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Gérard (20th Century)Wine and Fruit, 1939signed and dated (lower left)oil on board45 x 54cm. 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.

John Piper (1903-1992)Green Man tile, circa 1970painted with white blue on a dark green ground9.5 x 9.5cm. 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. Very minor glaze loss to the edges. Firing dots that have burst are visible in the tile decoration.

Emily Allnut (1869-1944)St Ives, Twilightsigned (lower left)oil on canvas42 x 54cm. 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.

Norman Rowe (b.1929)Study: Terrace, 1981titled and dated (to reverse)oil on canvas22 x 28cm. 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.Appears in good condition with no damage to the canvas or any sign of paint loss.

Philip Hagreen (1890-1988)Thames at Dusk, 1912signed and dated (lower right)oil on board25 x 36cm. 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.

Doulton Lambeth A pair of Faience vases, 1881decorated with blue flowers on a leaf backgroundimpressed factory marks and date, painted initials 'JD' and 'CLM 662'29cm high (2). 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.Both vases have  restoration to the rim. One restored to the neck.

Frederick Landseer Griggs (1876-1938)Duntisbourne Rouse, 1927signed and inscribed 'To Christopher Whitfield from F.L. Griggs' in pencil (in the margin)etching14 x 12cm. 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.Light foxing to the work and the work has also been trimmed for this framing.

Elizabeth Raeburn (b.1942) - ATTRIBUTION CHANGED FROM THE PRINTED CATALOGUETwo bowlsboth with manganese glaze, coloured glaze to the interiorsboth with impressed potter's seal22cm and 17cm diameter (2). Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in 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.

Graham Sutherland (1903-1980)Pecken Woodsigned and dated in pencil (lower right)etching15 x 20.5cm. Provenance:Colnaghi & Co.;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.Very light time staining to margins, otherwise appears good. Framed and glazed.

Anthony Whishaw (b.1930)Interior, 1986/7signed with initials (lower left), titled, and dated (to reverse)acrylic and collage on board31 x 63cm. Exhibited:Royal Academy, Summer Exhibition, 1988. 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.

Bryan Ingham (1936-1997)Tea Pot First Study, 1986-90signed, titled, and dated (to reverse)oil on board17 x 21cm. 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.The painting appears in good condition with no sign of damage or restoration. The edges of the board are a little rough. Well framed and glazed.

Frederick Landseer Griggs (1876-1938)Launds, 1928signed in pencil (in the margin), inscribed 'To my friend Benjamin Martin Chandler' (in the plate)etching20 x 26cm. 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.

Jennifer Lee (b.1956)Dark, Lichen Surface, 1986stoneware pot, hand-built with oxide burnished in the surface.12cm high, 12.3cm diameter.  We would like to thank Jennifer Lee for helping us catalogue this lot. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in 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.Jennifer Lee has now authenticated this.The condition appears good with no damage or restoration. Some small white flecks on the body which will clean off. Interior very dusty.

Frederick Landseer Griggs (1876-1938)Mortmain, 1918signed in pencil (in the margin)etching14 x 17cm. 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.

William Shackleton (1872-1933)A Lover's Moment, 1920signed and dated (lower left)gouache33 x 46cm. 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.Appears in good condition with no problems. Later frame and glass.

John Mansfield Crealock (1871-1959)Luxembourg Gardenssigned (lower left), titled, and dated (to reverse)oil on canvas53 x 81cm. 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.

Emmanuel Cooper (1938-2012)Footed bowlmanganese glaze with turquoise interiorimpressed potter's seal7cm high, 12.5cm diameter. 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.Appears in good condition with no sign of damage or restoration.

Derek Hyatt (b.1931)Earth (Winter), 1964oil on canvas35 x 46cm. Provenance:The New Art Centre, London;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.Good condition

Michael Ayrton (1921-1975)Landscape with Tree and Fencesigned (lower right)gouache33 x 39cm. 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.166 - Good condition. Colours vibrant. Edge of the paper looks to be slightly discoloured. Framed and glazed well.

Albert Edward Jones (1878-1954) Arts and Crafts silver spoon, 1911hallmarked for Birmingham18.5cm long; together with an Arts and Crafts silver spoon by Goldsmiths & Silversmiths Company, 1931 (2). 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.

Hamish Constable Paterson (1890-1955)Versailles Gardens, 1919signed and dated (lower right)oil on board33 x 23cm. 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.In good overall condition with no damage. Later gallery frame in good condition.

Ray Finch (1914-2012) at Winchcombe Pottery Bowlpainted 'Paul'impressed potter's seal15.5cm diameter. 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.Condition good, Some firing dots to the glaze.

Graham Sutherland (1903-1980)Michaelmas, 1928signed in pencil (in the margin)etching13 x 9.5cm. Provenance:Colnaghi & Co., London;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.Light foxing spots to the borders. one larger discoloured patch to the right border at the top of the Ivy. Overall good.

Graham Sutherland (1903-1980)Hanger Hill, 192714/77, signed and numbered in pencil (in the margin)etching16 x 15cm. Provenance:Colnaghi & Co., London;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.147 – consistent light time staining throughout sheet. Visible to the old framed area. Otherwise appears good. Framed and glazed.

Charles Vyse (1882-1971)Vase, 1927with Chinese cizhou style decoration, lug handles to neckincised initials and date12cm high. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in 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.Appears in good condition with no sign of damage or restoration. Minor rubbing the the decoration and some small firing dots.

Manner of Geoffrey Clarke (1924 -2014)Modern British sculpture, 1986-92modelled as a figure outside a templebronze7/15, impressed '001-C-023' and signed with initial W or M10.5cm high. 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.Condition good

David Pare (1911-1996)Isle's Bridge, Swaledale, Yorkshire, 1935signed and dated (lower right)oil on canvas39 x 49cm. 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.Some light cracks through some of the paint work. Only visible on very close inspection.

LIU DAN (b.1953)Old Cypress from the Forbidden City, 2007Ink on xuan paper, signed in lower right corner. 259.1cm high x 137.2cm wide (102in high x 54in wide) Footnotes:劉丹（1953年生） 紫禁城御花園古柏 水墨紙本 鏡框 2007年作Published, Illustrated and Exhibited: Chinese Ink Painting Now, New York, 2010, p.71.Michael Goedhuis, Ink: The Art of China, Saatchi Gallery, London, 2012, p.75.展覽著錄：《當代中國水墨畫》，紐約，2010年，第71頁。Michael Goedhuis著，《Ink: the Art of China》， 薩奇美術館，倫敦，2012年，第75頁。Liu Dan is one of the most internationally renowned painters of his generation, known for his meticulously detailed ink paintings of rocks, trees and flowers that combine literati traditions with western hyper-realism. Liu Dan's paintings of trees are rare, and most of his work usually depicts rocks or flowers. The present lot depicts a specific cypress tree in the Imperial garden of the Forbidden City. The garden, which is at the rear of the palace, was a private retreat for the Imperial family. Many of the trees planted there date to the Ming dynasty and are living time capsules of history. Indeed, the cypress in Chinese is baishu (柏樹) which is homophonous with bai (百) 'hundred', and so symbolises longevity as well as virtue. The present painting therefore, seems to capture the essence of China's long and textured history. Born in Nanjing, Jiangsu Province, in 1953, Liu studied the Confucian classics, poetry, painting, and calligraphy with his grandfather at an early age. After the disruption of the Cultural Revolution and joining the Nanjing Red Guards, Liu returned to traditional painting under Ya Ming (1924-2002) at the newly reopened Jiangsu Academy of Chinese Painting, Hangzhou, from 1978 to 1981. He later moved to Hawaii and studied Western art. Liu then moved to New York in 1992, and after fourteen years there, he returned to China in 2006.Despite his highly privileged training with noted ink painter Ya Ming, and years of study at the Jiangsu Provincial Academy of Painting in his native town of Nanjing, Liu Dan's work departs from the dramatic expressive qualities of the brush and brushstrokes that were central to his education. Having mastered the art of self-expression via the brushstroke, for centuries regarded as key to the most sophisticated Chinese ink painting revealing the hand and heart of the artist, Liu Dan rejected it in favour of a focus on structure. There are three reasons why Liu's painting moved away from brush-strokes to hyper-realism: Firstly, he found it imperative to reconnect with an original pure creative spirit and for this reason he delighted in the less self-conscious forms of classical and medieval Western art, and Chinese art of the Yuan dynasty (1271-1368) and earlier. Secondly, while living in the West - primarily Hawaii and New York, from 1981 until moving to Beijing in 2006 - he concluded that most twentieth-century Chinese art had been produced in response to external pressures. He aspired to be an agent of self-directed creativity rather than reactive production. Thirdly, he developed a personal philosophy of nature's generative force, observing that natural forms evolve and duplicate on a grand scale, such that rocks can be considered the 'stem cells of landscape, see, C.von Spee, Modern Chinese Ink Paintings, London, 2012, p.101. Liu Dan explains his doctrine as an artist: 'Your one responsibility as an artist is changing the visual experience of people, the way they look at things. Your one purpose is to encourage an openness of mind that allows them to look beyond everyday concerns and think freely.' Liu Dan's ink paintings, whether of landscapes, scholar's rocks, or old cypress trees in the Forbidden City, are all fastidiously conceived, complex works which highlight his concern to emphasise underlying compositional structure over virtuoso expressions of brushwork. Liu's paintings are collected globally and can be found in many prestigious museums and collections including the British Museum; the Musée Guimét, Paris; The Shanghai Contemporary Art Museum; the Ashmolean Museum, Oxford; and the San Diego Museum of Art. See a painting of a poppy by Liu Dan, which was sold at Christie's New York, 16 September 2016, lot 1118.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

LI HUAYI (b.1948)Landscape, 2010-2011Ink on paper, signed on the bottom right, framed and glazed. 180cm high x 91cm wide (71in high x 36in wide). Footnotes:李華弌(1948年生) 山水 水墨紙本 鏡框 2010-2011年作Published, Illustrated and Exhibited: Michael Goedhuis, The Ink Art of China, London, 2019, pp.18-19. 展覽著錄：Michael Goedhuis著，《水墨中國》，倫敦，2019年，第18-19頁Li Huayi is internationally renowned for his meticulously detailed landscape paintings that are reminiscent of masterworks from the Song dynasty (960–1279). He was born in Shanghai in 1948. As a child, Li began studying ink painting with a family friend, Wang Chuantao (1903-1978), as well as Western-style painting with Zhang Chongren (1907-1998), who had trained at the Royal Academy of Arts in Brussels. Li was thus trained well in the technical skills of European painting and traditional Chinese painting. Li can thus be said to have inherited Shanghai's cosmopolitan past. As a young man growing up in China during the Cultural Revolution, however, artists and art students were expected to produce the Socialist Realist propaganda images demanded at the time. By the time the Cultural Revolution ended following the death of Mao Zedong in 1976, young artists were eager to experiment and develop new ideas about making art. The open-door policy initiated in 1979 opened up new possibilities and in 1982, Li Huayi emigrated to the United States to find an art world in transition from abstraction to post-modernism. During his graduate studies at the Academy of Art College in San Francisco, he began to concentrate on subtle abstract compositions, unlike anything he had attempted in China. After a decade in San Francisco, Li Huayi's artistic experimentation and transformation bore fruit. Li travelled to China's famous mountains and to the Buddhist caves of Dunhuang, as a means of rejuvenating his art through the inspiration of natural beauty. He once again turned his attention to the classical masterpieces of Chinese landscape painting - in particular the masters of Northern Song dynasty monumental landscape painting such as Fan Kuan (c.960-1030), Li Cheng (919-967), and Guo Xi (c.1020-1090); see Eskenazi Ltd., Waterfalls, rocks and bamboo by Li Huayi, London, 2014, p.11.Li Huayi's careful study of the classics of Chinese and European painting, as well as the modern American practice of abstraction, yielded paintings that are at once firmly rooted in the history of Chinese art and instantaneously meaningful to contemporary viewers. As Li said himself: I began to incorporate elements from traditional Chinese arts in my own works. Tradition is the spiritual core of every form of Chinese art – porcelain, pottery, rubbings, carvings, everything. But each of these arts also contains an abstract side; see M.Knight, The Monumental Landscapes of Li Huayi, San Francisco, 2005, p.2.The solid pine, the mist that both divides and unites the mountain peaks, the overhanging cliff, the tree clinging to rocky precipices, all echo the most potent motifs of Northern Song painting. Li's synthesis of styles is achieved through fastidiously rendered brushstrokes and a unique sense of composition that is inspired by the past and wholly his own. The dreamlike contrasts of pale mist and dark mountain cliffs also resemble works of the seventeenth century artists of the weird and fantastic, most notably Wu Bin (1573-1620) and Gong Xian (1618-1689), who created bizarre images of completely impossible mountains and rocks. The meticulously detailed trees and rocks in Li Huayi's paintings are convincingly naturalistic, but they are placed in impossibly dangerous mountain settings. Clearly imaginary, they are powerfully persuasive.Li applies ink on the paper first, and then allows the composition to take shape in response to the density of the ink. This element of chance brings his work close to late or post-modernist ideas. His success at unsettling or disturbing the viewer seems grounded in our shared conviction that the universe is indeed an orderly one and that both artist and viewer share this knowledge. This order, so well understood and recreated by the great landscapists of the Song dynasty, has in the artist's work, slipped only temporarily out of our grasp, like an interrupted dream. As modern as they are antique, these paintings persuade us that they are part of a cosmic whole and that they exemplify a universal harmony.Li Huayi's paintings are in many prestigious museums across the world, including the Guggenheim Museum, New York; the Metropolitan Museum of Art, New York; the National Museum of Tokyo; and Brooklyn Museum, New York. See a related landscape painting by Li Huayi, painted in 2008, which was sold at Christie's New York, 10 November 2022, lot 180.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

XU BING (b.1955)Happy the Man, 2019Ink on paper, signed by the artist and with two seals, framed. 60cm high x 100cm wide (23 1/2in high x 39 1/2in wide).Footnotes:徐冰（1955年生）快樂的人 水墨紙本 鏡框 2019年作Xu Bing, born in Chongqing, Sichuan Province, is one of modern China's internationally acclaimed artists. He originally entered the Printmaking Department of the Central Academy of Fine Arts, Beijing, in 1977, and eventually began to teach and acquired his Master of Fine Arts there. The work that made Xu Bing's name however, was the monumental installation Tianshu (1987-1991), now known as Book from the Sky; woodblock printed books containing thousands of invented characters that cannot be decoded. The artwork raised fundamental questions about the Chinese identity and its relationship to the written word. In 1988 he participated in the pioneering and seminal Chinese contemporary art exhibition 'China Avant-Garde' at the National Gallery, Beijing. A year later, Xu became honorary fellow at the University of Wisconsin-Madison and moved to the United States. Starting in 1993, the year in which Xu moved back to Beijing, he began to exhibit widely throughout the world and gained international prominence as an artist and educator.Xu is perhaps most famous, however, for his square-word calligraphy, as exemplified in the present lot. Square-word calligraphy, also known as New English calligraphy, is a way of presenting English or other words of the Roman alphabet as Chinese characters. The appearance of the writing is very close to that of a Chinese text; yet closer inspection shows that each 'character' is composed not a brushstroke components representing the radical or phonetic elements of a Chinese character, but letters of the Roman alphabet organised in a way that resembles the shape and proportions of Chinese characters. The present lot in fact is from the poem by John Dryden (1631-1700), 'Happy the Man'. Square word calligraphy forces the viewer to readjust their reading, and raises questions about cultural assumptions regarding language. It perhaps gives the viewer the feeling of learning to read again; see Xu Bing: Landscape/Landscript: Nature and Language in the Art of Xu Bing, Oxford, 2013, p.149.See a related piece of Square-word calligraphy 'On Returning to the Wheel Rim River', by Xu Bing, which was sold at Sotheby's Hong Kong, 1 October 2018, lot 584.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

GU WENDA (b.1955)Forest of Stone Stele #16, 2000,Ink rubbing on rice paper, edition 2 of 25, framed. 180cm high x 97cm wide (71in high x 38in wide). Footnotes:谷文達（1955年生） 碑林#16 拓片 版次2/25 鏡框 2000年作Gu Wenda was a leading figure of China's 1980s 'New Wave' art movement, and later a prominent member of China's art diaspora when he moved to New York in 1987. He originally studied traditional ink painting at the Zhejiang Academy of Fine Arts and achieved a superlative degree of technical skill which he put to devestating effect during the exciting era of China's opening-up policy. His early landscapes, such as Ink Valley and White Water (1986), illustrated in China Onward: The Estella Collection, Chinese Contemporary Art, 1966-2006, Humlebaek, 2007, p.89, show an understanding of historical masters but feature iconoclastic compositions and surreal spaces, reflecting the mentality of Chinese society and idealist art of the 1980s, when huge social changes took place. By combining different character components, Gu has invented unreadable characters to investigate the power of the written word. In most of these works, he places these powerfully symbolic pseudo-characters in vast surreal spaces. See for example, The Mythos of Lost Dynasties, C Series No.6: Cloud and Water, 1996-1997, illustrated in Chinese Ink Painting Today, New York, 2010, pp.152-153. For more information about Gu Wenda, see also W.Hung, Contemporary Chinese Art: A History, 1970s>2000s, Singapore, 2014, pp.314-315.Gu Wenda's works are in many prestigious collections and museums globally, including the Guggenheim Museum, New York; The British Museum, London; the Museum of Fine Arts, Boston; the Uli Sigg Collection, Switzerland; Shanghai Art Museum; China National Art Museum, Beijing; and the San Francisco Museum of Modern Art.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

GU WENDA (b.1955)Storm Clouds Gathering Over a Small Hut, 1993Ink on paper, signed by the artist, framed. 68.5cm high x 99cm wide (27in high x 39in wide). Footnotes:谷文達（1955年生） 曲徑通幽處 水墨紙本 鏡框 1993年作 Gu Wenda was a leading figure of China's 1980s 'New Wave' art movement, and later a prominent member of China's art diaspora when he moved to New York in 1987. He originally studied traditional ink painting at the Zhejiang Academy of Fine Arts and achieved a superlative degree of technical skill which he put to devastating effect during the exciting era of China's opening-up policy. His early landscapes, such as Ink Valley and White Water (1986), illustrated in China Onward: The Estella Collection, Chinese Contemporary Art, 1966-2006, Humlebaek, 2007, p.89, show an understanding of historical masters but feature iconoclastic compositions and surreal spaces, reflecting the mentality of Chinese society and idealist art of the 1980s, when huge social changes took place. By combining different character components, Gu has invented unreadable characters to investigate the power of the written word. In most of these works, he places these powerfully symbolic pseudo-characters in vast surreal spaces. See for example, The Mythos of Lost Dynasties, C Series No.6: Cloud and Water, 1996-1997, illustrated in Chinese Ink Painting Today, New York, 2010, pp.152-153. For more details about Gu Wenda, see also W.Hung, Contemporary Chinese Art: A History, 1970s>2000s, Singapore, 2014, pp.314-315. The present lot is titled and inscribed with a line from a Tang dynasty poem by Chang Jian 常建 (708-765) which may be literally translated as 'the winding path leading to the dark and secluded place' (曲徑通幽處).The painting thus encapsulated Gu's understanding of traditional art and literature, with his innovative spirit. Gu Wenda's works are in numerous prestigious collections and museums globally, including the Guggenheim Museum, New York; The British Museum, London; the Museum of Fine Arts, Boston; the Uli Sigg Collection, Switzerland; Shanghai Art Museum; China National Art Museum, Beijing; and the San Francisco Museum of Modern Art. Compare with a related painting by Gu Wenda, which was sold at Sotheby's Hong Kong, 5 October 2015, lot 2803.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

LIU KUO-SUNG (b.1932)Autumn Landscape, 1965Ink on paper, signature and seal of the artist, framed. 92.3cm long x 59.8cm wide (36 1/3in long x 23 1/2in wide).Footnotes:劉國松（1932年生） 秋景 水墨紙本 鏡框 1965年作Born in Bangbu, Anhui Province, in 1932, Liu Kuo-sung (also Liu Guosong) is sometimes known as the 'Father of Modern Chinese Ink Painting'. He is recognised as one of the earliest and most important advocates and practitioners of modernist Chinese art. He moved to Taiwan in 1949. In 1956, Liu graduated from the Fine Arts Department of the National Taiwan Normal University, where he studied both traditional brush-and-ink and Western-style painting techniques. As one of the co-founders of Taiwan's Fifth Moon Painting Society (Wuyue huahui 五月畫會) in 1957, Liu Kuo-sung sought a new approach to art, which was inspired by both traditional Chinese painting especially the style of the late Tang period (618-907) and the monumental landscape painting style of the 10th to 11th centuries - as well as modern styles and techniques, such as abstract expressionism. Before turning to ink painting in 1961, Liu experimented with abstract oils. By the mid-1960s, Liu had gradually developed his own personal pictorial formulae, in which he combines ink painting with collage and applies ink and colour on special paper. The present lot is an example of his fusion of landscape and abstraction and represents the mature style that has earned him a place in many prestigious international exhibitions. His works have been collected by almost seventy prestigious museums and galleries, including the Palace Museum in Beijing, the British Museum in London and the Asian Art Museum of San Francisco; the Chicago Art Institute; Cleveland Museum of Art, The Nelson Gallery of Art and Catkins Museum; Hong Kong Museum of Art; The City Art Gallery, Bristol; and the National Gallery of Art and Museum of History, Taipei. See Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, p.196. See also a related painting by Liu Kuo-sung, 1964, illustrated by Chu-tsing Li, Liu Kuo-Sung: The Growth of a Modern Chinese Artist, Taipei, 1969, p.35.Compare also with a similar painting by Liu Kuo-sung, 'Windswept', which was sold at Christie's Hong Kong, 28 May 2018, lot 867.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

WANG DONGLING (b.1945)Confrontation of Yin and Yang, 2005Ink on xuan paper, signed on the lower right, dated 2005.4. 216cm high x 144.8cm wide (85in high x 57in wide). Footnotes:王冬齡（1945年生）陰陽際會 水墨紙本 鏡框 2005年作Published, Illustrated and Exhibited: Louisiana Museum of Modern Art, China Onward: the Estella Collection, Chinese Contemporary Art 1966-2006, Humlebaek, 2007, pp.275-276.Chinese Ink Painting Now, New York, 2010, p.111. Michael Goedhuis, Ink: The Art of China, Saatchi Gallery, London, 2012, pp.86-87.Michael Goedhuis, The Ink Art of China, London, 2019, pp.6-7. 展覽著錄：路易斯安納現代藝術博物館, 《China Onward: the Estella Collection, Chinese Contemporary Art 1966-2006》，胡姆勒拜克，2007年，第275-276頁《當代中國水墨畫》，紐約，2010年，第111頁Michael Goedhuis著，《Ink: the Art of China》， 薩奇美術館，倫敦，2012年，第55頁。pp.86-87Michael Goedhuis著，《水墨中國》，倫敦，2019年，第6-7頁Wang Dongling was born in Jiangsu Province in 1945. When he was 17, he was admitted into the Department of Fine Arts at Nanjing Normal University and studied calligraphy. The classes were interrupted, however, by the Cultural Revolution during the 1960s, but Wang survived the turmoil by writing big-character posters featuring a revolutionary slogan for posting in a public place, a job that ironically provided him with an artistic freedom not available at the university. After the Cultural Revolution, Wang attended the Zhejiang Academy of Fine Arts in Hangzhou and received his MFA degree in 1981; he has taught there (now the China Academy of Art) ever since, and he is currently Vice-Chair of the Calligraphy Department. Wang Dongling's works were influenced by his experience in the United States from 1989 to 1992, when he served as a visiting professor at the University of Minnesota and at the University of California, Santa Cruz. His solid and structural forms are reminiscent in particular of the abstract expressionist painter Franz Kline; for a comparison of Franz Kline's work and Wang Dongling's work, see Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, pp.108-109.Wang began developing a new form of composition that synthesises traditional Chinese aesthetics such as the use of negative space and flying white (feibai; drybrush technique) with abstract expressionist art. Wang's calligraphy pushes it to extreme as they are no longer decipherable Chinese characters, but become purely abstract paintings rather than calligraphy. Wang Dongling has been enormously influential on the whole development of contemporary calligraphy and ink painting. His works have been prominently exhibited at the Metropolitan Museum of Art, Guggenheim Museum, New York; Yale University Art Gallery, and the Palace Museum, Beijing.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

WANG TIANDE (b.1960)Digital-No.08-MH56, 2008Xuan paper, Chinese ink on paper, burn marks, framed. 56cm high x 14.5cm wide (22in high x 5 3/4in wide).Footnotes:王天德（1960年生） 數碼No.08-MH56 水墨、焰紙本 鏡框 2008年作Born in Shanghai in 1960, Wang Tiande is one of the most innovative calligraphers in China. A graduate of the Chinese Painting Department at the Zhejiang Academy of Fine Arts in 1988, he is now Dean and professor at the Art and Design Department at Fudan University in Shanghai. Wang's art is a serious meditation on the precarious relation between permanence and fleeting efflorescence, between the material and the immaterial, between past and present, between tradition and contemporaneity.He started to create his Digital series when he was on an artist's residency in Paris in 2002. A portion of his cigarette accidentally fell onto a piece of paper and hollowed it out; Wang drew inspiration from the burning and developed it into a creative technique. Furthermore, his direct encounter with contemporary art in Paris, especially conceptual art, not only inspired new approaches in his own work but also further convinced him of his love for the language of ink. In the Digital series Wang Tiande paints landscapes and calligraphies onto xuan paper and then enriches the images with cigarette burns. Rich in form and content, this series goes beyond any boundaries dividing painting and calligraphy. Wang Tiande's works are collected in several important and prestigious museums and galleries globally, including the British Museum, London; The Shanghai Art Museum; the Shenzhen Art Museum; Hong Kong Art Museum; Museum of Fine Arts, Boston; and the Metropolitan Museum of Art, New York. See a similar work by Wang Tiande, illustrated by C.Von Spee, Modern Chinese Ink Paintings, London, 2012, pp.98-99, no.28. For a related landscape by Wang Tiande, see Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, p.78 and 197; and also China Onward: the Estella Collection, Chinese Contemporary Art, 1966-2006, Humlebaek, 2009, pp.290-291.For further information on this lot please visit Bonhams.com

WANG TIANDE (b.1960)Digital No. 06-M36, 2006Ink on xuan paper, burn marks, large panel, framed. 133cm long x 66cm wide (52 1/2in long x 26in wide).Footnotes:王天德(1960年生) 數碼No. 06-MH31 水墨、焰紙本 鏡框 2006年作Born in Shanghai in 1960, Wang Tiande is one of the most innovative calligraphers in China. A graduate of the Chinese Painting Department at the Zhejiang Academy of Fine Arts in 1988, he is now Dean and professor in the Art and Design Department at Fudan University in Shanghai. Wang's art is a serious meditation on the precarious relation between permanence and fleeting efflorescence, between the material and the immaterial, between past and present, between tradition and contemporaneity.He started to create his Digital series when he was on an artist's residency in Paris in 2002. A portion of his cigarette accidentally fell onto a piece of paper and hollowed it out; Wang drew inspiration from the burning and developed it into a creative technique. Furthermore, his direct encounter with contemporary art in Paris, especially conceptual art, not only inspired new approaches in his own work but also further convinced him of his love for the language of ink. In the Digital series Wang Tiande paints landscapes and calligraphies onto xuan paper and then enriches the images with cigarette burns. Rich in form and content, this series goes beyond any boundaries dividing painting and calligraphy. Wang Tiande's works are collected in several important and prestigious museums and galleries globally, including the British Museum, London; The Shanghai Art Museum; the Shenzhen Art Museum; Hong Kong Art Museum; Museum of Fine Arts, Boston; and the Metropolitan Museum of Art, New York. See a similar work by Wang Tiande, illustrated by C.Von Spee, Modern Chinese Ink Paintings, London, 2012, pp.98-99, no.28. For a related landscape by Wang Tiande, see Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, p.78 and 197; and also China Onward: the Estella Collection, Chinese Contemporary Art, 1966-2006, Humlebaek, 2009, pp.290-291.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

QIU DESHU (b.1948)Self Portrait (Spirit), 1997Ink and acrylic on xuan paper and mounted on canvas, signed and dated 1997 in Chinese. 180cm high x 360cm wide (70 3/4in high x 141 1/2in wide) Footnotes:仇德樹(1948年生) 自畫像（靈魂） 水墨丙烯宣紙 裱於畫布 1997年作 Published, Illustrated and Exhibited: Louisiana Museum of Modern Art, China Onward: the Estella Collection, Chinese Contemporary Art 1966-2006, Humlebaek, 2007, pp.232-233. Chinese Ink Painting Now, New York, 2010, p.82.Michael Goedhuis, Qiu Deshu, London, 2012, pp.40-41.Michael Goedhuis, Ink: The Art of China, Saatchi Gallery, London, 2012, pp.168-169. 展覽著錄：路易斯安納現代藝術博物館編, 《China Onward: the Estella Collection, Chinese Contemporary Art 1966-2006》，胡姆勒拜克，2007年，第232-233頁。《當代中國水墨畫》，紐約，2010年，第82頁。Michael Goedhuis編, 《仇德樹》，倫敦，2012年，第40-41頁。Michael Goedhuis編, 《Ink: The Art of China》, 薩奇美術館, 倫敦, 2012年, 第168-169頁. Qiu Deshu, born in Shanghai in 1948, was one of the earliest artists on the mainland to receive international recognition in the post Mao era. As a child he studied traditional ink painting and seal carving, but his interest in the traditional arts was interrupted by the Great Proletarian Cultural Revolution, during which he was sent to work at the Number Eighteen Shanghai Plastics Factory. At the close of that tumultuous period, he rededicated himself to art and co-founded the Grass Painting Society (Cao cao hua she 草草画社), one of the first experimental art groups in the late 70s. However, his interest in abstraction was deemed too 'bourgeois' and he was ordered to cease painting during the Anti-Spiritual Pollution Campaign of 1983. It was around this time that he developed his signature style of tearing paper, called 'fissuring' (liebian 裂变).'Fissuring', which in Chinese literally means tearing (裂) and change (变), indicates both the dramatic changes and breaks in his own life as well as that of a rapidly changing Chinese society. His creative process begins with painting vivid colours on traditional Chinese xuan paper, tearing it, and then sticking selected pieces to a base layer using the techniques traditionally employed in mounting Chinese paintings. When spaces show between the mounted torn papers they read as fissures or cracks. Abrading or burnishing the paper, or mounting white paper on top of colours, produces additional effects: the final work is a sophisticated combination of painting and collage.The present lot, his self-portrait, is merged with a rocky landscape, not only reflecting the fissures and dramatic disruptions fragmenting his life, but also his unity with the ever-changing universe. As an expression of his place within this ongoing cosmos in flux, Qiu created his unique Self-Portrait (Spirit), a landscape in which facial features emerge from the mountain formations to suggest the presence of the artist's human spirit.Qiu Deshu's works are in numerous museum collections including the Museum of Fine Arts, Boston; M+ Museum, Hong Kong; Shanghai Art Museum, China; Asian Art Museum, South Korea; Taichung Provincial Art Museum, Taiwan; Linden Museum, Germany; Seoul Maili Art Museum, Korea; and Shenzhen Art Museum, China.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

WEI LIGANG (b.1964)Chinese Poem-Bronze Script, 2010Ink and acrylic on paper, signed at the lower left corner, framed. 180cm long x 96cm wide (70 3/4 long x 37 3/4in wide).Footnotes:魏立剛（1964年生） 中國詩-金文 水墨丙烯紙本 鏡框 2010年作Published, Illustrated and Exhibited: Michael Goedhuis, Wei Ligang, London, 2018, pp.4-5.展覽著錄：Michael Goedhuis著，《魏立剛》，倫敦，2018年，第4-5頁Wei Ligang was born in Datong, the first capital of the Northern Wei Dynasty (386-534) and home to the famous Buddhist grottoes of Yungang, which instilled in him a fondness for the grandeur of Han (202 BC- 220 AD) and Tang dynasty (618-907) art. Wei's father was an art-loving railroad worker, who inspired in Wei an interest in both mechanics and calligraphy. When he was 17, Wei entered the mathematics department of Nankai University, where he honed his logical and analytical skills. Wei also became President of the University Calligraphy Society, where he came under the mentorship of the local masters Li Henian (1912-2000), Wang Xuezhong (1925-2013), and Sun Boxiang (1934-) in classical poetry and epigraphic scripts. Wang Xuezhong, an early pioneer of Modern Calligraphy, was especially influential to Wei.After graduating from Nankai University in 1985, Wei Ligang became a teacher in Taiyuan and immersed himself in the legacy of Fu Shan (1607-1684), a fellow Shanxi native. From 1995, he increasingly engaged with abstract painting and international contemporary art. Over the 90s, Wei gained prominence as a young pioneer of Modern Calligraphy, participating and organising a number of influential exhibitions in the field. Wei Ligang delights in abstraction and has pushed the boundaries of calligraphy further than most contemporary calligraphers. His wide-ranging inspirations include ancient Egyptian hieroglyphs, industrial civilisation and modern machines, European castles and palaces, contemporary physics and astronomy, and the structures of animals and plants. Indeed, the present lot has a bird visible in one of the characters. Wei Ligang's works are in the collections of the Asian Art Museum, San Francisco; British Museum; Cernuschi Museum, Paris; Bill and Melinda Gates Foundation, Seattle; National Museum of China, Beijing; National Art Museum of China, Beijing; François-Henri Pinault Family, France; San Francisco Museum of Modern Art; among others.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

LO CH'ING (b.1948)The DNA of Chinese Painting Series, Landscape: Conversation with Mountain Huang Series, The Crystallized Mountain Huang in Snowy Dusk, 1999Ink and colour on xuan paper. 137cm long x 69cm wide (54in long x 27 1/4in wide).Footnotes:羅青（1948年生）黃山西梅暮雲慾雪圖 設色紙本 鏡框 1999年作Published, Illustrated and Exhibited：Chinese Ink Painting Now, New York, 2010, p.88.展覽著錄：《當代中國水墨畫》，紐約，2010年，第88頁。Born in Qingdao, Shandong Province, in 1948, Lo Ch'ing is not just a painter, but also a poet and calligrapher. He moved to Taiwan with his parents in 1949. At an early age, Lo learned classical ink painting of the court tradition from the ink painting master Pu Ru, a member of the Qing Imperial family. Subsequently he studied in the English Department of Fu Jen University, and received an MA degree in Comparative Literature from the University of Washington, Seattle, in 1974. He has been both a professor of literature and a professor of fine arts in universities in Taiwan, the United States, the United Kingdom, Prague, and mainland China. Lo is well versed in classical Chinese literature and arts of the brush, as well as in modern and postmodern literature and art. His poems have been published and translated into many languages, and Lo Ch'ing is regarded as one of the pioneers of post-modern poetry in Taiwan. He has also been a major innovator in ink painting, for which he has created a new visual vocabulary that deconstructs the classical forms of Chinese landscape by introducing into his compositions abstract and geometric elements as well as unexpected contemporary motifs.Lo Ch'ing's paintings are in several prestigious collections worldwide including the British Museum, London; The Royal Ontario Museum, Canada; The Saint Louis Art Museum, USA; Museum fur Ostasiatische Kunst, Berlin; National Taiwan Museum; Ashmolean Museum, Oxford; and Asia Society, New York.Compare with a related painting by Lo Ch'ing, titled 'Ten Thousand Peaks of White Snow', 1997, which was sold at Christie's Hong Kong, 28 November 2016, lot 1606.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

LO CH'ING (b.1948)The Sun also Rises, 2016Ink and colour on paper, signed and dated by the artist, framed. 180cm long x 96cm wide (70 3/4in long x 37 3/4in wide).Footnotes:羅青(1948年生) 太陽照常升起 設色紙本 鏡框 2016年作Born in Qingdao, Shandong Province, in 1948, Lo Ch'ing is not just a painter, but also a poet and calligrapher. He moved to Taiwan with his parents in 1949. At an early age, Lo learned classical ink painting of the court tradition from the ink painting master Pu Ru, a member of the Qing Imperial family. Subsequently he studied in the English Department of Fu Jen University, and received an MA degree in Comparative Literature from the University of Washington, Seattle, in 1974. He has been both a professor of literature and a professor of fine arts in universities in Taiwan, the United States, the United Kingdom, Prague, and mainland China. His knowledge of literature is hinted at in the title of the present lot, which is the title of Ernest Hemingway's famous first novel 'The Sun also Rises' (1926). Lo is well versed in classical Chinese literature and arts of the brush, as well as in modern and postmodern literature and art. His poems have been published and translated into many languages, and Lo Ch'ing is regarded as one of the pioneers of post-modern poetry in Taiwan. He has also been a major innovator in ink painting, for which he has created a new visual vocabulary that deconstructs the classical forms of Chinese landscape by introducing into his compositions abstract and geometric elements as well as unexpected contemporary motifs.Lo Ch'ing's paintings are in several prestigious collections worldwide including the British Museum, London; The Royal Ontario Museum, Canada; The Saint Louis Art Museum, USA; Museum fur Ostasiatische Kunst, Berlin; National Taiwan Museum; Ashmolean Museum, Oxford; and Asia Society, New York.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

GAO XINGJIAN (b.1940)La Mémoire Lointaine, 2009Ink on paper, signed at the bottom left corner, framed. 145cm high x 144.5cm wide (57in high x 56 3/4in wide).Footnotes:高行健（1940年生） 遙遠的記憶 水墨紙本 鏡框 2009年作Published, Illustrated and Exhibited: Michael Goedhuis, The Ink Art of China, London, 2015, pp.56-57. 展覽著錄：Michael Goedhuis著, 《水墨中國》，倫敦，2015年，第56-57頁。Born in Ganzhou, Jiangxi Province, in 1940, Gao Xingjian is best known for being awarded the Nobel Prize for Literature in 2000. Gao is a reminder of the close connection between painting and writing in Chinese culture and encapsulates the ideal of the well-rounded literati scholar. Indeed, his style can be characterised as 'writing/sketching the idea' (literally, xieyi 寫意), which allows him to create subtle, intuitive works that move between figurative and abstract art.Interested in literature and for a time a student of painting while young, in 1962 he received a degree in French from the Beijing Language Institute. During the 1960s and the 1970s, Gao worked in the capital as a translator while writing novels and painting, and during the Cultural Revolution he was sent to the countryside for re-education, at which time he burned some of his manuscripts. In the 1980s, he published experimental literary works as well as nonfiction, but after one of his plays was banned in 1986, Gao retreated to nature to avoid any further exposure to controversy. In 1986 Gao was misdiagnosed with lung cancer, and began a 10-month long trek along the Yangzi river, which resulted in his novel Soul Mountain (靈山). In 1987, Gao Xingjian left China for Paris, and was granted French citizenship in 1997. In 1992 he was awarded the Chevalier de l'Ordre des Arts et des Lettres by the French government.The expressive paintings that spring from Gao's introspection are characterised by a spontaneity of touch, and their ink tones that range from subtle greys to jet blacks can either swallow or emit light.Gao Xingjian's paintings are in numerous prestigious collections globally, including the Musée Guimet, Paris; the Nobel Foundation, Sweden; the Museum of Modern Art, Stockholm; the Museum of Fine Arts, Boston; the Singapore Art Museum; Taipei Fine Arts Museum, Taiwan; and The Chinese University of Hong Kong.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

GAO XINGJIAN (b.1940)L'Astre, 2009 Ink on paper, signed at the bottom right corner, framed. 115cm high x 106cm wide (45 1/3in high x 41 3/4in wide).Footnotes:高行健（1940年生） 星 水墨紙本 鏡框 2009年作 Born in Ganzhou, Jiangxi Province, in 1940, Gao Xingjian is best known for being awarded the Nobel Prize for Literature in 2000. Gao is a reminder of the close connection between painting and writing in Chinese culture and encapsulates the ideal of the well-rounded literatus. Indeed, his style can be characterised as 'writing/sketching the idea' (literally, xieyi 寫意), which allows him to create subtle, intuitive works that move between figurative and abstract art.Interested in literature and for a time a student of painting while young, in 1962 he received a degree in French from the Beijing Language Institute. During the 1960s and the 1970s, Gao worked in the capital as a translator while writing novels and painting, and during the Cultural Revolution he was sent to the countryside for re-education, at which time he burned some of his manuscripts. In the 1980s, he published experimental literary works as well as nonfiction, but after one of his plays was banned in 1986, Gao retreated to nature to avoid any further exposure to controversy; much like the traditional literati of Imperial China. In 1986 Gao was misdiagnosed with lung cancer, and began a 10-month long trek along the Yangzi river, which resulted in his novel Soul Mountain (靈山). In 1987, Gao Xingjian left China for Paris, and was granted French citizenship in 1997. In 1992 he was awarded the Chevalier de l'Ordre des Arts et des Lettres by the French government.The expressive paintings that spring from Gao's introspection are characterised by a spontaneity of touch, and their ink tones that range from subtle greys to jet blacks can either swallow or emit light. The present lot, as indicated by the title 'L'Astre' (The star) presents an almost moon-like landscape, similar to a photograph taken from outer space than a traditional ink painting. Gao Xingjian's paintings are in numerous prestigious collections globally, including the Musée Guimet, Paris; the Nobel Foundation, Sweden; the Museum of Modern Art, Stockholm; the Museum of Fine Arts, Boston; the Singapore Art Museum; Taipei Fine Arts Museum, Taiwan; and The Chinese University of Hong Kong.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

QIN FENG (b.1961)West Wind East Water 0604, 2006Ink, coffee and tea on custom made silk and cotton paper, signed lower right, framed. 190.2cm long x 94cm wide (74 7/8in long x 37in wide).Footnotes:秦風（1961年生） 西風東水系列0604 水墨、茶、咖啡絲棉紙 鏡框 2006年作Published, Illustrated and Exhibited: Made in China: Contemporary Chinese Art at the Israel Museum, Jerusalem, September 2007-March 2008Louisiana Museum of Modern Art, China Onward: The Estella Collection, Chinese Contemporary Art, 1966-2006, Humlebaek, 2007, pp.224-225.Chinese Ink Painting Now, New York, 2010, p.121.Michael Goedhuis, Ink: The Art of China, Saatchi Gallery, London, 2012, pp.94-95.Michael Goedhuis, The Ink Art of China, London, 2019, pp.26-27. 展覽著錄：《中國製造：當代中國藝術在以色列博物館》展覽，耶路撒冷，2007年9月-2008年3月路易斯安納現代藝術博物館編, 《China Onward: the Estella Collection, Chinese Contemporary Art 1966-2006》，胡姆勒拜克，2007年，第224-225頁Michael Goedhuis著, 《Ink: the Art of China》，倫敦，2012年，第94-95頁Michael Goedhuis著，《水墨中国》，伦敦，2019年，第26-27頁Born in the Xinjiang Uyghur Autonomous Region in 1961, Qin Feng is an iconoclastic artist who is actively involved in China's avant-garde art movement. Being an eclectic ink artist, Qin Feng is committed to integrating Eastern and Western styles. Xinjiang, Berlin, Boston, and Beijing, places where the artist calls home, infused his artwork with a global perspective that led him to a bold and significant artistic path - extending the tradition of classical Chinese ink painting and calligraphy. From 1996 to 1999, Qin taught at the Berlin University of the Arts, where he further explored the possibility of the fusion of Western modernism and traditional Chinese ink. He used tea and coffee, two different beverages from the East and the West, to render multiple layers on xuan paper, which serves as a metaphor of the merge between the two cultures. The artist uses ink as the medium and calligraphy as the form, and also adopts smooth yet dry brushstrokes, creating seemingly powerful traditional calligraphy that skilfully demonstrates the freedom and agility in abstract expressionism, resulting in ink pieces that connect the past and the present. In the dynamic portrayal of West Wind/East Water, Qin simultaneously expresses the rhythm of leisure and the hysteria and explosiveness of ink brushstrokes, adding tension to the image while charging the work with contemporary vitality and poetic quality.Qin Feng's work can be found in several important and prestigious museums and collections globally, including the British Museum, London; the Metropolitan Museum of Art, New York; The Getty Museum, USA; The Museum of Fine Art, Boston; the Guggenheim Museum, New York; and the Jerry Yang collection.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

WEI LIGANG (b.1964)Zhu Ma Ting (Stop the Horse and Listen), 2010Ink and acrylic on paper, signed at the lower rightcorner, framed. 180cm high x 96cm wide (70 3/4in high x 37 3/4in wide)Footnotes:魏立剛(1964年生) 駐馬聽 水墨丙烯紙本 鏡框 2010年作Published, Illustrated and Exhibited: Michael Goedhuis, Wei Ligang, London, 2014, pp.26-27.展覽著錄：Michael Goedhuis著，《魏立剛》，倫敦，2014，第26-27頁Wei Ligang was born in Datong, the first capital of the Northern Wei Dynasty (386-534) and home to the famous Buddhist grottoes of Yungang, which instilled in him a fondness for the grandeur of Han (202 BC- 220 AD) and Tang dynasty (618-907) art. Wei's father was an art-loving railroad worker, who inspired in Wei an interest in both mechanics and calligraphy. When he was 17, Wei entered the mathematics department of Nankai University, where he honed his logical and analytical skills. Wei also became President of the University Calligraphy Society, where he came under the mentorship of the local masters Li Henian (1912-2000), Wang Xuezhong (1925-2013), and Sun Boxiang (1934-) in classical poetry and epigraphic scripts. Wang Xuezhong, an early pioneer of Modern Calligraphy, was especially influential to Wei.After graduating from Nankai University in 1985, Wei Ligang became a teacher in Taiyuan and immersed himself in the legacy of Fu Shan (1607-1684), a fellow Shanxi native. From 1995, he increasingly engaged with abstract painting and international contemporary art. Over the 90s, Wei gained prominence as a young pioneer of Modern Calligraphy, participating and organising a number of influential exhibitions in the field. Wei Ligang delights in abstraction and has pushed the boundaries of calligraphy further than most contemporary calligraphers. His wide-ranging inspirations include ancient Egyptian hieroglyphs, industrial civilisation and modern machines, European castles and palaces, contemporary physics and astronomy, and the structures of animals and plants. He employs the bright colours of gold, red, and blue, and uses acrylic paints to increase substance and texture. In these respects his art differs from traditional Chinese calligraphy, which typically is monochrome. Wei Ligang's works are in the collections of the Asian Art Museum, San Francisco; British Museum; Cernuschi Museum, Paris; Bill and Melinda Gates Foundation, Seattle; National Museum of China, Beijing; National Art Museum of China, Beijing; François-Henri Pinault Family, France; San Francisco Museum of Modern Art; among others.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

WEI LIGANG (b.1964)Thatched Cottage Beside the Water Lined with Phoenix-Tail Fern Moistened in the Mist, 2016Ink and acrylic on paper, signed WEI LIGANG in pencil and dated 2016, two panels, framed. Each panel 180cm long x 96cm wide (70 3/4in long x 37 3/4in wide). (2).Footnotes:魏立剛(1964年生) 臨水草堂與霧靄鳳尾蕨 水墨丙烯紙本 鏡框 2006年作Published, Illustrated and Exhibited: Michael Goedhuis, Wei Ligang, London, 2018, pp.16-17.展覽著錄：Michael Goedhuis著，《魏立剛》，倫敦，2018年，第16-17頁Wei Ligang was born in Datong, the first capital of the Northern Wei Dynasty (386-534) and home to the famous Buddhist grottoes of Yungang, which instilled in him a fondness for the grandeur of Han (202 BC - 220 AD) and Tang dynasty (618-907) art. Wei's father was an art-loving railroad worker, who inspired in Wei an interest in both mechanics and calligraphy. When he was 17, Wei entered the mathematics department of Nankai University, where he honed his logical and analytical skills. Wei also became President of the university calligraphy society, where he came under the mentorship of the local masters Li Henian (1912-2000), Wang Xuezhong (1925-2013), and Sun Boxiang (1934-) in classical poetry and epigraphic scripts. Wang Xuezhong, an early pioneer of Modern Calligraphy, was especially influential to Wei.After graduating from Nankai University in 1985, Wei Ligang became a teacher in Taiyuan and immersed himself in the legacy of Fu Shan (1607-1684), a fellow Shanxi native. In 1995, he thereafter increasingly engaged with abstract painting and international contemporary art. Over the 90s, Wei gained prominence as a young pioneer of Modern Calligraphy, participating and organising a number of influential exhibitions in the field. Wei Ligang delights in abstraction and has pushed the boundaries of calligraphy further than most contemporary calligraphers. His wide-ranging inspirations include ancient Egyptian hieroglyphs, industrial civilisation and modern machines, European castles and palaces, contemporary physics and astronomy, and the structures of animals and plants. In the present lot, elegant black lines peregrinate fluidly on a brilliant gold foreground, displaying the impulsive gestures of abstract expression and at the same time preserving the archaic grid system of Chinese writing in a pictorial form. The bold application of colour, rarely used in traditional Chinese calligraphy, provides a stark contrast against the ink, representing the artist's unconventional style and take on the incorporation of new media.Wei Ligang's works are in the collections of the Asian Art Museum, San Francisco; British Museum; Cernuschi Museum, Paris; Bill and Melinda Gates Foundation, Seattle; National Museum of China, Beijing; National Art Museum of China, Beijing; François-Henri Pinault Family, France; San Francisco Museum of Modern Art; among others.Compare with a similar single panel by Wei Ligang, 2007, illustrated in Chinese Ink Painting Now, New York, 2010, p.125, which was later sold at Sotheby's Hong Kong, 3 April 2016, lot 563.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A Chinese rectangular 'bookcase' cloisonné enamel box with hinged cover, Qianlong, finely worked in the form of a book, all raised on a staged pedestal, decorated with key fret pattern reserved on a turquoise ground, with later added lock and hinge adapted for modern use, 16.5cm x 9.8cm x 4.8cm See a similar cloisonné box at the Palace Museum, Beijing, illustrated in Yongle wen yuan - exhibition of qing court scholar art, Macao Art Museum, 2007, pp 259 清乾隆 掐丝珐琅书卷式盒Condition Report: with later added hinge and later applied gilding to the interiorthe base possibly a replacementwear and minor loss to the enamelCondition Report Disclaimer

Miscellaneous - Various lamps including, modern, onyx, Rocco style; pair of onyx ashtrays with Art Deco lighter; a modern Chinese tea set, boxed; a Lazy Susan; etc

Art books - Modern Art, Surrealism, Hyper-realism - David Hockney ‘A Retrospective’, Ellsworth Kelly ‘A Retrospective’, Magritte ‘Ideas and Images’, Yvette Zklein, Edward Hopper, Oxtoby, Beryl Cook, etc, qty.

A modern Art Nouveau style pendant, the bale marked '750', length 35mm, wt. 5g.

AFTER ANTONIO CANOVA (ITALIAN 1757-1822) HERCULES AND LICHAS bronze, dark brown patina, signed 'Delafontaine, bronzier' and with Canova signature to the baseDimensions:27cm wide, 42cm high, 20.5cm deepNote: ‘The importance and value of Canova's art is now recognized as holding in balance the last echo of the Ancients and the first symptom of the restless experimentation of the modern age.’ - Art Historian Giuseppe PavanelloAntonio Canova (1757- 1822) was a prominent Italian Neoclassical sculptor, mostly celebrated for his work in marble. Canova began producing works in marble before the age of ten, before enrolling in the Accademia di Belle Arti di Venezia around 1772. Canova won numerous prizes and received several commissions, which led to him opening his own studio at Calle Del Traghetto at S. Maurizio in 1779. From this point, Canova travelled to and worked in several European cities, before returning to Italy in 1816, where he continued to work until his death in 1822.Due to his success, Canova received many commissions and no longer had to rely on funerary monuments for large-scale work, and could explore large freestanding classical figures, such as his ‘Hercules and Lichas’ from 1795- 1815, commissioned by Onorato Gaetani dell’Aquila d’Aragona. Often inspired by antiquity, Canova was known for reviving classical works in a way that avoided melodrama of antiquity and the artificiality of Neoclassicism. The tale of Hercules and Lichas is recounted in book IX of Ovid’s Metamorphoses: Hercules puts on a shirt poisoned with Nessus’ blood, and, driven mad by the pain, thinks that his servant Lichas is to blame. Lichas tried to explain his innocence, however Hercules threw him into the waves of the Euboic Sea. The original statue is now conserved in the National Gallery of Modern Art in Rome.Canova is often regarded as the greatest Neoclassical artist, which is evidenced by his series of important international patrons including Napoleon Bonaparte, and Popes Pius VI and VII. His work is held in many institutions including the Metropolitan Museum of Art in New York, the Louvre in Paris, and the Hermitage Museum in Saint Petersburg.

An Art Deco design lotus jug, 31cm high. (modern)

An Aynsley Art Deco design florally patterned tea service, comprising cups, serving plate, saucers, etc., and a quantity of modern creamware, lidded tureen, 17cm wide, further tureen, leaf plate, etc. (a quantity)

A box of assorted vintage glass & crystal. To include 2 heavy cut crystal fruit bowls, a pair of Edwardian bulbous decanters, mid century blue art glass vase and modern large bowl with pedestal base & frosted foliate design and matching sectional serving dish.

Pavlos Dionyssopoulos (Greek, 1930-2019). Large mixed media sculptural work titled "Sales Rack I" depicting hanging clothing, ready to be sold, 1967. Signed and dated along the verso. With a label from Dayton Gallery 12. Comprised of strips of paper folded and affixed to a wooden board in the artist's iconic style.Provenance: Distinguished corporate collection, Minnesota.Born in Filiatra, Messinia in 1930, Pavlos would go on to study at the Athens School of Fine Arts with Y. Moralis. He studied twice in Paris on scholarships before settling there permanently. Influenced by the art movements of the 1960s and the New Realists (Nouveaux Realistes), he switched from working on canvas to using cheap, everyday materials that could be found in the new modern society. His primary material became printed paper, starting with magazines and then moving to posters, which he cut into fine strips using a machine. He laid these strips out to form undulating abstract surfaces. Eventually, these abstract forms morphed into everyday objects; flower bouquets, corsets, sandwiches, and clothes became his subjects. Often he would place these sculptures in plexiglass boxes, separating them from the real world and giving them a sense of ephemerality. And although his works were influenced by the New Realists and Pop artists, he never identified with them.Height: 65 in x width: 65 in x depth: 5 in.Condition: The item is structurally stable and sturdy. There are several areas of wear throughout the work including small tears and scratches. There is a long scratch that runs through the width of the artwork along the front. Several shorter scratches. There are areas of wear throughout where the paper has been bent, likely from something pressing against the paper. There are a few areas along the exterior sides of the work with stress tears. It is likely that much of the paper is toned as it was created with nonarchival materials. There are a few areas that may have losses to the paper, however, due to the nature of the work this is difficult to discern. Some wear to the chrome clothing rack, consistent with age and use. The verso is in good condition. There are several spots of dripped liquid, likely original to the artistic process. There are a few small spots of restoration along where the hangers were screwed into the top of the work. One hanger is missing. The most evident restoration is along the rightmost hanger which has been stapled into its original hole and the wood covering it is missing. It appears an adhesive was used to support several other hangers.

Vintage poster for the Museum of Modern Art (MoMA) in New York City promoting Roy Lichtenstein's (American, 1923-1997) 1989 exhibition at the museum. The poster depicts his "Drowning Girl" (1963) painting which shows a woman sinking beneath the water. In a speech bubble she cries out "I don't care! I'd rather sink than call Brad for help!"Sight; height: 55 in x width: 47 in. Framed; height: 59 1/2 in x width: 50 3/4 in.Condition: No visible tears, creases, or losses. No visible sign of restoration under UV light. To the center of the upper margin, by the letters in bubble, there is a white minute accretion that is not visible at arm length. Framed under plexiglass; not inspected out of frame. The verso could not be inspected. Very light wear to the frame.

Le Pho (Vietnamese, 1907-2001). Color lithograph on paper titled "Bouquet of Flowers" depicting a vase of brightly colored flowers resting on a table. Pencil signed along the lower right and numbered 113/120 along the lower left.Lot Essay:Le Pho was born in Vietnam in 1907. As a child, he was constantly finding opportunities to make art. As the son of the Viceroy of Tonkin, he had the opportunity to study art at the newly established Ecole des Beaux-Arts in Hanoi under Victor Tardieu (1870-1937), a well-respected French painter. In 1931, he traveled to France with Tardieu, where he studied at the Ecole des Beaux-Arts in Paris on a scholarship. He then traveled to Italy to do research, also visiting the Netherlands and Belgium in his tour of Europe.After returning to Vietnam, Le Pho became a professor at the Ecole des Beaux-Arts in Hanoi. During his professorship, he decided to continue his education by making trips to China to study and make art. While in China, he studied traditional Chinese sculpture, visited museums, and even had the opportunity to paint the Emperor and Empress.In 1937, he was sent to Paris to work on the Indochina Pavilion at the International Exposition of Art and Technology in Modern Life. He stayed in France after the Exposition, where he found great success as an artist. His first solo exhibition was in 1938, and soon after, his work began getting international exposure. His works were widely distributed, particularly in the United States because of an exclusive contract he signed in 1964 with Wally Findlay Galleries, an American company.Despite his expatriate status, Le Pho kept close ties to his homeland. He was active in the Vietnamese community in Paris, and worked with Vietnamese dignitaries and intellectuals to advocate for better treatment of the colonized Vietnamese people. His ties to his homeland are also evident in his subject matter. His paintings featured women and flowers, which he depicted in ways influenced by Vietnamese traditions and aesthetics.Unframed; height: 22 2/3 in x width: 16 in. Framed; height: 30 1/2 in x width: 23 in.Condition: There are no visible rips, losses, or restorations. The sheet is toned. There is acidic mat burn along the edges. The mats appear to be acidic. Light wear to the frame; framed under glass; not inspected out of frame.

AN OPAL AND DIAMOND BROOCH, BY GEOFFREY TURK, 1987Of openwork design, the central elongated opal cabochon, within wavy openwork frames pave-set with brilliant-cut diamonds, mounted in 18K gold, with maker's mark 'GT' for Geoffrey Turk, with maker's case, English hallmarks for London 1987, width 4.1cm Geoffrey Turk was born in 1935 and studied Gemmology and Jewellery Design and Manufacture at The Central School of Art & Design in London.Turk was for many years the business partner of Andrew Grima, perhaps the largest name in modern jewellery. Turk and Grima travelled throughout Europe together in the 1960s and set up stores in New York, Sydney, and Tokyo. Turk founded his own company in 1977 in Soho with talented workmen creating one-off jewellery pieces using gold and precious and semiprecious stones.Turk was, to some degree, an eccentric, who for example would take his pet cockatoo Arthur out onto the streets of London. This eccentricity, and the lavishness of 1980’s design mixed with Art Deco inspiration, can be seen in Lots 107, 108 and 109. These pieces highlight the luminescence of their diamonds and gems and employ curving lines to a delightful effect.Turk’s younger son Dominic is involved in the business today and his elder son is Gavin Turk, one of the original celebrated Young British Artists.*A special thank you to Helen Turk for her assistance with this biographyCondition Report: Opal: with orange, blue and green flashesDiamonds: bright and livelyNormal signs of wear, overall in good conditionTotal gross weight approx. 7.1g

A PAIR OF MABÉ PEARL AND DIAMOND EARRINGS, BY GEOFFREY TURK, 1987Each central mabé pearl within a frame pavé-set with brilliant-cut diamonds, mounted in 18K gold, with maker's mark 'GT' for Geoffrey Turk, English hallmarks for London 1987, length 2.5cmGeoffrey Turk was born in 1935 and studied Gemmology and Jewellery Design and Manufacture at The Central School of Art & Design in London.Turk was for many years the business partner of Andrew Grima, perhaps the largest name in modern jewellery. Turk and Grima travelled throughout Europe together in the 1960s and set up stores in New York, Sydney, and Tokyo. Turk founded his own company in 1977 in Soho with talented workmen creating one-off jewellery pieces using gold and precious and semiprecious stones.Turk was, to some degree, an eccentric, who for example would take his pet cockatoo Arthur out onto the streets of London. This eccentricity, and the lavishness of 1980’s design mixed with Art Deco inspiration, can be seen in Lots 107, 108 and 109. These pieces highlight the luminescence of their diamonds and gems and employ curving lines to a delightful effect.Turk’s younger son Dominic is involved in the business today and his elder son is Gavin Turk, one of the original celebrated Young British Artists.*A special thank you to Helen Turk for her assistance with this biographyCondition Report: Pearls: mabé pearls - white tint with with silver and pink overtones, good lustreDiamonds: bright and livelyNormal signs of wear, overall in good conditionFor pierced earsTotal gross weight approx. 20g

A DIAMOND RING, BY GEOFFREY TURK, 1988Composed of brilliant-cut diamonds throughout centring a gold wavy line, mounted in 18K gold, with maker's mark 'GT' for Geoffrey Turk, English hallmarks for London 1988, ring size L½This lot is sold without a reserveGeoffrey Turk was born in 1935 and studied Gemmology and Jewellery Design and Manufacture at The Central School of Art & Design in London.Turk was for many years the business partner of Andrew Grima, perhaps the largest name in modern jewellery. Turk and Grima travelled throughout Europe together in the 1960s and set up stores in New York, Sydney, and Tokyo. Turk founded his own company in 1977 in Soho with talented workmen creating one-off jewellery pieces using gold and precious and semiprecious stones.Turk was, to some degree, an eccentric, who for example would take his pet cockatoo Arthur out onto the streets of London. This eccentricity, and the lavishness of 1980’s design mixed with Art Deco inspiration, can be seen in Lots 107, 108 and 109. These pieces highlight the luminescence of their diamonds and gems and employ curving lines to a delightful effect.Turk’s younger son Dominic is involved in the business today and his elder son is Gavin Turk, one of the original celebrated Young British Artists.*A special thank you to Helen Turk for her assistance with this biographyCondition Report: Diamonds: bright and livelyNormal signs of wear, overall in good conditionTotal gross weight approx. 9.6g

A DIAMOND DRESS RING, BY NIGEL O'REILLYThe central rose-cut diamond weighing 3.28cts within a multiple-claw setting, the mount pavé-set throughout with brilliant-cut diamonds, mounted in 18K gold, with maker's mark 'NOR' for Nigel O'Reilly, with maker's case, ring size L¾Please note that the centre stone was weighed loose “For me, when I was growing up, it was always ‘What’s on the other side of the mountain?’” O’Reilly said. “Your imagination starts to play, so I wanted to try and recreate that with my pieces… It’s almost like there’s a world inside of a world.”- Fashion 360 Magazine, 2021Nigel O’Reilly is unarguably the most admired contemporary Irish jeweller working today. O’Reilly, who lives and works in Castlebar Co. Mayo, has been called “the darling of modern haute joaillerie” and has been included in important exhibitions in Los Angeles and in Bergdorf Goodman in New York.O’Reilly began his career as an engineer making vascular tools. He took this experience of working to a dimension of 0.001mm with no room for errors and translated it to the world of fine jewellery, focusing on themes of nature, molecular science, and the merging of technology, art, and fashion. O’Reilly had an unconventional entry into jewellery-making, creating a ring for a woman he was trying to impress using the medical-grade materials he had access to. This unusual beginning sparked a love for jewellery design (and was successful in romancing the woman, artist Tracy Sweeney, who is now married to O’Reilly). This romantic story bodes well for any couple purchasing an engagement ring by O’Reilly.Most interesting for O’Reilly is his acceptance, at quite a young age, into the cachet of noted master jewellers. O’Reilly has been showcased in a Sotheby’s Important Jewels auction making him the first Irish designer to be included in a New York auction, and after triumphant results was added to Sotheby’s Haute-Joaillerie Collection.At the heart of O’Reilly’s work is a fascination with gems and technological advancement. Having studied under the renowned lapidarist Erwin Springbrunn, O’Reilly developed a great appreciation for the cut, colour, and careful design of fine gems. This jewellery is not just beautiful however, there is a clear focus on wearability too. Saoirse Ronan, Julianne Moore, Maya Hawke and Grace Kelly’s granddaughter are all customers of O’Reilly, who works mainly on an individual commission basis.Rural Ireland, and specifically the West, is important to O’Reilly. He has ensured his Mayo studio is one of the best equipped in Europe, asserting that his space rivals any in London, New York, or Paris. Commissioning pieces is therefore an experience or pilgrimage, requiring the customer to experience the land and atmosphere which motivates O’Reilly, and which is so present in his work.Condition Report: Principal diamond: weighed loose by the jewellery department = 3.28cts. Estimated colour G/H, estimated clarity SIRemaining diamonds: bright and livelyMinor signs of wear, overall in good conditionTotal gross weight approx. 7.3g