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A group of metal wares, including an Art Deco style nude female sculpture, 33cm high, a modern Bayard brass carriage clock, 8 by 6.5 by 12cm high, a barometer, a chromed figure of a greyhound, various small brass and other metal ornaments, and a sculpture of a racing horse and jockey. (1 box)

AN AMUSING WOOD MASK NETSUKE OF A LONG-NOSED TENGUUnsigned Japan, 19th century, Edo period (1615-1868)Published: Bulletin Franco Japonais, no. 50, October 1996, p. 26, no. 50.Expressively and amusingly carved as a tengu with its long nose bent to one side, his face contorted in a pained grimace, the eyes with large pierced pupils evoking a distraught expression, the details deeply carved and heightened by skillful staining.HEIGHT 4.2 cmCondition: Excellent condition with minor wear. Provenance: Kunsthandel Klefisch, 24 June 1995, Cologne. European collection P. Jacquesson, acquired from the above.Tengu masks are popularly used at tengu festivals held all over Japan, from Tengu Matsuri on Mt. Tengu in Hokkaido, to the Shimokitazawa Tengu Festival in Tokyo. While the tengu Matsuri is a more traditional affair, the Shimokitazawa festival is a modern take on setsubun, where beans are thrown to ward away evil. People dressed as tengu take to the streets, visiting shops and homes to throw their beans of evil's bane to bring good luck and fortune.In netsuke art, the tengu mask often takes on a phallic meaning due to its long nose. In the present netsuke, however, this symbolism has been inverted, as the nose does not protrude outward but is bent to the side, a surely painful and emasculating experience which nonetheless elicits amusement.Literature comparison: Compare a related wood netsuke depicting Hyottoko, also with a long nose twisted to one side, albeit with a stern expression, illustrated in Bushell, Raymond (1985), Netsuke Masks, pls. 254.Museum comparison: Compare a related wood netsuke by Kokeisai Sansho, also depicting a long-nosed tengu with similar expression, 5.4 cm high, dated late 19th to early 20th century, previously in the collection of Raymond Bushell and now in the Los Angeles County Museum of Art, accession number M.91.250.341, illustrated in Bushell, Raymond Netsuke (1975) Familiar & Unfamiliar, p. 146, no. 315 and Bushell, Raymond (1985), Netsuke Masks, pl. 327. Compare also a related wood netsuke by Deme Uman, also depicting a long-nosed tengu, 5.7 cm high, dated 19th century, previously in the Trumpf collection and now in the Linden-Museum Stuttgart, inventory number OA 18947, illustrated in Patrizia Jirka-Schmitz (2000) Netsuke: Trumpf Collection, vol. 2, Linden Museum, 2000, p. 217, no. 432.

JOKA: A LACQUERED WOOD NETSUKE DEPICTING DAIKOKU AS A MANZAI DANCERBy a member of the Joka lineage, signed Joka 常嘉Japan, 19th century, Edo period (1615-1868)The rectangular manju-style netsuke bearing an ishime ground, simulating lightly rusted iron, and lacquered in iro-e takamaki-e with a design of Daikoku as a Manzai dancer, holding a fan before his face. The back engraved with towering ferns imitating kebori metal engraving. Large, asymmetrical himotoshi through the back and signed in gold-lacquered characters JOKA.LENGTH 3.4 cmCondition: Excellent condition with only very minor wear.Provenance: Ex-collection Gretchen Kroch Kelsch, sold at Sotheby Parke Bernet, 11 March 1981, New York, lot 7. Ex-collection Ted Wrangham, acquired from the above. Edward A. 'Ted' Wrangham (1928-2009) formed one of the most important collections of Japanese Art in modern times. His reference book 'The Index of Inro Artists' (1995) is considered one of the most important English-language studies on Japanese lacquer ever published.Joka is listed on page 451, H 02141.0 in THE INDEX OF JAPANESE SWORD FITTINGS AND ASSOCIATED ARTISTS by Robert E. Haynes. The signature Joka indicated a group of artists who were active during the last two hundred years of the Edo period and into the Meiji period. There are various signatures and most artists are known for their lacquered metalwork and lacquerware imitating metalwork.

Hasan ibn Mustafa, al-Hidaya fi sharh al-waladiyyah, a commentary by Nazik Zadah on a treatise called al-waladiyyah fi adab al-bahth wa-l-munazarah, on the art and etiquette of scholarly research and debate by Ahmad ibn Mustafa, called Tashkupri Zadah, copied by Mustafa ibn 'Ali ibn Dumayr, Ottoman Turkey, dated 1175AH/1761AD, Arabic manuscript on paper, 91ff., with 21 ll. of bold black naskh within red ruled borders per page, important words and headings highlighted in red, modern brown leather binding, folio 20.5 x 14cm.Provenance: Bonhams 17 October 2001, Lot 117

A large collection of modern contemporary art works on canvas.

Christopher Wood (British 1901-1930) Winter Landscape, 1928 pencil on paperDimensions:25.7cm x 34.2cm (10 1/8in x 13 1/2in)Provenance:ProvenanceThe Fine Art Society, London, 1995;Christies, London, 9 June 2006, lot 91;Sothebys, London, 28 September 2016, lot 52;Private Collection, London.Note: ExhibitedThe Fine Art Society, London, Christopher Wood, May - June 1995. LiteratureIngleby, Richard, 'Christopher Wood, An English Painter' in Modern Painters, Summer 1995, pp. 94-96, illustrated.

Hans Wegner (Danish 1914-2007) for Carl Hansen & Son 'Wishbone Chair / Y-Chair', designed 1950 model CH24, manufacturer's label, and stamped KB77, oak and papercordDimensions:72cm high, 56.5cm wide (28.5in high, 22.25in wide)Provenance:LiteratureDenmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-3 (illustrated). ExhibitedSeoul Art Centre, Seoul, September – November 2016;Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017;Yokosuka Museum of Art, Yokosuka, April – June 2017;Shizuoka City Museum of Art, Shizuoka, September – November 2017;Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017;Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018;Museum of Modern Ceramic Art, Gifu, April – June 2018;Gunma Museum of Art, Tatebayashi, July – August 2018;Akita Senshu Museum of Art, Akita, April – June 2019;Mie Prefectural Art Museum, Tsu, July – September 2019;Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020;Tohoku History Museum, Tagajō, April – June 2021.

§ George Kennethson (British 1910-1994) Wave Form, circa 1950s-60s Clipsham stoneDimensions:43cm high, 30.5cm wide, 20cm deep (17in high, 12in wide, 7 3/4in deep)Provenance:ProvenanceThe Estate of the Artist.Note: LiteratureCork, Richard. The Sculpture of George Kennethson, Redfern Gallery, London, 2014, p. 20 illustrated in the background of a photograph of the artist's studio. George Kennethson (or Arthur Mackenzie as he was, Kennethson being the name he adopted in the early 1970s in order to separate his artistic practice from his role as the art master at Oundle School) met Eileen Guthrie in 1931 at the Royal Academy Schools in London. Intriguingly both were painting students, although in George’s case, the teaching at the still very academic Academy mainly had the effect of turning him into a sculptor, something he was already considering by his final year when the pair of them met [although one of his sons recalls Kennethson generously saying that the reason he became a sculptor was that Eileen was by far the better painter].George had come from a cultured, literary family. Eileen’s father and grandfather were architects and her mother was an accomplished pianist, who had studied at the Royal College of Music [Eileen herself had been taught piano by Gustav Holst when she was young]. And so, like many of their circle, Eileen and George were left-wing in their politics, interested in all things avant-garde in art, music and literature, and looked to Paris for inspiration. As young artists they both revered Cezanne. On their first trip together to the French capital, George tracked down the work of sculptors Maillol, Zadkine and Brancusi. And Eileen no doubt sought out the work of Bonnard, whose influence, both in composition and technique, can be traced in her work. They returned, in 1937, where they saw Picasso’s recently completed Guernica, which moved them both, artistically and politically. Like many artists of their generation, their lives and careers were profoundly affected by the Second World War. The Kennethsons were committed pacifists. A year before war broke out, they had moved to the quiet Berkshire village of Uffington, watched over by its ancient, curiously abstract White Horse, cut into the chalk of the nearby Downs, and so in away had already withdrawn from the political storm of the late 30s. The local villagers had no issues with the Kennethsons’ avowed pacifism: they were artists, after all, so they expected them to be different. Whilst they passed the war in rural seclusion, conflict does seep into Kennethson’s sculpture, such as sculptures of travellers, with staffs and backpacks, or men carrying mattresses down to the local forge – images glimpsed out of the studio window, but now transformed into a moving response to the refugees that war inevitably creates. The couple took in both evacuees from the Blitz and the occasional European refugee (and much later in the 1980s, Kennethson returned to this theme as a response to the migrations forced by famine in Ethiopia). But more than this, the War and its aftermath led to little opportunity for artists to sell their work and therefore live by their art – something that was particularly acute for the Kennethsons, who by the late 1940s had five young boys to feed. Art historians have often been critical of British artists ‘retreating’ into teaching or commercial work, whilst their counterparts in America were splashing newly made paint across acres of pristine canvas and changing the direction of modern art forever, and yet this ignores the pressures on British artists, facing a public that was already relatively indifferent to modern art already and which now was broke.It was at this point that Eileen turned her hand to making prints for textiles. She did so with incredible success – artistically at least, as there was almost as little money for interiors and design in post-war Britain as there was for at. Eileen did, however, sell her ‘Flockhart Fabrics’ range – named after her Scottish grandfather - at Primavera, a leading interiors shop on Sloane Street, as well as to family and friends. Their neighbour in Uffington, John Betjeman, also helped them to find stockists, and Eileen’s twin sister Joan would open her London flat to showcase the designs. Lucienne Day, too, introduced Eileen to Amersham Prints, contractors to the government, and her design Bird and Basket was used in 1954 to furnish the Morag Mhor, the first all-aluminium yacht in the country.George lent a hand too, on the production side, contributing to designs, working on the lino-blocks and silkscreens and helping Eileen with the considerable manual work of printing the fabrics by hand. The prints are deceptively simple, strong and sculptural, whilst retaining the required elegance and beauty. The line that one sees in her gouaches and oils find an easy home amongst the repeats of fabric design and motifs that infuse George’s sculpture – birds, leaves, architectonic flower forms – are abstracted from her landscape painting.The family moved to Oundle in 1954, to a house with a large former malting attached, which made for good, if draughty, studios. George would have been surrounded by Eileen’s fabrics – at the long settle by the kitchen table or on one of the armchairs where he would read and draw- before heading out to his studio to carve equally simple forms, with soft curves and sharp edges, into stone and alabaster, so perhaps Eileen’s influence on George’s work shouldn’t be under-estimated. Meeting her late in her life – a decade after George’s death – she would walk amongst the sculptures, laid out on plinths in a cavernous Victorian former malting attached to their house, and place her hands intuitively on every undercut and turn (the wearing of rings was strictly forbidden!). George resolutely worked alone – no assistants, no power tools, only mallets and chisels and cassettes of classical music and operatic arias for company – but the confluence between their work speaks to a shared vision. We are delighted to include in this selection a painting by Eileen alongside a drawing of George’s, both made at their beloved Isle of Purbeck, where they had holidayed (and found inspiration, in the fields, quarries and shore) every year since the late 1930s. Seen side by side, these works could almost be by the same hand. George’s drawings, mainly of the rock formations of the coast that were the source of his material, whilst studies in sculptural form, have a painter’s confident flow: equally, Eileen’s paintings, whilst more concerned with the wider landscape, have a certain sculptural feel to their construction, even though, in the end, they concern themselves more with colour and abstract form, in the manner of Ivon Hitchens or Patrick Heron, both of whom she admired. The last few years have seen something of a revival in interest in George Kennethson’s work. After all, this is an artist whose work sits very comfortably – and beautifully – in Britain’s best small museum, Kettle’s Yard in Cambridge, alongside Constantin Brancusi and Henri Gaudier-Brzeska. There are now two monographs on the artist, the most recent written by the eminent critic Richard Cork. Eileen Guthrie’s work, on the other hand, still remains something of a secret, her last public exhibitions being held almost 40 years ago now. We hope that this brief glimpse will be the beginning of her revival, as well as a testament an artistic partnership that was very much of its time, yet resonates with beauty today.

§ George Kennethson (British 1910-1994) Girl's Back with Curled Hair - Study for Sculpture, circa 1960 ink and wash on paperDimensions:16cm x 12.5cm (6 3/8in x 4 7/8in)Provenance:ProvenanceThe Estate of the Artist.Note: LiteratureHucker, Simon. George Kennethson: A Modernist Rediscovered. London: Merrell Publishers Limited, 2004, p.14, illustrated. George Kennethson (or Arthur Mackenzie as he was, Kennethson being the name he adopted in the early 1970s in order to separate his artistic practice from his role as the art master at Oundle School) met Eileen Guthrie in 1931 at the Royal Academy Schools in London. Intriguingly both were painting students, although in George’s case, the teaching at the still very academic Academy mainly had the effect of turning him into a sculptor, something he was already considering by his final year when the pair of them met [although one of his sons recalls Kennethson generously saying that the reason he became a sculptor was that Eileen was by far the better painter].George had come from a cultured, literary family. Eileen’s father and grandfather were architects and her mother was an accomplished pianist, who had studied at the Royal College of Music [Eileen herself had been taught piano by Gustav Holst when she was young]. And so, like many of their circle, Eileen and George were left-wing in their politics, interested in all things avant-garde in art, music and literature, and looked to Paris for inspiration. As young artists they both revered Cezanne. On their first trip together to the French capital, George tracked down the work of sculptors Maillol, Zadkine and Brancusi. And Eileen no doubt sought out the work of Bonnard, whose influence, both in composition and technique, can be traced in her work. They returned, in 1937, where they saw Picasso’s recently completed Guernica, which moved them both, artistically and politically. Like many artists of their generation, their lives and careers were profoundly affected by the Second World War. The Kennethsons were committed pacifists. A year before war broke out, they had moved to the quiet Berkshire village of Uffington, watched over by its ancient, curiously abstract White Horse, cut into the chalk of the nearby Downs, and so in away had already withdrawn from the political storm of the late 30s. The local villagers had no issues with the Kennethsons’ avowed pacifism: they were artists, after all, so they expected them to be different. Whilst they passed the war in rural seclusion, conflict does seep into Kennethson’s sculpture, such as sculptures of travellers, with staffs and backpacks, or men carrying mattresses down to the local forge – images glimpsed out of the studio window, but now transformed into a moving response to the refugees that war inevitably creates. The couple took in both evacuees from the Blitz and the occasional European refugee (and much later in the 1980s, Kennethson returned to this theme as a response to the migrations forced by famine in Ethiopia). But more than this, the War and its aftermath led to little opportunity for artists to sell their work and therefore live by their art – something that was particularly acute for the Kennethsons, who by the late 1940s had five young boys to feed. Art historians have often been critical of British artists ‘retreating’ into teaching or commercial work, whilst their counterparts in America were splashing newly made paint across acres of pristine canvas and changing the direction of modern art forever, and yet this ignores the pressures on British artists, facing a public that was already relatively indifferent to modern art already and which now was broke.It was at this point that Eileen turned her hand to making prints for textiles. She did so with incredible success – artistically at least, as there was almost as little money for interiors and design in post-war Britain as there was for at. Eileen did, however, sell her ‘Flockhart Fabrics’ range – named after her Scottish grandfather - at Primavera, a leading interiors shop on Sloane Street, as well as to family and friends. Their neighbour in Uffington, John Betjeman, also helped them to find stockists, and Eileen’s twin sister Joan would open her London flat to showcase the designs. Lucienne Day, too, introduced Eileen to Amersham Prints, contractors to the government, and her design Bird and Basket was used in 1954 to furnish the Morag Mhor, the first all-aluminium yacht in the country.George lent a hand too, on the production side, contributing to designs, working on the lino-blocks and silkscreens and helping Eileen with the considerable manual work of printing the fabrics by hand. The prints are deceptively simple, strong and sculptural, whilst retaining the required elegance and beauty. The line that one sees in her gouaches and oils find an easy home amongst the repeats of fabric design and motifs that infuse George’s sculpture – birds, leaves, architectonic flower forms – are abstracted from her landscape painting.The family moved to Oundle in 1954, to a house with a large former malting attached, which made for good, if draughty, studios. George would have been surrounded by Eileen’s fabrics – at the long settle by the kitchen table or on one of the armchairs where he would read and draw- before heading out to his studio to carve equally simple forms, with soft curves and sharp edges, into stone and alabaster, so perhaps Eileen’s influence on George’s work shouldn’t be under-estimated. Meeting her late in her life – a decade after George’s death – she would walk amongst the sculptures, laid out on plinths in a cavernous Victorian former malting attached to their house, and place her hands intuitively on every undercut and turn (the wearing of rings was strictly forbidden!). George resolutely worked alone – no assistants, no power tools, only mallets and chisels and cassettes of classical music and operatic arias for company – but the confluence between their work speaks to a shared vision. We are delighted to include in this selection a painting by Eileen alongside a drawing of George’s, both made at their beloved Isle of Purbeck, where they had holidayed (and found inspiration, in the fields, quarries and shore) every year since the late 1930s. Seen side by side, these works could almost be by the same hand. George’s drawings, mainly of the rock formations of the coast that were the source of his material, whilst studies in sculptural form, have a painter’s confident flow: equally, Eileen’s paintings, whilst more concerned with the wider landscape, have a certain sculptural feel to their construction, even though, in the end, they concern themselves more with colour and abstract form, in the manner of Ivon Hitchens or Patrick Heron, both of whom she admired. The last few years have seen something of a revival in interest in George Kennethson’s work. After all, this is an artist whose work sits very comfortably – and beautifully – in Britain’s best small museum, Kettle’s Yard in Cambridge, alongside Constantin Brancusi and Henri Gaudier-Brzeska. There are now two monographs on the artist, the most recent written by the eminent critic Richard Cork. Eileen Guthrie’s work, on the other hand, still remains something of a secret, her last public exhibitions being held almost 40 years ago now. We hope that this brief glimpse will be the beginning of her revival, as well as a testament an artistic partnership that was very much of its time, yet resonates with beauty today.

§ George Kennethson (British 1910-1994) Waves initialled (lower right), pencil, ink and wash on blue paperDimensions:18cm x 22cm (7 1/8in x 8 5/8in)Provenance:ProvenanceThe Estate of the Artist.Note: George Kennethson (or Arthur Mackenzie as he was, Kennethson being the name he adopted in the early 1970s in order to separate his artistic practice from his role as the art master at Oundle School) met Eileen Guthrie in 1931 at the Royal Academy Schools in London. Intriguingly both were painting students, although in George’s case, the teaching at the still very academic Academy mainly had the effect of turning him into a sculptor, something he was already considering by his final year when the pair of them met [although one of his sons recalls Kennethson generously saying that the reason he became a sculptor was that Eileen was by far the better painter].George had come from a cultured, literary family. Eileen’s father and grandfather were architects and her mother was an accomplished pianist, who had studied at the Royal College of Music [Eileen herself had been taught piano by Gustav Holst when she was young]. And so, like many of their circle, Eileen and George were left-wing in their politics, interested in all things avant-garde in art, music and literature, and looked to Paris for inspiration. As young artists they both revered Cezanne. On their first trip together to the French capital, George tracked down the work of sculptors Maillol, Zadkine and Brancusi. And Eileen no doubt sought out the work of Bonnard, whose influence, both in composition and technique, can be traced in her work. They returned, in 1937, where they saw Picasso’s recently completed Guernica, which moved them both, artistically and politically. Like many artists of their generation, their lives and careers were profoundly affected by the Second World War. The Kennethsons were committed pacifists. A year before war broke out, they had moved to the quiet Berkshire village of Uffington, watched over by its ancient, curiously abstract White Horse, cut into the chalk of the nearby Downs, and so in away had already withdrawn from the political storm of the late 30s. The local villagers had no issues with the Kennethsons’ avowed pacifism: they were artists, after all, so they expected them to be different. Whilst they passed the war in rural seclusion, conflict does seep into Kennethson’s sculpture, such as sculptures of travellers, with staffs and backpacks, or men carrying mattresses down to the local forge – images glimpsed out of the studio window, but now transformed into a moving response to the refugees that war inevitably creates. The couple took in both evacuees from the Blitz and the occasional European refugee (and much later in the 1980s, Kennethson returned to this theme as a response to the migrations forced by famine in Ethiopia). But more than this, the War and its aftermath led to little opportunity for artists to sell their work and therefore live by their art – something that was particularly acute for the Kennethsons, who by the late 1940s had five young boys to feed. Art historians have often been critical of British artists ‘retreating’ into teaching or commercial work, whilst their counterparts in America were splashing newly made paint across acres of pristine canvas and changing the direction of modern art forever, and yet this ignores the pressures on British artists, facing a public that was already relatively indifferent to modern art already and which now was broke.It was at this point that Eileen turned her hand to making prints for textiles. She did so with incredible success – artistically at least, as there was almost as little money for interiors and design in post-war Britain as there was for at. Eileen did, however, sell her ‘Flockhart Fabrics’ range – named after her Scottish grandfather - at Primavera, a leading interiors shop on Sloane Street, as well as to family and friends. Their neighbour in Uffington, John Betjeman, also helped them to find stockists, and Eileen’s twin sister Joan would open her London flat to showcase the designs. Lucienne Day, too, introduced Eileen to Amersham Prints, contractors to the government, and her design Bird and Basket was used in 1954 to furnish the Morag Mhor, the first all-aluminium yacht in the country.George lent a hand too, on the production side, contributing to designs, working on the lino-blocks and silkscreens and helping Eileen with the considerable manual work of printing the fabrics by hand. The prints are deceptively simple, strong and sculptural, whilst retaining the required elegance and beauty. The line that one sees in her gouaches and oils find an easy home amongst the repeats of fabric design and motifs that infuse George’s sculpture – birds, leaves, architectonic flower forms – are abstracted from her landscape painting.The family moved to Oundle in 1954, to a house with a large former malting attached, which made for good, if draughty, studios. George would have been surrounded by Eileen’s fabrics – at the long settle by the kitchen table or on one of the armchairs where he would read and draw- before heading out to his studio to carve equally simple forms, with soft curves and sharp edges, into stone and alabaster, so perhaps Eileen’s influence on George’s work shouldn’t be under-estimated. Meeting her late in her life – a decade after George’s death – she would walk amongst the sculptures, laid out on plinths in a cavernous Victorian former malting attached to their house, and place her hands intuitively on every undercut and turn (the wearing of rings was strictly forbidden!). George resolutely worked alone – no assistants, no power tools, only mallets and chisels and cassettes of classical music and operatic arias for company – but the confluence between their work speaks to a shared vision. We are delighted to include in this selection a painting by Eileen alongside a drawing of George’s, both made at their beloved Isle of Purbeck, where they had holidayed (and found inspiration, in the fields, quarries and shore) every year since the late 1930s. Seen side by side, these works could almost be by the same hand. George’s drawings, mainly of the rock formations of the coast that were the source of his material, whilst studies in sculptural form, have a painter’s confident flow: equally, Eileen’s paintings, whilst more concerned with the wider landscape, have a certain sculptural feel to their construction, even though, in the end, they concern themselves more with colour and abstract form, in the manner of Ivon Hitchens or Patrick Heron, both of whom she admired. The last few years have seen something of a revival in interest in George Kennethson’s work. After all, this is an artist whose work sits very comfortably – and beautifully – in Britain’s best small museum, Kettle’s Yard in Cambridge, alongside Constantin Brancusi and Henri Gaudier-Brzeska. There are now two monographs on the artist, the most recent written by the eminent critic Richard Cork. Eileen Guthrie’s work, on the other hand, still remains something of a secret, her last public exhibitions being held almost 40 years ago now. We hope that this brief glimpse will be the beginning of her revival, as well as a testament an artistic partnership that was very much of its time, yet resonates with beauty today.

§ George Kennethson (British 1910-1994) Father and Child, 1960s English alabasterDimensions:45.7cm high, 33cm wide, 25.5cm deep (18in high, 13in wide, 10in deep)Provenance:ProvenanceThe Estate of the Artist.Note: George Kennethson (or Arthur Mackenzie as he was, Kennethson being the name he adopted in the early 1970s in order to separate his artistic practice from his role as the art master at Oundle School) met Eileen Guthrie in 1931 at the Royal Academy Schools in London. Intriguingly both were painting students, although in George’s case, the teaching at the still very academic Academy mainly had the effect of turning him into a sculptor, something he was already considering by his final year when the pair of them met [although one of his sons recalls Kennethson generously saying that the reason he became a sculptor was that Eileen was by far the better painter].George had come from a cultured, literary family. Eileen’s father and grandfather were architects and her mother was an accomplished pianist, who had studied at the Royal College of Music [Eileen herself had been taught piano by Gustav Holst when she was young]. And so, like many of their circle, Eileen and George were left-wing in their politics, interested in all things avant-garde in art, music and literature, and looked to Paris for inspiration. As young artists they both revered Cezanne. On their first trip together to the French capital, George tracked down the work of sculptors Maillol, Zadkine and Brancusi. And Eileen no doubt sought out the work of Bonnard, whose influence, both in composition and technique, can be traced in her work. They returned, in 1937, where they saw Picasso’s recently completed Guernica, which moved them both, artistically and politically. Like many artists of their generation, their lives and careers were profoundly affected by the Second World War. The Kennethsons were committed pacifists. A year before war broke out, they had moved to the quiet Berkshire village of Uffington, watched over by its ancient, curiously abstract White Horse, cut into the chalk of the nearby Downs, and so in away had already withdrawn from the political storm of the late 30s. The local villagers had no issues with the Kennethsons’ avowed pacifism: they were artists, after all, so they expected them to be different. Whilst they passed the war in rural seclusion, conflict does seep into Kennethson’s sculpture, such as sculptures of travellers, with staffs and backpacks, or men carrying mattresses down to the local forge – images glimpsed out of the studio window, but now transformed into a moving response to the refugees that war inevitably creates. The couple took in both evacuees from the Blitz and the occasional European refugee (and much later in the 1980s, Kennethson returned to this theme as a response to the migrations forced by famine in Ethiopia). But more than this, the War and its aftermath led to little opportunity for artists to sell their work and therefore live by their art – something that was particularly acute for the Kennethsons, who by the late 1940s had five young boys to feed. Art historians have often been critical of British artists ‘retreating’ into teaching or commercial work, whilst their counterparts in America were splashing newly made paint across acres of pristine canvas and changing the direction of modern art forever, and yet this ignores the pressures on British artists, facing a public that was already relatively indifferent to modern art already and which now was broke.It was at this point that Eileen turned her hand to making prints for textiles. She did so with incredible success – artistically at least, as there was almost as little money for interiors and design in post-war Britain as there was for at. Eileen did, however, sell her ‘Flockhart Fabrics’ range – named after her Scottish grandfather - at Primavera, a leading interiors shop on Sloane Street, as well as to family and friends. Their neighbour in Uffington, John Betjeman, also helped them to find stockists, and Eileen’s twin sister Joan would open her London flat to showcase the designs. Lucienne Day, too, introduced Eileen to Amersham Prints, contractors to the government, and her design Bird and Basket was used in 1954 to furnish the Morag Mhor, the first all-aluminium yacht in the country.George lent a hand too, on the production side, contributing to designs, working on the lino-blocks and silkscreens and helping Eileen with the considerable manual work of printing the fabrics by hand. The prints are deceptively simple, strong and sculptural, whilst retaining the required elegance and beauty. The line that one sees in her gouaches and oils find an easy home amongst the repeats of fabric design and motifs that infuse George’s sculpture – birds, leaves, architectonic flower forms – are abstracted from her landscape painting.The family moved to Oundle in 1954, to a house with a large former malting attached, which made for good, if draughty, studios. George would have been surrounded by Eileen’s fabrics – at the long settle by the kitchen table or on one of the armchairs where he would read and draw- before heading out to his studio to carve equally simple forms, with soft curves and sharp edges, into stone and alabaster, so perhaps Eileen’s influence on George’s work shouldn’t be under-estimated. Meeting her late in her life – a decade after George’s death – she would walk amongst the sculptures, laid out on plinths in a cavernous Victorian former malting attached to their house, and place her hands intuitively on every undercut and turn (the wearing of rings was strictly forbidden!). George resolutely worked alone – no assistants, no power tools, only mallets and chisels and cassettes of classical music and operatic arias for company – but the confluence between their work speaks to a shared vision. We are delighted to include in this selection a painting by Eileen alongside a drawing of George’s, both made at their beloved Isle of Purbeck, where they had holidayed (and found inspiration, in the fields, quarries and shore) every year since the late 1930s. Seen side by side, these works could almost be by the same hand. George’s drawings, mainly of the rock formations of the coast that were the source of his material, whilst studies in sculptural form, have a painter’s confident flow: equally, Eileen’s paintings, whilst more concerned with the wider landscape, have a certain sculptural feel to their construction, even though, in the end, they concern themselves more with colour and abstract form, in the manner of Ivon Hitchens or Patrick Heron, both of whom she admired. The last few years have seen something of a revival in interest in George Kennethson’s work. After all, this is an artist whose work sits very comfortably – and beautifully – in Britain’s best small museum, Kettle’s Yard in Cambridge, alongside Constantin Brancusi and Henri Gaudier-Brzeska. There are now two monographs on the artist, the most recent written by the eminent critic Richard Cork. Eileen Guthrie’s work, on the other hand, still remains something of a secret, her last public exhibitions being held almost 40 years ago now. We hope that this brief glimpse will be the beginning of her revival, as well as a testament an artistic partnership that was very much of its time, yet resonates with beauty today.

§ Prunella Clough (British 1919-1999) Figure with Fish inscribed in red pen Prunella Clough on label (to reverse), glazed earthenware plateDimensions:25cm diameter (9 3/4in diameter)Provenance:ProvenanceGift from the Artist to David Carr and thence by descent;Christie's, London, 5 September 2002, lot 594;Private Collection, UK.Note: Prunella Clough’s emergence within the post-war British art world followed training at Chelsea School of Art and Camberwell School of Art, either side of a role in the Office of War Information (USA) during World War Two. As the following group of works demonstrates, ‘once she had hit form, Prunella Clough went her own tough sweet way, and there is an underlying consistency, a continuous coherence of vision, from…her first decade through to the most fanciful and mysterious of her beautiful late paintings.’ (1)As Ben Tufnell has explained, Clough followed her own distinctive artistic path, paying no heed to fashion and making work infused with an unconventional sense of beauty. (2) She described her starting point as ‘anything that the eye or the mind’s eye sees with intensity and excitement will do…it is the nature and structure of an object – that, and seeing it as if it were strange and unfamiliar, which is my chief concern.’ (3)Three years before her death, Clough looked back over her long, dedicated career and declared: ‘My paintings are really quite traditionally made objects, in practice. If I take a thing from the real world, detach it and put it into a painting, something takes over that goes further than anything that I can logically describe or assess. I’m trying to reach beyond the mere manufacture of a painting, the getting-it-all-together, and this entails time. Paintings are made slowly because I work slowly on many things at once. Time is part of the factor of change…Nothing that I do is ‘abstract’. I can locate all the ingredients of a painting in the richness of the outside world, the world of perception.’ (4)Clough led by example, as a successful artist who maintained her own practice alongside that of a teaching career that spanned over forty years, firstly at Chelsea School of Art and latterly at Wimbledon School of Art. She thus had a direct and indirect influence on several younger generations of artists.Discreet in her private life and at times reticent to exhibit her work, Clough won the Jerwood prize for painting in 1999, at the age of seventy-nine. Her work of that decade – her final - ‘has the feel of a triumphant maturity, a celebration of the joy of sight, of ways of seeing, in which a half-century of experience is brought to bear again and again on a simple question: what to paint and how to paint it.’ (5) Tufnell has characterised her work as containing ‘visual curiosity and delight’ and an ‘exhilarating new perception of our surroundings’, whilst the significance of her contribution to art history is yet to be fully understood. (6)1/ Mel Gooding, ‘Prunella Clough: The Poetry of Painting’, Prunella Clough: 50 Years of Making Art, Annely Jude Fine Art, London, 2009, unpaginated.2/ See Ben Tufnell, ‘Displacements: The Art of Prunella Clough’, Prunella Clough, Tate Publishing, London, 2007, p.9.3/ Prunella Clough as quoted by Mel Gooding, op.cit.4/ From an interview with interview Bryan Robertson, ‘Happiness is the Light’, Modern Painters, Summer 1996.5 / Ben Tufnell, op.cit., p. 18.6 / Ben Tufnell, ibid., p. 19.

§ Prunella Clough (British 1919-1999) Untitled, 1950s incsribed (to verso), oil on boardDimensions:20.5cm x 15cm (8in x 6in)Provenance:ProvenanceAnnely Juda Fine Art, London.Note: Prunella Clough’s emergence within the post-war British art world followed training at Chelsea School of Art and Camberwell School of Art, either side of a role in the Office of War Information (USA) during World War Two. As the following group of works demonstrates, ‘once she had hit form, Prunella Clough went her own tough sweet way, and there is an underlying consistency, a continuous coherence of vision, from…her first decade through to the most fanciful and mysterious of her beautiful late paintings.’ (1)As Ben Tufnell has explained, Clough followed her own distinctive artistic path, paying no heed to fashion and making work infused with an unconventional sense of beauty. (2) She described her starting point as ‘anything that the eye or the mind’s eye sees with intensity and excitement will do…it is the nature and structure of an object – that, and seeing it as if it were strange and unfamiliar, which is my chief concern.’ (3)Three years before her death, Clough looked back over her long, dedicated career and declared: ‘My paintings are really quite traditionally made objects, in practice. If I take a thing from the real world, detach it and put it into a painting, something takes over that goes further than anything that I can logically describe or assess. I’m trying to reach beyond the mere manufacture of a painting, the getting-it-all-together, and this entails time. Paintings are made slowly because I work slowly on many things at once. Time is part of the factor of change…Nothing that I do is ‘abstract’. I can locate all the ingredients of a painting in the richness of the outside world, the world of perception.’ (4)Clough led by example, as a successful artist who maintained her own practice alongside that of a teaching career that spanned over forty years, firstly at Chelsea School of Art and latterly at Wimbledon School of Art. She thus had a direct and indirect influence on several younger generations of artists.Discreet in her private life and at times reticent to exhibit her work, Clough won the Jerwood prize for painting in 1999, at the age of seventy-nine. Her work of that decade – her final - ‘has the feel of a triumphant maturity, a celebration of the joy of sight, of ways of seeing, in which a half-century of experience is brought to bear again and again on a simple question: what to paint and how to paint it.’ (5) Tufnell has characterised her work as containing ‘visual curiosity and delight’ and an ‘exhilarating new perception of our surroundings’, whilst the significance of her contribution to art history is yet to be fully understood. (6)1/ Mel Gooding, ‘Prunella Clough: The Poetry of Painting’, Prunella Clough: 50 Years of Making Art, Annely Jude Fine Art, London, 2009, unpaginated.2/ See Ben Tufnell, ‘Displacements: The Art of Prunella Clough’, Prunella Clough, Tate Publishing, London, 2007, p.9.3/ Prunella Clough as quoted by Mel Gooding, op.cit.4/ From an interview with interview Bryan Robertson, ‘Happiness is the Light’, Modern Painters, Summer 1996.5 / Ben Tufnell, op.cit., p. 18.6 / Ben Tufnell, ibid., p. 19.

§ Fulvio Bianconi (Italian 1915-1996) for Venini Double Incalmo Vase, 1951 model 4392, signed with 3 line acid stamp Venini, Murano, ITALIA (to base), glassDimensions:24cm high (9 1/2in high)Provenance:ProvenancePrivate Collection, UK.Note: LiteratureBarovier, Marino and Carla Sonego. Fulvio Bianconi at Venini. SKIRA. p 228. Bianconi experimented with the incalmo technique (joining of two separately blown pieces of glass whilst still hot). In the case of the double incalmo he sought to extend the technique to three different coloured glass hemispheres where the rims of all had to have the same circumference - an operation which required the highest level of glass-making skills. One of Italy’s most famous post-war designers, Fulvio Bianconi (1915-1996) was an integral motivator in pushing the use of glass further than its purely utilitarian purposes. Best known for his colourful vases, pitchers and bowls Bianconi looked to evoke the visual effect of abstract art. A sculptor of Murano glass, he was one of the first artists to represent the material in a human form, intending to add a sensuality to the object which echoed that of modern conceptual painting. Bianconi took inspiration primarily from the female silhouette, an influence for one of his most famous works the 1950 ‘bikini vase’. In moulding these abstract forms great attention was paid to the curvature and shape of the glass, materialising in striking yet simple pieces.When considering colour, Bianconi’s pieces adopted a multi-colour patchwork effect comparable to that of the stained glass found in gothic cathedrals. To create this effect the glass was first blown before being rolled over panels of coloured glass which would stick to the hot body, thus producing dynamic layers of mixed shades. Previously described as a making ‘patchwork of light’, the exceptional complexity of this process ensured the rarity of such items, increasing the individuality of Bianconi’s works. The pairing of vivid colour with dynamic irregular shapes gave the works a light-hearted atmosphere and enticing aesthetic, unrestricted by the traditional artisan principles of glass design.

§ Fulvio Bianconi (Italian 1915-1996) for Venini 'Fazzoletto' Vase signed Venini 2000 (to base), with label for Venini, glassDimensions:28cm high (11in high)Provenance:ProvenancePrivate Collection, UK.Note: One of Italy’s most famous post-war designers, Fulvio Bianconi (1915-1996) was an integral motivator in pushing the use of glass further than its purely utilitarian purposes. Best known for his colourful vases, pitchers and bowls Bianconi looked to evoke the visual effect of abstract art. A sculptor of Murano glass, he was one of the first artists to represent the material in a human form, intending to add a sensuality to the object which echoed that of modern conceptual painting. Bianconi took inspiration primarily from the female silhouette, an influence for one of his most famous works the 1950 ‘bikini vase’. In moulding these abstract forms great attention was paid to the curvature and shape of the glass, materialising in striking yet simple pieces.When considering colour, Bianconi’s pieces adopted a multi-colour patchwork effect comparable to that of the stained glass found in gothic cathedrals. To create this effect the glass was first blown before being rolled over panels of coloured glass which would stick to the hot body, thus producing dynamic layers of mixed shades. Previously described as a making ‘patchwork of light’, the exceptional complexity of this process ensured the rarity of such items, increasing the individuality of Bianconi’s works. The pairing of vivid colour with dynamic irregular shapes gave the works a light-hearted atmosphere and enticing aesthetic, unrestricted by the traditional artisan principles of glass design.

§ Fulvio Bianconi (Italian 1915-1996) for Venini 'Fazzoletto' Vase signed Venini 2000 (to base), with label for Venini, glassDimensions:31cm high (12 1/4in high)Provenance:ProvenancePrivate Collection, UK.Note: One of Italy’s most famous post-war designers, Fulvio Bianconi (1915-1996) was an integral motivator in pushing the use of glass further than its purely utilitarian purposes. Best known for his colourful vases, pitchers and bowls Bianconi looked to evoke the visual effect of abstract art. A sculptor of Murano glass, he was one of the first artists to represent the material in a human form, intending to add a sensuality to the object which echoed that of modern conceptual painting. Bianconi took inspiration primarily from the female silhouette, an influence for one of his most famous works the 1950 ‘bikini vase’. In moulding these abstract forms great attention was paid to the curvature and shape of the glass, materialising in striking yet simple pieces.When considering colour, Bianconi’s pieces adopted a multi-colour patchwork effect comparable to that of the stained glass found in gothic cathedrals. To create this effect the glass was first blown before being rolled over panels of coloured glass which would stick to the hot body, thus producing dynamic layers of mixed shades. Previously described as a making ‘patchwork of light’, the exceptional complexity of this process ensured the rarity of such items, increasing the individuality of Bianconi’s works. The pairing of vivid colour with dynamic irregular shapes gave the works a light-hearted atmosphere and enticing aesthetic, unrestricted by the traditional artisan principles of glass design.

Lucas Price / Cyclops (British, b. 1975)Mentasm2008Screen print on woven paperSigned and numbered 12 of 45 in pencilFramed & glazedAccompanied with certificate of authenticity 51 x 36 cm (20" x 14")Contemporary artist Lucas Price, formerly known as Cyclops, blends the traditional and the modern, merging contemporary photo realism with antiquated styles and religious iconography. Price completed a Masters degree at the Royal College of Art, London. In 2008, he exhibited at the Tate Modern as part of their exhibition ‘Art on the Street’ and, in 2015, appeared in Bonhams’ contemporary auction. As well as working as a fine artist, Lucas Price founded the postmodernist menswear label ‘A.Four Labs’, with Tokyo-based designer Kazuki Kuraishi.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Henri Gaudier-Brzeska (French 1891-1915) The Bird pen & ink on paper (with further drawings on the reverse of the sheet) Dimensions:37.5cm  x 25.4cm (14 3/4in x 10in)Provenance:Provenance The Estate of the ArtistH.S. (Jim) EdeMaltzahn Gallery, London (as The Bird: Polish Emblem)Acquired from the above by James Astor Esq., October 1974Bloomsbury Auctions, London, Modern British Art, 8th May 2008, lot 4

◆ Jankel Adler (Polish 1895-1949) Mädchen mit Katze (Girl with Cat), 1942 signed (lower left)oil on canvasDimensions:81cm x 91cm (32in x 35 3/4in)Provenance:ProvenancePeter Watson, London (by 1948)Private collection, LondonLiteratureStanley William Hayter, Jankel Adler, Nicholson & Watson, London, 1948, p.viii, illustrated in black & white, pl.17, as 'Girl with Cat (1942) Private collection Peter Watson, Esq. London'Annemarie Heibel, Jankel Adler (1895-1949): Band II: Werkverzeichnis der Gemälde, Westfälische Wilhelms-Universität, Munster, 2016, no. WV 217, repr. p.301.Note: Born in Poland into an Orthodox Jewish family, Jankel Adler trained in engraving in Belgrade and the applied arts in Barmen (now Wuppertal) before enrolling at the Düsseldorf Akademie der Künste. Based in Düsseldorf between 1922 and 1933, he became steeped in progressive art circles, associating with Lyonel Feininger and Wassily Kandinsky amongst others, and teaching alongside Paul Klee at his alma mater. After the Nazi’s declaration that his work was ‘degenerate’, Adler moved to Paris in 1933, where he worked with Stanley William Hayter at the experimental Atelier 17 and met Pablo Picasso - a rite of passage for any artist with serious aspirations to belong to the avant-garde. Following the outbreak of World War Two, Adler joined the Polish army, with whom he was evacuated to Scotland in 1940. Demobilisation in 1941 was followed by a move to London in 1943. He thus personified the European avant-garde in Britain whilst becoming a central figure in the art worlds of Glasgow and then London. Solo exhibitions were held at T&R Annans & Sons in the former, and at the Redfern Gallery, Lefevre Gallery and at Gimpel Fils in the latter; he was to have a tremendous impact on British artists, in particular Robert Colquhoun and Robert MacBryde, who shared a studio with John Minton two floors beneath that of Adler in Kensington.Mädchen mit Katze (Girl with Cat) is thus a major example of continental Modernism, painted in Britain. It is one of his most sophisticated and poetic images: a contemplative seated woman in the right foreground holds an enigmatic object to her chest. A companion cat lying on a table to the left directly confronts the viewer, its startling eyes penetrating our souls, whilst the distinctly modernist sculptures to the rear – an homage perhaps to fellow émigré Naum Gabo – introduce a sense of time and place to this potentially timeless domestic scene. Adler’s post-Cubist approach to form is arguably seen to best effect in the sensitively rendered facial features of the female protagonist, although his technique across the canvas surface is as varied as the range of muted and bold tones and colours used to realise volume, perspective and mass.This work exemplifies Philip Vann’s declaration that ‘finding refuge in Britain in 1941, the forty-six-year-old Jankel Adler embarked afresh on a richly distinctive journey as an artist. The powerful, often stark monumentality characterising his earlier continental period gave way to vibrant new works of most subtle intricacy and compassionate poignancy. All that he had learned and absorbed from the great Modernists he had known in the 1920s and ‘30s – notably Klee, [Max] Ernst and Picasso – was now assimilated and integrated with apparently spontaneous ease into radically original, humane pictures.’ (quoted in Richard Cork, Jankel Adler: The British Years 1941-49, Goldmark Gallery, Uppingham, 2014, unpaginated).Such is Mädchen mit Katze’s significance within Adler’s oeuvre that it was selected for reproduction in Stanley William Hayter’s 1948 monograph on the artist, by which time it had been acquired by the legendary British art collector Peter Watson. He and Adler are believed to have met for the first time in Glasgow, with their mutual acquaintance Colquhoun reporting that Watson ‘believes Adler to be quite exceptional.’ (Undated letter from Colquhoun to Ian Fleming, quoted in Patrick Elliott et al, The Two Roberts: Robert Colquhoun & Robert MacBryde, National Galleries of Scotland, Edinburgh, 2014, p.29). The millionaire Watson was without doubt the eminence grise of the London contemporary art world during the 1940s, when many artists struggled to make ends meet: Watson funded the arts journal Horizon, which was launched in 1940; was a co-founder of the Institute of Contemporary Art in 1946; lived in a Wells Coates-designed flat in London surrounded by works including by Christopher Wood, Graham Sutherland, Henry Moore, Ben Nicholson, Pierre-Auguste Renoir, Joan Miró, Chaïm Soutine and John Tunnard; and counted Sutherland, Nicholson, Augustus John, Lucian Freud and John Craxton amongst his artist friends. Mädchen mit Katze thus joined one of the most remarkable collections of modern and contemporary art in Britain at the time.The related painting, Woman with a Cat (formerly known as Girl with Cat) of 1944, was presented by the Contemporary Art Society to Aberdeen Art Gallery in 1952 (ABDAG002283).

Maximilien Luce (French 1858-1941) Paysage signed (lower left)oil on Arches paper, laid down on canvas Dimensions:28cm x 37.6cm (11in x 14 3/4in)Provenance:ProvenanceGalerie Schneider, ParisSotheby's New York, Impressionist and Modern Art including Latin American and Russian Art, 7 October 2008, lot 59 (where authenticated by Denise Bazetoux, author of the catalogue raisonné of the Artist's paintings)Stephen Ongpin Fine Art, London, where acquired by the present owner in 2010

§ Gillian Wise (British 1936-2020) Relief with Prisms, 1960 signed and inscribed (verso)wood, mirror and perspex relief on board Dimensions:40.8cm x 61cm x 5cm (16in x 24in x 2in)Provenance:Provenance A gift from the Artist to Stephen Gilbert and thence by descent to the present owner An alternate version of this work is held in the collection of the Scottish National Gallery of Modern Art, Edinburgh

Henri-Edmond Cross (French 1856-1910) Le Parc Vénitien, c.1890 initialled in pencil (lower right) and inscribed Le Laboratorio chimico contro la tuberculosi /aglina zoja/ 11 juillet matin (verso)pencil and watercolour on paperDimensions:11cm x 13.5cm (4 1/4in x 5 1/4in)Provenance:ProvenanceGeorges Lehoucq, Roubaix, c.1920 and thence by descentTheir sale, Christie's South Kensington, Impressionist & Modern Art, 4 April 2007, lot 44 (as Le Parc)Wolseley Fine Art, Herefordshire, where acquired by the present owner The work is accompanied by a certificate of authenticity from Patrick Offenstadt - no. 21.11.17/838, isued in November 2017 - and will be included in his forthcoming catalogue raisonné of watercolours by the Artist

§ Sir Peter Blake C.B.E., R.D.I., R.A. (British 1932- ) New Ways in History 2, 1966 signed, dated and titled in pencil (lower right)Dimensions:36.8cm x 26.7cm (14 1/2in x 10 1/2in)Provenance:ProvenanceRobert Fraser Gallery, LondonMr & Mrs Lester Francis Avnet, thence by descent to the previous ownerTheir sale, John Nicholson Fine Art Auctioneers, Haslemere, 1 February 2017, lot 141, where acquired by the present ownerExhibitedOn temporary loan to Museum of Modern Art, New York

§ † Richard Hamilton C.H. (British 1922-2011) Swingeing London 67, 1968 signed in pencil and numbered 36/70, from the edition of 70, plus 3 Artist's Proofs hard-ground etching with aquatint, embossing, photo-etching, metallic foil die-stamping and collagePrinted embossed and die-stamped by the Artist and Giorgio Upligio at Grafica Uno, Milan; collaged by the Artist in LondonPublished by Petersburg Press, LondonDimensions:56.5cm x 72cm (22 1/4 in x 28 3/8 in)Provenance:ProvenancePrivate collection, from whom acquired by the present owner in 2015ExhibitedLondon, Tate Gallery, Richard Hamilton, 12 March - 19 April 1970, cat no.134, illus b/w p79, another editionLondon, Maltzahn Gallery, Richard Hamilton, Complete Graphics, 6 - 31 July 1970, cat no.13, another editionWinterthur, Kunstmuseum, Richard Hamilton : exteriors, interiors, objects, people, 15 September - 11 November 1990, cat no.21, another edition, touring to: Hannover, Kestner-Gesellschaft, 7 December 1990 - 3 February 1991Valencia, IVAM, Centre Julio Gonzalez, 23 February - 4 April 1991Winterthur, Kunstmuseum, Richard Hamilton, Prints and Multiples 1939-2002, 31 August - 24 November 2002, cat no.70, illus colour, touring to: New Haven, CT, Yale Centre for British Art, 12 February - 24 May 2004, another editionEdinburgh, Inverleith House, Royal Botanic Garden, Richard Hamilton, Protest Pictures 1963-2008, 31 July - 12 October 2008, cat no.7, another editionLondon, Serpentine Gallery,Richard Hamilton, Modern Moral Matters, 3 March - 25 April 2010, cat no., illus colour p35, another editionLiteratureWaddington Graphics, Richard Hamilton, Prints 1939-83, Edition Hansjorg Mayer, Stuttgart/London, 1984, cat.no.68, illustrated in colour p.51Richter Verlag, Richard Hamilton, Prints and Multiples 1939-2002, 2002, p.90, cat.no.70, illustrated in colour p.91Andrew Wilson, Richard Hamilton, Swingeing London 67 (f), One Work Series, Afterall Books, 2011, cat. no.3, illustrated in colour

Édouard Vuillard (French 1868-1940) La Mère de l’artiste tenant une bouteille et une carafe à bout de bras, c.1891-93 stamped with studio stamp (Lugt 909c) (lower right)watercolour, India ink and wash on paperDimensions:20.5cm x 26cm (8in x 10 1/4in)Provenance:ProvenanceThe Estate of the ArtistKunsthandel Sabine Helms, München, where acquired by Tom Grobien, London, in 1977Thence by descent to the present owner The work is accompanied by a certificate of authenticity from Archives Vuillard, dated 31 January 2023, and will be included in the forthcoming supplement to the artist's catalogue raisonné being prepared by Mathias Chivot Note: 'Madame Vuillard was a particular focus during the initial decade of the artist’s career. During this period Vuillard and his widowed mother shared a series of modest rented apartments in which the artist worked from his ‘studio-bedroom’ while in the dining room Madame Vuillard ran a sewing business… In Vuillard’s small yet absorbing artworks we find a diversity of femininity and feminine experience in domesticity, complex and intimate relationships of care and authority between women and multiple modes of women’s immaterial labour made visible…A woman whose unremarkable life did not otherwise merit historical record-keeping has emerged, via modern art, as compelling object of historical analysis.’Nicola Kalinsky and Francesca Berry, exhibition catalogue for Maman: Vuillard & Madame Vuillard, The Barber Institute of Fine Arts, University of Birmingham, 2018

Alvar AaltoPair of early chairs, model no. 21, 1930sBeech-veneered plywood, laminated beech.Taller: 85 x 48.2 x 58 cmUnderside of one chair stamped 27 twice, and the other stamped A10 twice. Footnotes:ProvenancePrivate collection, Tonbridge, KentThence by descent to the present ownerLiteratureFinmar Limited, Finland, 1936, n.p.Alvar Aalto: Architecture and Furniture, The Museum of Modern Art, exh. cat., New York, 1938, p. 26'Finmar: Furniture Of The Future For The Home Of To-day', Finmar, London, 1939, p. 7Mobilier et Décoration, March 1957, p. 39Charlotte and Peter Fiell, eds., Decorative Art - 1930s & 1940s, Cologne, 2000, p. 291Eva B Ottillinger, Alvar Aalto, Möbel: Die Sammlung Kossdorff, Wien, 2002, p. 33Pirkko Tuukkanen, ed., Alvar Aalto: Designer, Vammala, 2002, p. 168Thomas Kellein, Alvar & Aino Aalto; Collection Bischofberger, Zurich, 2005, p. 89The present model is held in the collection of the Victoria and Albert Museum, London.This lot is subject to the following lot symbols: TPTP 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

Isamu KenmochiPair of easy chairs, model no. SM7008, designed 1964Brazilian rosewood-veneered wood, leather upholstery.Each: 66 x 76 x 72 cm Manufactured by Tendō Mokkō, Tendō, Japan.Footnotes:ProvenancePrivate collection, JapanAcquired from the above by the present ownerLiteratureIsamu Kenmochi et. al., Japanese Modern: Retrospective Kenmochi Isamu, exh. cat., Akita Senshū Museum of Art, 2005, pp. 102, 194Tendō Classics, Tendō Mokkō, pp. 3, 32, 37-38CITES license no. 620143/01.This lot is subject to the following lot symbols: TP YTP 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.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

Isamu KenmochiPair of stools, model no. S-3030, designed 1968Rattan, fabric cushions.Each: 37.5 cm high, 38 cm diameterManufactured by Yamakawa (YMK) Ratan, Nagaoka, Japan. One with manufacturer's printed label YMK/NAGAOKA/0258-89-7466.Footnotes:LiteratureIsamu Kenmochi et. al., Japanese Modern: Retrospective Kenmochi Isamu, exh. cat., Akita Senshū Museum of Art, 2005, p. 196Bonnie Rychlak, Hitoshi Mori, Nina Murayama, et al., Design: Isamu Noguchi and Isamu Kenmochi, New York, 2007, p. 116This lot is subject to the following lot symbols: TPTP 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

Frank GehryPrototype 'High Sticking' chair, designed 1989-1991Laminated beech.107 x 50 x 56 cm Footnotes:ProvenanceFrank Gehry Workshop, Santa MonicaAcquired from aboveRago, Lambertville, 'Design', 28 October 2021, lot 395Acquired from the above by the present ownerLiterature'Birth of a chair', Architectural Record, February 1992, p. 78Frank Gehry et al., Frank Gehry: New Bentwood Furniture Designs, exh. cat., Montreal, 1992, p. 53 for another prototype, pp. 54-55The present model is held in the permanent collection at the Philadelphia Museum of Art.Nick WrightCo-author of Cut and Shut: The History of Creative Salvage, London, 2012Vitra thought better of investing in Frank Gehry's pioneering use of ultra-thin plywood. Knoll were also sceptical, but Gehry's goading of them as 'thickies' saw the challenge accepted. That challenge entailed the building of a 2,500 square foot workshop adjacent to Gehry's Santa Monica studio, developing new laminating techniques, and the production of 115 prototypes. Apple crates Gehry played with as a child were the origin of the idea. When interwoven, the grain cross-hatched, even thin strips of unlaminated pine were sufficient to bear the weight of the fruit inside. The material was also cheap enough to be thrown away after use and, despite Knoll's million-dollar development cost, point of sale price was a consideration. 'My aim was the Volkswagen,' Gehry said. 'Emotionally and politically, I'm geared toward that ideal.'In that quest for fiscal and formal economy, and his use of plywood, Gehry engaged with a modernist tradition that would see his work compared to the past masters. Alvar Aalto had used bent plywood to create the Paimio. Marcel Breuer adapted his own designs in aluminium to plywood during his stay in Britain. Gerald Summers produced what seemed the full stop in that conversation with a chair made of a single sheet of plywood. Then during World War 2, Charles and Ray Eames developed techniques for laminating compound curves enabling mass-production of leg splints. The LCW came immediately post war and in the 50s, Carlo Mollino's 'total arabesques' seemed the last word in beauty. In recognition of this lineage, Gehry acknowledged that 'I didn't go postmodern.' He noted too that an example of Mies van der Rohe's 'Bruno' chair from his own studio had served as a standard of proportion beside which he placed his prototypes. Of the 115 made, approximately 20 stacked up well enough to be chosen for an exhibition entitled 'New Furniture Prototypes' at the Museum of Modern Art. In images of that 1992 exhibition, two versions of the 'High Sticking' chair can be seen. The black one has the kink at the lower back shared with the production version; Gehry had criticised architects for making uncomfortable chairs. The other 'High Sticking' chair in the exhibition is in unfinished wood, has a straight back and appears to be to the same prototype as the one in this sale.Heralded as an 'instant classic', Aaron Betski wrote in the LA Times: 'The chairs have the simplicity of Shaker furniture, the mass-produced strength of the Thonet café chair, the elegance of Alvar Aalto's bentwood forms and the forthrightness of Charles and Ray Eames classic plywood chairs.' For Knoll the huge investment paid off. After a pre-order of over 1400 pieces, the range fulfilled its modernist promise of enduring mass-produced quality and, thirty years on, is still in production, signature pieces by a man now regarded as the world's greatest living architect.This lot is subject to the following lot symbols: TPTP 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

Ettore Sottsass, Jr.'Le Strutture Tremano' table, from the 'bau. haus art collection', designed 1979Enamelled metal, glass, plastic laminated-wood.115.5 x 61 x 61 cm Manufactured by Studio Alchymia, Milan, Italy. Underside of base with manufacturer's label printed STUDIO/ALCHYMIA/MILANO.Footnotes:ProvenanceThe Estate of Evelyn FosterThence by descentBonhams, Los Angeles, 'Modern Design | Art', 30 September 2020, lot 240Acquired from the above by the present ownerLiteratureRenato Barilli, 'Arredo Alchemico', Domus, no. 607, June 1980, p. 35Barbara Radice, Memphis, Milan, 1984, p. 15Andrea Branzi, The Hot House: Italian New Wave Design, Cambridge, 1984, p. 136Gilles de Bure, Ettore Sottsass Jr., Collection Rivages/Styles, dirigée par Gilles de Bure, Paris, 1987, p. 61Albrecht Bangert, Italian Furniture Design: Ideas Styles Movements, Munich, 1988, p. 62Kazuko Sato, Contemporary Italian Design, Berlin, 1988, pp. 17, 20Klaus-Jürgen Sembach, Gabrielle Leuthäuser, Peter Gössel, et al, Twentieth-Century Furniture Design, Cologne, 1991, p. 214Barbara Radice, Ettore Sottsass: A Critical Biography, London, 1993, pp. 195, 197Giuliana Gramigna, Repertorio del Design Italiano 1950-2000, Volume II, Turin, 2003, p. 290Glenn Adamson; Jane Pavitt, eds., Style and Subversion, 1970-1990, exh. cat., Victoria and Albert Museum, London, 2011, p. 40Cindi Strauss, Germano Celant, et al., Italian Radical Design: The Dennis Freedman Collection, exh. cat., Museum of Fine Arts, Houston, New Haven, 2020, p. 121The present model is held in the collection of the Victoria and Albert Museum, London.Nick WrightCo-author of Cut and Shut: The History of Creative Salvage, London, 2012Dishonesty of MaterialsCharles Jencks identified the death of Modern architecture as taking place on July 15, 1972. 'At 3,32 (or thereabouts)' the Pruitt-Igoe projects were demolished. Like so many modernist blocks, their architects had promised good housing for all using an economy of design and modern materials impervious to the elements and fashion. In fact, their design was so compromised they were dynamited less than 20 years after construction. In their seminal postmodern text, Learning From Las Vegas, Robert Venturi and Denise Scott-Brown documented the Vegas strip during the fat Elvis era. Succeeding Gio Ponti as Domus' editor in 1979, Alessandro Mendini wrote of the architect's obligation to accommodate the taste, even the bad taste, of the client. The postmodern citizen would be the determinant of design, the historic city not a gaudy maras to be bulldozed and built anew along rational lines, but accommodated by the architect whose obligation was to add to it in sympathy with its citizen's needs AND desires. (Who doesn't love fat Elvis?) This was the intellectual thrust of postmodernism.It was Alessandro Guerrero's supergroup, Alchymia, through which these ideas were first expressed in three dimensions. Designed in 1979 as a series of prototypes by Mendini, Ettore Sottsass and Andrea Branzi, amongst others, the 'Bauhaus One' collection was conceived along the lines of a fashion show. Pieces were to be exhibited for one season only, sold, another collection produced for the next, 'Bauhaus Two'.The star of that first show was Mendini's 'Proust'. The most significant chair since Gerrit Rietveld's 'Red and Blue Chair', it began as a reproduction monster-piece found in a Milan junk shop. Signalling the return to decoration made superfluous by functionalism, a section of a Paul Signac painting was projected onto the whole and copied by artists Pier Antonio Volpini and Prospero Rasulo, the aim to fuse kitsch and high culture. Sottsass' 'Svincolo' lamp in the same 'Bauhaus One' collection went so far as to employ bare neon tube lighting redolent of the Vegas strip. In fact, a take on the Italian autostrada illumination, the surface decoration on the totem featured Sottsass' now famous 'Bacterium' pattern. If stared at too long, the design causes a hallucinatory effect as the bacteria seemingly squirm before the eyes.People are not purely rational. Indeed, much of our behaviour is predicated on emotion, logic being a means of post-rationalisation - the decorative laminate applied to chipboard. Architects must acknowledge this duality. Yes, we want our built environment to provide accommodation, but it should also speak to our emotions. Design can seduce, shock, delight, even delude in its trickery and Alchymia does just this. Revelling in a dishonesty of materials such as decorative laminate and rattle-can paint, the group alchemised base metal into architectural gold. Lappino Binazzi had been a member of the Italian radical UFO group of the late sixties. The big film studios were in financial difficulties, and seeing their discarded props and advertising, he appropriated the signage in a series of lamps. The 'Paramount' lamp was first produced by Groupo UFO in 1970. The PARAsol began the title, the ceramic MOUNTain beneath completed it. Together with the MGM lamp, the 'Paramount' was reissued by Alchymia in 1979 for the 'Bauhaus One' collection, its new context making explicit the postmodern implications. Is there a more alchemical process than actors playing out a scripted fiction which, when projected onto a flat screen, creates a 3D reality that feels as vivid as any lived experience? Sottsass' 'Structure Tremano' in the present sale is also from 'Bauhaus One' collection and distinguished from later Belux and Kumewa editions by the glitter lacquer. Alessandro Mendini estimated that on average about six of each of the 'Bauhaus One' pieces were produced. Perhaps because of his association with the Memphis group, which built on Alchymia's blueprint, Sottsass' pieces are amongst those items made in greater numbers. Nonetheless, an original Alchymia 'Structure Tremano' is rare. Moreover, like all the Bauhaus One collection, it needs to be understood intellectually - 'read' as Mendini put it - to be fully appreciated.The plinth is made of chipboard – base metal - and covered in shinny white laminate – gold - whilst its scale suggests it is designed to bear great weight. In a historical sense it does. The tubular steel legs reference Marcel Breuer's work at the Bauhaus. Revolutionary in the 1920s, tubular steel chairs like the 'Wassily' had, by the late seventies, become as much a cliché as the corporate lobbies they furnished, and this is the 'function' of the 'Structure Tremano'. It is not the wobbly looking tubular legs which tremble in the shock wave from the Pruitt-Igoe's detonation, but Modernism itself. In the vacant lot was built Memphis Milano, Alessandro Mendini's Groningher Museum and Frank Gehry's Guggenheim.This lot is subject to the following lot symbols: TPTP 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

Gerald Abramovitz'Cantilever light, Mk II', model no. 914155, circa 1964Aluminium, anodised aluminium, painted steel.50.5 x 71 x 10 cmManufactured by Best and Lloyd Ltd., Birmingham, United Kingdom. Base with paper label printed Registered design no. 914155/cantilever light Mk II/best&lloyd.Footnotes:Literature'Duke of Edinburgh's Prize for Elegant Design and the Design Centre Awards 1966', Design Journal, no. 209, May 1966, p. 41Kathryn B. Hiesinger and George Marcus, Design Since 1945, exh. cat., Philadelphia Museum of Art, 1983, p. 143The present model won the Design Centre Award in 1966 and is held in the collections of the Victoria and Albert Museum, London and the Museum of Modern Art, New York.For further information on this lot please visit Bonhams.com

Attributed to John Nost Sartorius, 4 otter, stag and fox hunting scenes, oils on copper, unsigned, 15cm x 20cm, framedAll in good clean condition, 1 painting shows signs of restoration when viewed under UV light not visible to the naked eye, modern frames, labels verso from Blains Fine Art Mayfair

Fyffe Christie (1918-1979), oil on card, Figures by the Shore, 9cm x 15cm, mounted and framed. Provenance – The Artist’s Studio. Tom Bell Fine Art label verso. Roseberys Modern Pictures sale - May 2021

[Deslandes (André Francois)] The Art of Being Easy at all Times and in all Places. Written chiefly for the use of a Lady of Quality, translated by Edward Combe, second English edition, with half-title but ?lacking initial blank (third leaf is signed A4 as in ESTC), with 2 final Contents leaves, woodcut initials and head- & tail-pieces, lightly browned, trace of blind library stamp to title, modern boards, spine faded, C.Rivington, 1724 § [Champion de Crespigny (Mary, Lady)] Letters of Advice from a Mother to a Son, first edition, without 24pp. publishers' catalogue at end, contemporary ink signature "Anne Hort" to title, ex-Welsh library copy with stamp to title and label, contemporary half calf, rubbed, rebacked preserving old roan label, 1803, 8vo et infra (2)⁂ The first is a scarce early work on the philosophy of happiness. ESTC records only 3 UK copies (BL, Bristol, and Cambridge) plus 2 in America.The second is a conduct book in the form of letters written over a twenty year period, with chapters on charity, economy, drinking, gambling, duelling, seduction, swearing, marriage etc.

Art reference.- Lewis (John) John Nash: the painter as illustrator, 'out-of-series' copy from an edition of 150, illustrations, original morocco-backed boards, slightly splayed, a little rubbed, Godalming, The Pendomer Press, 1978 § Lavery (John) The Life of a Painter, first edition, signed and inscribed by author, scattered faint spotting, modern morocco-backed boards, 1940 § Salaman (Malcolm C.) The Etchings of James McBey, frontispiece, plates, original cloth, gilt, slight bumping to corners and extremities, dust-jacket, small tear to spine head, slight chipping and creasing to edges, 1929; and others art reference, v.s. (c.110)

Art reference.- Millais (John Guille) The Life and Letters of Sir John Everett Millais, 2 vol., frontispieces, plates and illustrations, scattered spotting, bookplates, original decorative cloth, gilt, slight bumping to corners and extremities, 1899 § Curtist (Penelope) & Keith Wilson. Modern British Sculpture, frontispiece, illustrations, many full-page, original boards, dust-jacket, fractional creasing to edges, 2011 § Thorkildsen (Asmund) Howard Hodgkin: the thinking painter of embodied memories, illustrations, original cloth, original slipcase, slight rubbing to edges, 2011; and others art reference, v.s. (c.110)

NO RESERVE Castellani (Valentina) & others, editors. Francis Bacon: Triptychs, loose as issued in original orange cloth drop-back box, Gagosian Gallery, 2006 § Lynton (Norbert) Ben Nicholson, 1993 § Stephens (C.) & Andrew Wilson. David Hockney, 2017 § Chapman (Jake & Dinos) Like a Dog Returns to its Vomit, 2005, plates and illustrations, many colour, all but the first original cloth or boards, the second with dust-jacket; and c.25 others on modern and contemporary British art, v.s. (c.30)

NO RESERVE Elsner (Slawomir) Panorama, signed by the artist on front inside cover, Ditzingen, 2008 § Verdier (Fabienne) Rhythms and Reflections, 2016 § Armleder (John) About Nothing: Drawings 1962-2004, Zurich, 2005 § Charlet (Nicolas) Yves Klein, Paris, 2000 § Spieler (R.) & others. Franz Gertsch: Retrospective, Ostfildern, 2006 § Asthoff (Jens) & others. Janis Avotins, Schwaz, 2008, illustrations, many colour, original cloth or boards, the last three with dust-jackets; and c.25 others on European modern and contemporary art, 4to & 8vo (c.30)

NO RESERVE Fiedler (Jeannine) & Peter Feierabend. Bauhaus, Cologne, 1999 § La Pietra (Ugo) Gio Ponti, New York, 2009 § McLeod (Mary, editor) Charlotte Perriand: An Art of Living, New York, 2003 § Merrill (Todd) & Julie V.Iovine, editors. Modern Americana: Studio Furniture from High Craft to High Glam, New York, 2008 § Kries (Mateo, editor) Joe Colombo: Inventing the Future, Weil am Rhein, 2005 § Philippi (Simone, editor) Starck, original wrappers, Cologne, 2000, illustrations, many colour, all but the last original cloth or boards, the first four with dust-jackets; and c.15 others on design, 4to & 8vo (c.20)

NO RESERVE Franzke (Andreas) Tàpies, Munich, 1992 § Andel (J.) & others. José-Maria Cano: Welcome to Capitalism!, text in English and Czech, Prague, 2008 § Dennison (Lisa) & others. Clemente, New York, 1999 § Mazzoleni (Giovanni) Alberto Burri, original cloth-backed boards, 2015 § Manzoni (Piero) Achromes: Linea Infinita, original white cloth, transparent plastic slip-case, still sealed in publisher's cellophane wrapping, Turin, 2017, illustrations, many colour, the first three all original cloth with dust-jackets; and 11 others on modern and contemporary Spanish and Italian art, 4to & 8vo (16)

NO RESERVE Gingeras (Alison M.) & Barry Schwabsky. The Triumph of Painting, Saatchi Gallery, 2005 § Vitamin P: New Perspectives in Painting, 2002; Vitamin D: New Perspectives in Drawing, 2005 § Kellein (Thomas) The 80s Revisited from the Bischofberger Collection, Bonn, 2010 § Sullivan (E.J., editor) Brazil: Body & Soul, New York, 2001 § Bousteau (Fabrice, editor) Made by Indians, Paris, 2007, illustrations, many colour, original cloth or boards, all but the last with dust-jackets; and c.35 others, mostly European modern and contemporary art, 4to & 8vo (c.40)

NO RESERVE Pierre et Gilles. Album, one of 5000 copies, Paris, 2002; The Complete Works 1976-1996, Cologne, 1997 § Abadie (Daniel) Lalanne(s), text in English, Paris, 2008 § Gauss (Ulrike) & others. Stankowski 06: Aspects of his Oeuvre, text in German & English, Ostfildern, 2006 § Moorhouse (Paul) John Hoyland, 1999 § Hume (Gary) (A Cat on a Lap), 2009, illustrations, many colour, original cloth or boards, all but the first with dust-jackets; and 10 others, modern & contemporary European art, 4to & 8vo (18)

NO RESERVE Rondeau (James) & Douglas Druick. Jasper Johns: Gray, New Haven & London, 2007 § Warhol (Andy) Supernova: Stars, Deaths, and Disasters 1962-1964, Minneapolis, 2005 § Hopps (W.) & Susan Davidson. Robert Rauschenberg, New York, 1997 § Elderfield (John) De Kooning, New York, 2011 § Glimcher (Arne) Agnes Martin: Paintings, Writings, Remembrances, 2012 § Serota (Nicholas) Donald Judd, 2004 § Celant (G.) & Clare Bell. Jim Dine: Walking Memory, 1959-1969, New York, 1999 § Grynsztejn (M.) The Art of Richard Tuttle, New York, 2005 § Leeman (Richard) Cy Twombly, 2005, illustrations, many colour, original cloth or boards, all but the first two with dust-jackets, the last sealed in publisher's cellophane wrapping; and c.25 others on modern American art, v.s. (c.35)

NO RESERVE Rubin (William) "Primitivism in the 20th Century": Affinity of the Tribal and the Modern, 2 vol., New York, 1984 § Johnson (Robert Flynn) Artists' Books in the Modern Era 1870-2000, 2001 § Patrick Painter Editions 1991-2005, Basel, 2006 § Virgine (Lea) & others. The Art of the 20th Century. 2000 and Beyond: Contemporary Tendencies, Milan, 2010 § Joachimides (C.M.) & Norman Rosenthal. Die Epoche der Moderne Kunst im 20. Jahrhundert, Ostfildern, 1997, illustrations, some colour, original cloth or boards, all but the third with dust-jackets, the first also with cloth slip-case; and c.45 others on art, mostly modern, 4to & 8vo (c.50)

NO RESERVE Ruf (Beatrix) & others, "General Idea". File 1972-1989, 6 vol., original wrappers, together in slip-case, Zurich, 2008 § Greenough (Sarah) Modern Art and America: Alfred Stieglitz and his New York Galleries, Washington D.C., 2000 § Evans (Harold) The American Century, New York, 1998 § Fitzgerald (Michael) Picasso and American Art, New York, 2006 § Coppel (Stephen) & others. The American Dream: Pop to the Present, 2017, illustrations, many colour, all but the first original cloth or boards with dust-jackets; and c. 30 others on modern and contemporary American art, v.s. (c.35)

NO RESERVE Ruscha (Ed) Make New History, limited edition (?1000 copies) signed by Ruscha, blank leaves for owner to write their own history, one leaf with manuscript notes, original cloth, without cardboard box, Los Angeles, 2009; Road Tested, Fort Worth, Tx., 2011 § Rowell (Margit) Ed Ruscha; Photographer, Gottingen, 2006 § Baldessari (John) Parse, Affoltern, 2010 § Nittve (L.) & Helle Crenzien. Sunshine & Noir: Art in L.A. 1960-67, Louisiana, 1997 § Mark (L.G.) & Paul Schimmel, editors. Under the Big Black Sun,: California Art 1974-1981, Los Angeles, 2011, illustrations, some colour, original cloth or boards, the second, fourth and last with dust-jackets, one or two slightly rubbed; and 8 others on modern L.A. and Californian art, v.s. (14)

NO RESERVE Storr (Robert) Gerhard Richter: Forty Years of Painting, New York, 2002 § Arasse (Daniel) Anselm Kiefer, 2001 § Trockel (Rosemarie) Herde, Cologne, 1997 § Baudach (Guido W., editor) Thomas Zipp. Achtung! Vision: Samoa, The Family of Pills & The Return of the Subreals, Ostfildern, 2005 § Moure (Gloria) Sigmar Polke, Barcelona, 2005 § Genzken (Isa) I Love New York, Crazy City, ?New York, [?2006], illustrations, many colour, original cloth or boards, the first three with dust-jackets, the last stil sealed in publisher's cellophane wrapping; and c.35 others on modern and contemporary German art, v.s. (c.40)

NO RESERVE Medicine.- Warner (Joseph) An Account of the Testicles, their common coverings and coats; and the diseases to which they are liable..., second edition, with additions, later ink signature of J.Hawking to head of title, light browning, modern half cloth, for Lockyer Davis, 1779 § Marryat (Thomas) Therapeutics: or, the Art of Healing, fourteenth edition, name to head of title, modern speckled calf, red roan lable, spine slightly faded, Bristol, R.Edwards, 1798, 8vo et infra (2)⁂ The first is by the Senior Surgeon to Guy's Hospital for many years.

*MAT CHIVERS (B. 1973) 'Dark Matter' free-carved Kilkenny blue limestone, c.2006/7, approximately 65cm x 38cm x 39cmProvenance: The Collection of Bournemouth & Poole College.Mat Chivers is a British artist born in 1973 in Bristol. As an object-former and sculptor he has collaborated with other artists, architects, designers and communities to realise projects that result in the evolution of sculpture in the context of both natural and built environments.Solo exhibitions include the Study Gallery of Modern Art in Poole (2007). Projects include Arts Council England awards in 2003 and 2005. Works in public collections include Source at the Healthy Living Centre, Bristol (2004) Meander (1 & 2) at Avon and Wiltshire Mental Health Partnership NHS Trust (2006), and Wave Migration collection of The Met Office headquarters, Exeter (2004). 

Modern Pop Art Portrait of a Beautiful Blond Girl. Signed lower left. Measures 28"" x 20"" including frame. Condition: Age related wear.

NO RESERVE David Hockney (b.1937) after.Nichols CanyonOffset lithograph printed in colours, 2001, from the edition of unknown size, printed by the Louisiana Museum of Modern Art for the exhibition Painting 1960-2000, on wove paper, with full margins, sheet 950 x 620mm (37 3/8 x 24 3/8in)

PHILLIPS BROTHERS: GEM-SET AND ENAMEL CROSS PENDANT, CIRCA 1865In Gothic Revival style, the arms of the cross set with banded agate batons, sky blue enamel borders and a central pearl, within an elaborate border of gold tracery and beaded trefoils, small glazed compartment on reverse, base of cross deficient and two of the finials converted into a pair of earrings, maker's mark, pearl untested, pendant length 9.1 cm, fitted tooled leather case by Phillips, 23 Cockspur St, LondonFootnotes:19th century goldsmith and jeweller Robert Phillips (1810-81) was one of the most prominent English jewellers working in the fashionable Revivalist style. Italian craftsmen employed by his firm included Carlo Giuliano and Carlo Doria and Phillips probably also visited the Castellani workshops in Rome and Naples.Mrs Haweis, in the chapter on 'Modern Jewellery' in her book, 'The Art of Beauty' (1878), described the 'artistic appreciation of good forms and good work' by Messrs Phillips of Cockspur Street, going to to say:'the most perfect models are sought for the ornaments they furnish. Museums and picture galleries are ransacked for devices of necklaces, earrings and pendants. I there observed an elegant cross copied from a picture by Quentin Massys in the National Gallery...'Phillips made several cross pendants with intricate goldwork very similar to the cross on the orb Christ holds in the Diptych 'Christ and the Virgin', from the workshop of Quentin Massys c.1510-25 in the National Gallery, London. For another example, sold by Bonhams, see lot 504, The Contents of Glyn Cywarch - The Property of Lord Harlech', London, 29 March 2017For further information on this lot please visit Bonhams.com

CHARLOTTE DE SYLLAS: PAIR OF NEPHRITE, CORAL AND CULTURED PEARL EARRINGS, 2001Each carved Canadian nephrite plaque inlaid with coral corallium rubrum and a cultured pearl, mounted in 18 carat yellow gold, maker's mark CdeS, London hallmark, length 2.6cm, fitted wooden caseFootnotes:Exhibited:'Charlotte De Syllas: Sculpted Gemstones', The Goldsmiths' Hall, London, 27th April - 22nd July 2016Literature:Exhibition catalogue, 'Charlotte De Syllas: Jewellery in Carved Gemstones', 2016, ill. p.58Please note, this lot will be subject to US Fish and Wildlife inspection if imported into the USA.In 1963, at Hornsey College of Art, Charlotte De Syllas enrolled on a new and innovative jewellery making course, recently established by the pioneering and hugely influential jeweller, Gerda Flӧckinger, CBE (b.1927). One of the first students to graduate, De Syllas' jewellery caught the attention of Graham Hughes, who purchased her entire body of student work for The Worshipful Company of Goldsmiths Collection. Hughes served as Art Director of The Goldsmiths' Company between 1951-1981 and actively promoted the work of British avant-garde jewellers. The 'International Exhibition of Modern Jewellery, 1890-1960' held at Goldsmiths' Hall under his leadership in 1961, marked a watershed moment for British jewellery design and the industry at large. Each of the four De Syllas jewels presented in this sale (lots 83 - 86) were exhibited at a major retrospective exhibition of De Syllas' work, held by The Goldsmiths' Company at Goldsmiths' Hall in 2016. The exhibition featured 73 unique pieces, covering her student work from the 1960s to her latest commissions. Prior to this, De Syllas won the first ever Jerwood Prize for Jewellery in 1995 (jointly with Peter Chang). Since graduating in 1966, she has taught and exhibited internationally and her work can be found in the permanent collections of the V&A Museum, the Crafts Council in London and the Alice and Louis Koch Collection at the Swiss National Museum in Zurich.De Syllas designs a jewel around the form of the gemstone she carves, creating sculptural pieces that are tailored specifically to each client – their complexion, hair colour, personality and personal preferences are all considered. Sculpting gemstones requires a great depth of understanding, experience, patience and skill and the art is fraught with many challenges. While the metal settings are secondary to the gemstone itself, De Syllas carefully considers the metal used in order to best enhance and seamlessly support each carving. She employs unconventional methods traditionally used in other fields, such as gunsmithing and dentistry and embraces new technologies, such as digital design drawing and laser welding. Her work is truly exceptional for its technical brilliance and fearless ingenuity. Nearly all of her pieces are private commissions, and this is likely to be the first time her jewellery has ever been presented to a global audience at auction.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

CHARLOTTE DE SYLLAS: NEPHRITE AND CORAL 'LEAF' BROOCH, 1992The delicately carved Canadian nephrite 'leaf' inlaid with a carved coral stem, mounted in 18 carat gold, maker's mark CdeS, London hallmark, length 3.8cm, wooden boxFootnotes:Exhibited:'Charlotte De Syllas: Sculpted Gemstones', The Goldsmiths' Hall, London, 27th April - 22nd July 2016Literature:Exhibition catalogue, 'Charlotte De Syllas: Jewellery in Carved Gemstones', 2016, ill. p.56Please note, this lot will be subject to US Fish and Wildlife inspection if imported into the USA.In 1963, at Hornsey College of Art, Charlotte De Syllas enrolled on a new and innovative jewellery making course, recently established by the pioneering and hugely influential jeweller, Gerda Flӧckinger, CBE (b.1927). One of the first students to graduate, De Syllas' jewellery caught the attention of Graham Hughes, who purchased her entire body of student work for The Worshipful Company of Goldsmiths Collection. Hughes served as Art Director of The Goldsmiths' Company between 1951-1981 and actively promoted the work of British avant-garde jewellers. The 'International Exhibition of Modern Jewellery, 1890-1960' held at Goldsmiths' Hall under his leadership in 1961, marked a watershed moment for British jewellery design and the industry at large. Each of the four De Syllas jewels presented in this sale (lots 83 - 86) were exhibited at a major retrospective exhibition of De Syllas' work, held by The Goldsmiths' Company at Goldsmiths' Hall in 2016. The exhibition featured 73 unique pieces, covering her student work from the 1960s to her latest commissions. Prior to this, De Syllas won the first ever Jerwood Prize for Jewellery in 1995 (jointly with Peter Chang). Since graduating in 1966, she has taught and exhibited internationally and her work can be found in the permanent collections of the V&A Museum, the Crafts Council in London and the Alice and Louis Koch Collection at the Swiss National Museum in Zurich.De Syllas designs a jewel around the form of the gemstone she carves, creating sculptural pieces that are tailored specifically to each client – their complexion, hair colour, personality and personal preferences are all considered. Sculpting gemstones requires a great depth of understanding, experience, patience and skill and the art is fraught with many challenges. While the metal settings are secondary to the gemstone itself, De Syllas carefully considers the metal used in order to best enhance and seamlessly support each carving. She employs unconventional methods traditionally used in other fields, such as gunsmithing and dentistry and embraces new technologies, such as digital design drawing and laser welding. Her work is truly exceptional for its technical brilliance and fearless ingenuity. Nearly all of her pieces are private commissions, and this is likely to be the first time her jewellery has ever been presented to a global audience at auction.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

CHARLOTTE DE SYLLAS: TOURMALINE 'TWIN' BROOCH, 2010The carved tourmaline crystal foiled with platinum and mounted in 18 carat white gold, maker's mark CdeS, London hallmark, length 8.0cm, fitted wooden boxFootnotes:Exhibited:'Charlotte De Syllas: Sculpted Gemstones', The Goldsmiths' Hall, London, 27th April - 22nd July 2016Literature:Exhibition catalogue, 'Charlotte De Syllas: Jewellery in Carved Gemstones', 2016, ill. p.51, shown with the other twin brooch, both carved from the same tourmaline crystal.In 1963, at Hornsey College of Art, Charlotte De Syllas enrolled on a new and innovative jewellery making course, recently established by the pioneering and hugely influential jeweller, Gerda Flӧckinger, CBE (b.1927). One of the first students to graduate, De Syllas' jewellery caught the attention of Graham Hughes, who purchased her entire body of student work for The Worshipful Company of Goldsmiths Collection. Hughes served as Art Director of The Goldsmiths' Company between 1951-1981 and actively promoted the work of British avant-garde jewellers. The 'International Exhibition of Modern Jewellery, 1890-1960' held at Goldsmiths' Hall under his leadership in 1961, marked a watershed moment for British jewellery design and the industry at large. Each of the four De Syllas jewels presented in this sale (lots 83 - 86) were exhibited at a major retrospective exhibition of De Syllas' work, held by The Goldsmiths' Company at Goldsmiths' Hall in 2016. The exhibition featured 73 unique pieces, covering her student work from the 1960s to her latest commissions. Prior to this, De Syllas won the first ever Jerwood Prize for Jewellery in 1995 (jointly with Peter Chang). Since graduating in 1966, she has taught and exhibited internationally and her work can be found in the permanent collections of the V&A Museum, the Crafts Council in London and the Alice and Louis Koch Collection at the Swiss National Museum in Zurich.De Syllas designs a jewel around the form of the gemstone she carves, creating sculptural pieces that are tailored specifically to each client – their complexion, hair colour, personality and personal preferences are all considered. Sculpting gemstones requires a great depth of understanding, experience, patience and skill and the art is fraught with many challenges. While the metal settings are secondary to the gemstone itself, De Syllas carefully considers the metal used in order to best enhance and seamlessly support each carving. She employs unconventional methods traditionally used in other fields, such as gunsmithing and dentistry and embraces new technologies, such as digital design drawing and laser welding. Her work is truly exceptional for its technical brilliance and fearless ingenuity. Nearly all of her pieces are private commissions, and this is likely to be the first time her jewellery has ever been presented to a global audience at auction.For further information on this lot please visit Bonhams.com

A MODERN 'ART FORMA' LEATHER BELNHEIM/CHESTERFIELD STOOL WITH LIFT UP LID

YEN Jewellery - a brutalist design silver necklace, 10mm silver circular dish shaped links each supporting four yellow metal bars, overall length 54cm, London 2015; a similar four row bracelet, London 2016, a large unmarked clip brooch, gun metal colour chain mail on a yellow metal frame, 7cm. With square black YEN Jewellery necklace box.Yen Duong is a modern designer of Vietnamese heritage, her early years being spent in Wales. She studied at the Sir John Cass School of Art in London, graduating in 1995. She established YEN Jewellery the following year, working from her studios in Bloomsbury. Previous exhibitions of her work include those held at The Goldsmiths’ Company and the Crafts Council, and she has worked with Liberty of London, Selfridges and Harvey Nichols.Qty: 3

A painted resin figure of a young woman in Art Deco taste, modern; portrayed holding a ball above her head, mounted on a stepped faux marble base, 45.5cm high

AN ART DECO FIRST-CLASS STATEROOM BULKHEAD SLAVE CLOCK FROM R.M.S. QUEEN MARY, CIRCA 1936the 4¾in. diameter dial with Arabic numerals, black hands to modern battery-operated quartz (formerly slave) movement contained in nickel-plated case -- 5⅞in. (14.8cm.) square

A Hugh Lane Municipal Gallery of Modern Art poster, Robert Ballagh's The Third of May after Goya