered effect. He also incorporates calligraphy and Arabic script into his work, often using it to express messages of peace, unity, and social justice.In his early years, Otaybi was heavily inspired by Ibrahim El-Salahi and Ahmed Shibrain. Otaybi shared the underlying philosophy of the School of Khartoum movement's first generation in that he wanted to look within Sudanese culture to create an art that was meaningful both to himself and to Sudanese society. However, Otaybi thinks of himself as rather belonging to the School of Khartoum's second generation as his work in the 1970s markedly differed from his predecessors.In the late-1980s, Otaybi co-founded the Madrasat Al-Wahid (The School of the One) art movement with a number of other Sudanese artists. Otaybi explains this as the final stage of the School of Khartoum: members of the movement were seeking to create a concrete theoretical foundation to accompany the practices of the School of Khartoum. Al-Wahid concentrated on the Islamic aspects of the Khartoum School, as its founders felt that the Sufi Islamic tradition was widely spread in Sudanese culture, and they wanted to focus on that part of the Sudanese heritage which they saw as closest to the everyday life of the Sudanese.Otaybi has exhibited nationally and internationally, and has received a number of prestigious awards, including the 1981 Kuwaiti Golden Sail Award, a prize at the 1993 Sharjah Biennial and the Gold Medal at the 2003 Cairo Biennale.For further information on this lot please visit Bonhams.com
A CHINESE SILVERED BRONZE MIRROR PROBABLY TANG DYNASTY Decorated in relief with an medallion of mythical creatures amidst fruiting vines, the outer areas with four birds with outstretched wings to the corners, together with a modern stand, 779g, 14cm. (2) Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s. Cf. R Keverne, Chinese Bronze Mirrors, 2009, no.17 for another mirror of this design, formerly in the collection of Cleveland Museum of Art.
GOUDJI: COLLIER EMERAUDE, OEIL-DE-FAUCON ET NACRE BLANCHEDe forme torque, composé de deux éléments articulés, serti à l'avant de plaques d'œil-de-faucon et de nacre blanche, réhaussé au centre d'une émeraude de forme ovale, poinçons français pour l'or 18K (750°/00), tour de cou 45 cm, diamètre extérieur 50 cm, poids brut 87.76 g.Footnotes:Goudji, né Elguja Amashukeli en Géorgie soviétique en 1941, est célèbre pour son approche innovante de la joaillerie, utilisant une technique de 'martelage creux' combinée à des pierres semi-précieuses pour donner vie à ses créations. Après ses études en sculpture à l'École d'Art de Tbilissi, Goudji a quitté Moscou pour la France, où il s'est concentré sur ses ambitions de devenir un orfèvre. Ses torques, broches et bracelets uniques et audacieux combinent habilement l'esthétique antique avec les matériaux modernes pour créer des bijoux souvent qualifiés d'« œuvre d'art ». Les pièces de Goudji ont été présentées dans de nombreuses expositions en France et à l'étranger, et figurent dans de nombreuses collections privées. En 1993, une collection de bijoux intitulée 'Goudji au Louvre' a été créée à la demande de Michel Laclotte, président-directeur du musée du Louvre et de la Réunion des musées nationaux (RMN).Veuillez noter que ce lot sera soumis à l'inspection de l'US Fish and Wildlife s'il est importé aux États-Unis.GOUDJI: EMERALD, HAWK'S EYE QUARTZ AND MOTHER-OF-PEARL NECKLACEDesigned as an articulated torque, set on the front with hawk's eye quartz and white mother-of-pearl plates, highlighted to the centre with an oval-cut emerald, french marks for 18 carat gold, length 45 cm, diameter 50 cm, gross weight 87.76 grams.Goudji, born Elguja Amashukeli in Soviet Georgia in 1941, is famous for his innovative approach to jewellery, employing a 'hollow-beating' technique combined with semi-precious gemstones to bring his creations to life. Following his studies in sculpture at the Art School of Tbilisi, Goudji left Moscow for France, where he focussed on his ambitions to become a goldsmith. His unique and daring torques, brooches and cuffs skillfully combine antique aesthetics with modern materials to create jewels often referred to as 'Art'. Goudji's pieces have been featured in numerous exhibitions in France and abroad and are in many private collections. In 1993, a collection of jewellery entitled 'Goudji at the Louvre' was created at the request of Michel Laclotte, president-director of the Louvre Museum and the Réunion des musées nationaux (RMN).Please note, this lot will be subject to US Fish and Wildlife inspection if imported into the USA.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Robin's egg glaze model of a duckChinese, 18th/19th Centurythe standing bird with head turned slightly to the left, 17cm long x 13cm highThe collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection. The duck appears to have an old professionally repaired break across the middle. Some further wear.
Pair of model cockerelsChinese, 19th/20th Centurythe red ground birds on rocky type bases, 22cm highThe collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Some wear and firing dots/imperfections.
Monochrome pale blue porcelain moon flaskChinese, 19th Centurywith a tulip shaped top and scroll handles, part glazed footrim and traces of an old paper label, 29cm highThe collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Old repair and crack near to the top. Overall crazing.
Monochrome pale blue ovoid jarChinese, 19th Centuryof plain form, with a carved hardwood associated lid, the vase 21cm highThe collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Some overall scratches and fritting/chips around the rim.
Matched pair of Wucai porcelain vases and coversChinese, Transitional periodeach painted in enamels with long robed ladies, some carrying fans with attendants and children playing around them, all set on a terrace and with painted cracked ice, rockwork and floral borders. The covers painted with children and with blue finials, 41 and 40.5cm high (slight differences to the pair)Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Tudor House, Broadway, circa 1910 see photographWear and scratches overall and some losses to the glaze mainly around the rims of the covers. Chips to one cover. There are some hair cracks to both vases and firing faults and marks to the glaze on both including holes in the glaze.(Amended 22/05/2023)
Tarrant, Margaret W. (illus.) Four small volumes illustrated by the artist, comprising The Picture Birthday Book for Boys & Girls Selected quotations by Frank Cole, George G. Harrap & Co., no date, suede leather binding The Children's Year: a Birthday Book The Modern Art Society ltd., no date, blue paper-covered boards with colour plate affixed to front cover Goblin Market by Christina G. Rosetti George Routledge & Sons Ltd., no date, buff paper-covered boards with colour plate affixed to front cover Contes de Perrault par Christine Fitzgerald Libraire Ernest Flammarion, Paris, no date (4) Condition Report:No condition report is available. We strongly recommend viewing in person for this lot.
Tarrant, Margaret (illus.) A collection of eleven small-format Fairy books. The Modern Art Society, 1920s, apparent 1st editions, many retaining dust jackets Together with a later edition of The Flower Fairies and Magic Flowers and two other volumes illustrated by the artist (14) Condition Report:No condition report is available. We strongly recommend viewing in person for this lot.
Famille verte fish tankChinese, 19th Centurypainted in enamels with blossom and butterflies, and with auspicious symbols to the rim, 36cm diameter x 30.5cm highProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.With some firing faults and wear.
Bronze archaic form vaseChinese, 19th Centuryof diamond form and with tao-tie panelled designs, three character seal mark to the base, 19.7cm highThe collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall wear and marks around the base.
Bronze archaic style vaseChinese, 18th/19th Centurywith tao-tie designs and ruyi handles each with a short loop, 31cm high The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Some surface marks and wear.
Blue and white porcelain baluster vase and coverChinese, late 17th/18th Centurydecorated with trailing dragon and flowering peonies, within banded and leaf borders, 36cm highThe collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Hair crack in the body of the vase. Overall scratches and wear to the glaze and some chips to the lid.
Bronze lobed vaseJapanese, 19th Centurywith three dogs mask head supports, and on a stepped circular base, 26.5cm highProvenance:- The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Some surface marks and wear. Old imperfection under the footrim as part of the casting.
An Art Deco three piece tea set by Baltensperger, c.1930, stamped 925, together with a matched coffee pot by the same maker, the set comprising a teapot, sugar and milk jug, of shaped lobed form, the teapot and sugar with figural finials, the coffee pot of matching lobed form with corn finial to hinged lid, coffee pot approx. 22.5cm high, teapot approx. 13.5cm high, total weight approx. 64.5oz (4)Note: In 1925, Walter Baltensperger created designs for the Paris International Exhibition of Modern Decorative and Industrial Arts. Baltensperger was founded in 1878 by Jean Baltensperger, who handed the business over to his sons Walter (1885-1931) and Ernst (1880-1946). They had a prestigious shop on Bahnhofstrasse in Zurich. Ernst left the business in 1918 but returned after the death of Walter in 1931. Ernst's son Pierre took over the business in 1950 and became one of Switzerland's most important sculptors.
An illuminated Qur'an Ottoman Turkey, 17th/early 18th CenturyArabic manuscript on paper, 271 leaves, 12 lines to the page written in in black naskhi script with diacritics and vowel points in black and red, gold roundels marking verse-endings, inner margins ruled in colours and gold, one double-page illuminated frontispiece in colours and gold, sura headings written in white thuluth within panels illuminated in gold with coloured flowers, juz and hizb divisions marked with marginal notes in blue thuluth script, illuminated marginal devices, modern brown leather binding, with flap 176 x 135 mm.Footnotes:ProvenanceBonhams, Islamic and Indian Art, 21st April 1999, lot 552.Private UK collection.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![A small illuminated Qur'an, copied by Abu Talib Tibati [?] Halabi Probably North India, dated 15th Rabi' II 1142/6th November](https://cdn.globalauctionplatform.com/81ed94b7-a84e-4626-9c10-aff900f48abb/d0d54616-7732-47b1-965e-aff900f6621c/468x382.jpg)
A small illuminated Qur'an, copied by Abu Talib Tibati [?] Halabi Probably North India, dated 15th Rabi' II 1142/6th November 1729Arabic manuscript on paper, 367 leaves, 14 lines to the page in neat naskhi script in black within gold cloudbands, with diacritics and vowel points in black and red, inner margins ruled in black and gold, gold roundels marking verse-endings, one double-page frontispiece in colours and gold followed by a second double page of illumination (the opening of sura II, al-Baqarah), sura headings in white naskhi script within illuminated panels, illuminated borders throughout with marginal devices and annotations including juz and hizb divisions, marginal commentaries in Persian, three leaves of prayers at end, modern brown leather binding 92 x 65 mm.Footnotes:ProvenanceBonhams, Islamic and Indian Art, 21st April 1999, lot 568.Private UK collection.The front flyleaf has notes on how many times a certain prayer (the prayer is not given) is to be repeated after a reading of sura II, al-baqarah, and another one relating to another sura (the name of the sura is smudged), and on its benefits.This lot is subject to the following lot symbols: • R• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
A Safavid illuminated miniature Qur'an in a metal case, copied by Asad 'Ibadi al-Sanziwari Persia, dated Thursday 25th Shawwal 991/Thursday 10th November 1583Arabic manuscript on thin polished paper, octagonal, 280 leaves, 15 lines to the page written in fine naskhi script in black ink with diacritics and vowel points in black, gold dots marking verse-endings, circular inner margins in blue and gold, catchwords, sura headings marked with gold ruled lines, circular illuminated opening leaf with centre cut out, two leaves just after beginning misbound upside down, contemporary dark red goat-skin binding with small tooled floral motifs, in a Qajar silver octagonal case with loops for securing bands, in modern cloth-covered slipcase of the Newberry Library, Chicago 45 x 46 mm.; case 51 x 49 mm.; slipcase 154 x 123 mm.Footnotes:ProvenanceEdward E. Ayer (1841-1927).Bequeathed by the above to the Newberry Library, Chicago, December 1920 (label pasted to endleaf, Or. MS. 214).Probably deaccessioned from the Library in 1994.Bonhams, Islamic and Indian Art, 16th October 2003, lot 164.Private UK collection.See Sotheby's, Arts of the Islamic World, 15th October 1998, lot 27; and more recently, 26th October 2022, lot 19, for other examples of miniature Qur'ans formerly in Ayer's possession and subsequently in the Newberry Library.Edward E. Ayer was a Chicago business magnate who made his money in railways. In 1911 he donated part of his collection (which was mostly of Western mediaeval manuscripts, though there were also seventeen thousand items relating to Native American and colonial American history) to the Newberry Library, also giving it an endowment, and sitting on the first Board of Trustees. In 1920 he sold the remainder of his collection to the Library.The scribe is unrecorded.This lot is subject to the following lot symbols: • R• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Dame Laura Knight DBE, RA, RWS (1877-1970) - Pas de Deux, lithograph, signed by the artist in pencil, 52 x 69.5cm Bolling & Withington 'M' Rare. In Bolling & Withington's catalogue raisonne of Laura Knight's prints "To our knowledge this lithograph is almost an 'unknown piece' and has not been mentioned or described except in the auction where it was sold a few years ago. It is, however in the collection of the Hugh Lane Municipal Gallery of Modern Art in Dublin and another in the National Gallery of Canada. The image, when seen at [life]size is impressive...". Laura Knight's four lithographs of which Pas de Deux is the largest date from around 1924/25. The few recorded examples were printed on 'newsprint quality' paper. The exception would appear to be the unique proof impression of Pas de Deux printed on heavy wove that was with Campbell Fine Art. Repaired tears upper centre left and right, slightly creased and browned
Flanders, 16th century A.D. Painted and carved in the round as an imposing eagle standing atop a globe, wings half-spread, semi-naturalistic detailing and remains of gilding; accompanied by its (likely) original wrought iron tripod stand with facetted and collared shaft; also accompanied by a modern custom-made display stand. Cf. similar eagle figurine in the collection of the Metropolitan Museum of Art, New York, forming part of a larger display lectern, under accession no. 68.8.15.3 kg total, 1.75 m high including stand (68 7/8 in.). Ex Mayer collection. Private collection, South West France. with SVV Prunier, 11 October 2020, lot 79. Ex central London gallery.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.202075. Possibly used as a lectern at some point and modified for this purpose with a transverse ledge cut into the rear of the tail. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]
Northern France or Southern Low Countries, circa 1540 A.D. Displaying polychrome detailing, the French word 'CONSEIL' (advice, counsel) shown to bottom right; panel within a lead came border with two modern loops for suspension; some cracking. See Marks, R., Stained Glass in England During the Middle Ages, London, 2014, for discussion.328 grams, 27.8 cm (11 in.). Private collection, Paris.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.202093.[No Reserve]
Northern France, circa 1270 A.D. and later. Composed from irregular painted panels bearing mainly foliage designs and figural elements; Mary crowned and enthroned with infant Jesus on her knee, in a lobed vesica-shaped panel held with lead cames; mounted in a wooden frame with modern replacements. Cf. Hayward, J., English and French Medieval Stained Glass in the Collection of the Metropolitan Museum of Art, Corpus vitrearum, United States of America, 1, New York, revised edition 2003, pl.25/1.5.75 kg, 85 x 56 cm (33 1/2 x 22 in.). with Thierry de Maigret, Vitraux et Dessins, Paris, 20 June 2014, lot 53.[No Reserve]
2nd millennium B.C. The figure with two pierced ears and painted face detailing, neck ornamentation and arm bangles, continuing to the reverse; mounted on a custom-made display stand. 61 grams total, 13 cm high including stand (5 1/8 in.). Ex UK collection formed in the 1980s. Acquired on the London art market.Accompanied by an Artemission, London SW5, certificate of authenticity. Terracotta was a favoured material for the production of idols in the ancient Near East, the idols themselves representing deities, particularly goddesses that were connected to fertility. Such idols could even represent worshippers themselves. The Neo-Hittite civilisation, also known as the 'Syro-Hittite' civilisation, existed during the Iron Age in the areas that are now modern day northern Syria and Southern Anatolia. The Hittite empire collapsed around the 12th century B.C., an event which was proceeded by the decline of the Eastern Mediterranean trade networks, together with the fall of the major late Bronze Age cities in the Levant, Anatolia, and the Aegean. [No Reserve]
Hahnenkampf.: Sammlung von 5 Schriften in engl. Sprache zum Thema, versch. Formate u. Einbde. ╔Enthält:╗ Atkinson,H. Cock-fighting and game fowl. Bath, Bayntun 1938. - Finsterbusch,C.A. Cock fighting all over the world. Gaffney/South Carolina, Grit & Steel 1929. - Ruport,A. The Art of Cockfighting. New York, Devin Adair 1949. - Pridgen,T. Courage, the story of modern Cockfighting. Boston, Little Brown 1938. - Lansang,A.J. Cockfighting in the Philippines, our genuine national sport. Baguio City, Catholic School Press 1966.
![Wassily Kandinsky Persönliches Exemplar für Fanz Marc. - Klänge. München, R. Piper [1913]. - Expressionistisches Mei](https://cdn.globalauctionplatform.com/2e7f016f-e1ca-4955-a0a6-aff10114e092/4c028fd7-0833-4a3a-b95c-aff101173b07/468x382.jpg)
Wassily Kandinsky Persönliches Exemplar für Fanz Marc. - Klänge. München, R. Piper [1913]. - Expressionistisches Meisterwerk - Eines der großen Malerbücher des 20. Jahrhunderts - Einzigartiges, persönliches Widmungsexemplar von Wassily Kandinsky für Franz Marc! 'Betrachtet man die Kläng e als buchkünstlerische Leistung, so dürfen sie ohne weiteres den Anspruch erheben, zu den bemerkenswerten illustrierten Büchern der expressionistischen Zeit zu gehören' (Lothar Lang) 'A volume of meticulous design that balances strenght and beauty' (Robert F. Johnson) Breitrandiger Druck auf Van Gelder Zonen, Titeldruck in Blauviolett und Schwarz. - 'Schon die Gestaltung der Seiten zeigt beträchtliches Können, die rhythmische Spannung zwischen Holzschnitt und genußvoll lesbarem Schriftsatz (Antiqua) ist ebenso gut durchdacht, wie die großzügige Verwendung des Unbedruckten als Blattweiß die Gestalt einer Seite verschönt. Nach den Büchern des Jugendstils ist dieses das erste aus der Zeit des Expressionismus, das in allen seinen Teilen, von der Schrift über deren Grad und Durchschuß bis zum Satzspiegel, der Illustration, dem Papier und dem Einband, einheitlich durchkomponiert ist' (Lang). 'If one surveys the long list of Expressionist illustrated books from the point of view of harmony of text, typography, and illustration, one must recognize Kandinsky's Klänge .. as a masterwork .. With the publication of Klänge, an ingenious, completely modern Expressionist book had come into beeing, one that still never fails to awaken enthusiasm in its readers and viewers' (P. Raabe in Rifkind Coll. I, 120). 'The range of Kandinsky's work is seen here, from cuts in his early style reminiscent of folk art and Jugendstil to his nonobjective designs, which have been so important in 20th century art' (Garvey). Hier vorliegend ein persönliches Widmungsexemplar des Künstlers, bei dem die Signatur und die Numerierung im Druckvermerk unterblieb, jedoch auf dem Vortitel (recte) mit eigenhändiger Widmung mit Unterschrift des Künstlers, datiert 1913: 'Meinem lieben Collegen Franz Marc - Kandinsky. München Januar 1913'. EINBAND: Orig.-Halbleinenband mit goldgeprägten Deckelvignetten und goldgeprägtem Rückentitel. 28,5 : 28,5 cm. - ILLUSTRATION: Mit 12 farbigen und 44 Schwarzweiß-Holzschnitten von W. Kandinsky. - PROVENIENZ: Seit über 20 Jahren Privatsammlung Berlin. LITERATUR: Roethel, Bücher 9 sowie 72-74, 85, 95-140, 142-146. - Dok.-Bibl. I, 282. - Jentsch 9. - Lang 164 und S. 48 ff. - Artist and the Book 138. - From Manet to Hockney 31. - Grohmann S. 413. - Vom Jugendstil zum Bauhaus 85. - Papiergesänge 24. - Rifkind Coll. II, 1368. - Castleman S. 144. - Logan Coll. 18. - One of the great masterpieces of expressionist book illustration. Remarkable und unique dedication copy by Wassily Kandinsky for Franz Marc! - 1 of 300 copies. Broad-margined print on laid paper by Van Gelder Zonen. With 12 woodcuts in colors and 44 in black and white by W. Kandinsky. Orig. half cloth with gilt-tooled vignettes and gilt lettering. - Partly slightly foxed (color plates mostly clean and hardly affected). Binding faded, partly rubbed, back cover with greater ink stain. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
Original vintage advertising poster for a Modern Japanese Woodblock Prints Exhibition at the Japanese Cultural Institute in Cologne / Moderne Japanische Holzschnitte Ausstellung im Japanischen Kulturinstitut Koln from 17 June to 13 July 1972 featuring a great image by the influential artist Yoshitoshi Mori (1898-1992) of a traditional Japanese art style warrior below the title text in stylised green lettering, the rest of the information below. Very good condition, creasing on the top margin. Country of issue: Germany, designer: Yoshitoshi Mori, size (cm): 76x60, year of printing: 1972.
The MP4-12C was the model that marked the return of McLaren's modern Supercar line-up and is a 'must have' in any serious classic car collection.Having astonished the world with its debut supercar of 1992 - the iconic, Le Mans-winning F1 - McLaren re-established itself at the head of the exclusive '200mph' club with the MP4-12C. Publicly unveiled in September 2009, the mid-engined MP4-12C commenced manufacture at McLaren's new state-of-the-art factory at Woking in mid-2011, just after production of the Mercedes-Benz SLR McLaren model had ceased. Its stylist was Frank Stephenson, who had been recruited from Alfa Romeo Centro Stile following spells with Ferrari and FIAT. Like its F1 and SLR predecessors, the MP4-12C used a carbon-fibre MonoCell body tub, albeit one that now took considerably less time to produce thanks to advances in composite manufacturing technology. This time the occupants' two seats were arranged conventionally side by side, unlike the F1's unusual three-abreast layout, which placed the driver in the centre, though the use of dihedral doors maintained a familial link with the F1.Presented here is a UK-supplied, right-hand drive, early production example presented in gorgeous Volcano Red complemented by a Carbon Black Alcantara interior. Mileage at the time of cataloguing was just 11,431 and the car boast a full-service history with the most recent by McLaren Leeds in June 2022. The specification is impressive and includes the carbon fibre interior upgrade with carbon fibre engine bay panels, lightweight forged wheels with the ‘Stealth’ finish, parking sensors front and rear, sports exhaust and satellite navigation. It also boats electric and heated memory seats, two sets of keys and more. The full specification is available upon request.Accompanying the car is the service history including the manuals, Iris user guide, completed service and warranty book and battery trickle charger. The owner has also generously included the private number plate ‘M66 SGP’ and the car will be issued with a fresh MOT prior to the sale.Innovative, attractive, rapid and fast becoming highly sought-after, market commentators are tipping the model that marked the return of this legendary British manufacturers modern Supercar line-up to be a must have in any noteworthy classic car collection.SpecificationMake: MCLARENModel: MP4-12CYear: 2011Chassis Number: SBM11AAC2CW000171Registration Number: M66 SGPTransmission: F1Engine Number: 38JBAA110311 Drive Side: Right-hand DriveOdometer Reading: 11431 MilesMake: RHDClick here for more details and images
Fitted with shelf in cab to double up as a bar. Constructed from original or patent OE equivalent 1950s T1 parts, including original lights and window rubbers and using period correct paint colours. Fitted with a wooden work surface, LED illuminated indictors, headlights and cab with remote control. All the panels were spot-welded where needed and welded to a frame to allow it to be wall-mounted. The split-screen panel with the Perspex windows had to be put in at a more acute angle than standard for it to look right, the side fillets are bespoke and not purchased front wings. Apart from that, everything else is exactly as it should be, even the mounting brackets for the bumper are the real thing. The huge VW badge was sourced from a company in Germany. The coachwork was by Baker Body Craft in Bury St Edmunds and the colours are genuine 1950s Volkswagen. With over 40 man-hours to complete, this is obviously a work of passion!This high-quality piece of modern art could grace the premises of a 'Splitty' aficionado, car collector or a Volkswagen dealership. Unique!Click here for more details and images
One of just 543 UK-supplied cars, family owned since 1999 and offering classic Ferrari style with a modern driving experience.The entirely new Ferrari 308 made its debut at the Paris Salon in 1975 and marked a welcome return to Pininfarina styling, with rakish lines and curved haunches. After ten years of huge success, particularly in the United States, Ferrari had grown weary of the 'Federalisation' of their lovingly designed motorcars in America, with mandatory ugly rubber bumpers ruining the Pininfarina-penned lines. With their Italian aesthetics under attack, Ferrari launched the new 328 with body coloured front and rear bumpers which adhered to US guidelines, and for the first time, the design remained unadulterated by bureaucracy. Increasing both bore and stroke, the Quattrovalvole engine's capacity was raised to 3,186cc which, together with a higher compression ratio, revised pistons and an improved Marelli engine management system, lifted maximum power to 270bhp. Top speed was raised to within a whisker of 160mph with the sprint to 100kph covered in a fraction over 5.5 seconds.Beneath the skin, the tubular steel chassis remained much as before, with all-round independent suspension by double wishbones, four-wheel servo-assisted disc brakes, and aluminium-alloy wheels, though the latter were increased in size. The interior too had come in for subtle revision and now featured improved instruments, switchgear and heating. Pininfarina built two variants of this mid-engine sportscar, the Gran Turismo Berlinetta Coupe and the Gran Turismo Spider (GTS) featuring a removable Targa top, offering an exhilarating open-air driving experience and affording the driver and their fortunate passenger unbridled access to the unmistakable howl of the Ferrari V8. Production ended in 1989 and by then some 7,412 GTS and GTB variants had rolled out of Maranello, with just 543 GTS cars supplied to the UK in right-hand drive.This car was supplied by the earliest Ferrari dealer in the country, Maranello Sales of Egham, to a Mr Reynolds of London on the 8th August 1989 in Rosso Corsa with a tan leather interior and Rosso carpeting, a lovely combination. The Art Deco showroom of Maranello Sales displayed the car a further three times over the next decade, catching the eye of Mr Colin Goddard on 26th July 1999 and ten years later on 17th July 2019 the car was registered to his son, its current keeper. It's presented to auction with a Kenwood sound system, tool roll, jack and car cover, together with the original Ferrari leather wallet that holds the Owner’s Manual, warranty card and service book. The history file contains historic receipts and previous MOT Certificates, the most recent of which was issued without advisories and is valid until 23rd August 2023. It had a full cambelt service by a specialist workshop in 2022 and the odometer reading, at the time of cataloguing, was 40,593 miles.In today’s collector market, very few cars offer the same stylish road presence, relatively modern driving experience and performance of the 328 and with the ability to pop the top off and listen to that glorious V8 howl, these have become very desirable classic Ferraris. SpecificationMake: FERRARIModel: 328Year: 1989Chassis Number: ZFFWA20C000081734Registration Number: G131 BPFTransmission: ManualEngine Number: 18176 Drive Side: Right-hand DriveOdometer Reading: 40593 MilesMake: RHDInterior Colour: Crema LeatherClick here for more details and images
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