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Click here to subscribeFINDEN. Gallery of Modern Art. 2 vols. in one. Eng. frontis, title & plates. Folio. Nice maroon morocco gilt extra, a.e.g. Bookplate of William Preston, Ellel Grange. London Printing & Publishing Co., n.d.; also E. J. Poynter (Ed)., The National Gallery, 3 vols., ltd. ed. 949/1000, many illus., quarto, half red morocco, a.e.g. 1899. (4).
JOHNSTON (G H): 'The Handy Royal Atlas of Modern Geography..', London & Edinburgh, 1907: publishers red half morocco gilt, aeg, double-page col. litho. maps, front inner joint split else VG, sm.folio: with misc. other books, inc. 'The Art of the Book', Studio Publications, 1914, leather bound. (Box)
Tracey Emin (British, born 1963)Docket in my hand Bronze with silver nitrate patina, 2014, incised with the artist's initials, date, and stamp-numbered 21/100 on the underside, produced by the Modern Art Foundry, New York, with their foundry mark 'MA'Overall 100 x 50 x 50mm (4 x 2 x 2in)(Multiple)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com In addition to the catalogue entry:- minor, hairline scuffs on the undersideOtherwise, in very good condition.
A poster for the exhibition 'Vienna 1900: Art, Architecture & Design' at the Museum of Modern Art, New York, July 3rd - October 21st 1986, featuring a printed detail of Otto Wagner's 1903 competition design for the Postal Savings Bank in Vienna, held in a gilt metal and glazed frame, 90cm x 58.3cm (VAT charged on the hammer price)
An Art Nouveau style multicoloured glass bead inset lamp shade with leaf moulded lamp base, 20th century, 40cm high overall, together with a group of objects of vertu, including a multicoloured glass high shoulder vase with squat foot, 27cm high, a Gallé style yellow glass bottle vase with naturalistically modelled copper mount, 17.5cm high, and a modern Czech frosted glass triangular ashtray moulded with faces each side, 6cm high, 11cm wide, together with a contemporary perspex table lamp modelled as three columns supporting a capital, with central metal light fittment, 53.5cm high exc. fittment (5)It is the buyer's responsibility to ensure electrical items are professionally rewired for use.
ERNEST ARCHIBALD TAYLOR (1874-1951) FOR WYLIE & LOCHHEAD, GLASGOW SIDEBOARD, CIRCA 1902 inlaid oak, with patinated metal fittingsDimensions:191cm wide, 132cm high, 68cm deepNote: Note: Initially apprenticed in the Glasgow shipbuilding industry, E. A. Taylor trained as an artist at the Glasgow School of Art, where he met Jessie M. King around 1898. Taylor joined the Glasgow cabinetmakers and retailers Wylie & Lochhead as a trainee designer in 1893. His furniture designs for the firm brought him great acclaim with exhibitions at the 1901 Glasgow International Exhibition and, with his fiancée Jessie King, a series of stained-glass panels for the Turin International Exhibition of Modern Decorative Art in 1902. Taylor went on to lecture in furniture design at the Glasgow School of Art from 1903 to 1905. In 1908 he married Jessie King and moved to Manchester to manage and design for George Wragge Ltd where he produced many designs for stained glass. Between 1911 and 1914 the Taylors lived in Paris where they established an art school – the Shealing Atelier. This rare sideboard by Taylor demonstrates his skills as a furniture designer, the inlaid panels characteristic of the burgeoning 'Glasgow Style', the mouldings and cut-out features enlivening the solid form. This example is similar in form to a sideboard designed by Taylor for William Douglas Weir (later Lord Weir) in Glasgow around 1901, following the success of his room for Wylie & Lochhead at the Glasgow International Exhibition the same year.
‡ ALEXANDRE CHARPENTIER (1856–1909) AND TONY SELMERSHEIM (1871-1971) 'LA FUITE DE L'HEURE': FINE ART NOUVEAU TABLE CLOCK, 1898 padouk and gilt bronze, the twin train movement striking the hour and half hour, the surmount signed in the bronze ALEXANDRE CHARPENTIER, the panels to the sides and front signed with monogramDimensions:87cm high, the surmount 32.5cm highNote: Literature: Alexandre Charpentier (1856-1909): Naturalisme et Art Nouveau, Exhibition catalogue, Musée d'Orsay, pp. 115-116 illus.Art et Décoration, 1899, pp. 101-102 (illustrated).Exhibited: Paris, Le Musée d'Orsay, 22nd January - 13th April 2008, Brussels, Le Musée d'Ixelles 29th May - 31st August 2008 Alexandre Charpentier (1856-1909): Naturalisme et Art Nouveau, no. 79“It is necessary to make art part of contemporary life. To make the ordinary objects that surround us into works of art”.Paul Greenhalgh (ed.), Art Nouveau 1890-1914, V & A Publications, London, 2002, p. 20.Alexandre Charpentier and Tony Selmersheim belonged to the group Les Cinq (which later changed its name to Les Six and then Les Huit as new members joined) who advertised their ambitions, in an 1898 Paris exhibition, as to integrate art into present-day life and to make everyday items beautiful and meaningful. They, like Emile Gallé, believed in the transformative and redemptive power of the arts to change not just an individual but society more broadly, and even the national economy. Charpentier created the sculptural components of this clock. Originally conceived as a larger figural group it is here employed at half the size. Besides the change in scale, the other difference between the two figural groups is the inclusion of a scythe in this present piece.Charpentier had begun his career working for a medal maker and this clock incorporates three panels representing the Fates. He was very much at the forefront of the revival of interest in medal-making and low-relief plaques of the period. This art form very much suited the Art Nouveau ethos and the fascination for whip-lash lines.While Charpentier created the sculptural elements, it was the architect and decorator Tony Selmersheim who designed the case of the clock. Regarded as one of the leading Art Nouveau furniture makers, he worked alongside Victor Horta, Maurice Dufrêne and Henry van de Velde on La Maison Moderne, before forming a highly successful partnership with Charles Plumet. As is the case here, his work was characterised by simple forms that emphasised the structure of the piece, and by flowing elongated stem-like lines that reference nature.Like so many Art Nouveau works, this clock explores recurring Symbolist themes. The sculptural group surmounting the clock can be seen to represent Time, Age and Love. A young man kisses his lover whilst holding her aloft. Concurrently the man grasps the scythe being wielded by the old man, trying to keep him and it at bay. He represents not only old age but with the scythe offers a reminder of human mortality. Life is a cycle, and the bas-relief panels below depict the Fates from Greco-Roman mythology. In the front panel, Clotho holds a distaff, the left panel depicts Lachesis operating the spindle and on the right Altropos cuts the thread. This imagery is in keeping with the representation of time in the figural group surmount with a beginning and an end determined by another force. Instead of using classical models, Charpentier chose contemporary figures, and in so doing draws a clear link between art and modern life. Art is relevant and should speak to the present. This functional clock has been transformed and elevated by Charpentier and Selmersheim into a meaningful work of art.
A group of decoratively leather and cloth bound books, to include: E. Chambers, F.R.S, Cyclopaedia: or, an Universal Dictionary of Arts and Sciences, fifth edition, vol. 2 (L-Z) only, full leather bound, London: 1743; The Satires of Juvenal, translated and illustrated by Francis Hodgson A.M., quarter-bound with marbled boards, London: Payne and Mackinlay, 1807; Cassell's Popular Natural History, vol. 1 & 2, quarter-bound with cloth boards, library label to inside front page, London: Cassell, Petter & Galpin; Matthew Arnold, Poetical Works, quarter-bound with cloth boards, London: Macmillan and Co.,1905, bearing inscription and dedication to front pages; H. R. Westwood, Modern Caricaturists, with foreword by David Low, green cloth bound with gilt tooling to front board and lettering to spine, London: Lovat Dickson Limited, 1932; Gilbert A. Foan (ed.), The Art and Craft of Hairdressing, second edition, quarter-bound with blue cloth boards, inscribed to inside board 1943, with coloured plate frontispiece and four further coloured plates, London: The New Era Publishing Co., Ltd. (7)(VAT charged on hammer price)
Elsa GramckoLa atalaya roja1964Mischtechnik auf Holzplatte; ungerahmt65 x 30 cmRückseitig bezeichnet, signiert und datiert: "La atalaya roja" Elsa Gramcko 1964europäischer PrivatbesitzDie venezolanische Malerin und Bildhauerin Elsa Gramcko gilt als eine der wichtigsten Vertreterinnen des Surrealismus und des Informel in Lateinamerika. In den 1950er Jahren entstanden malerische geometrische Abstraktionen, während sie sich in den 1960er und 1970er Jahren verstärkt der Bildhauerei und Assemblagen zuwandte. Ihr Werk wurde auf zahlreichen Ausstellungen in Lateinamerika, Europa und den USA gezeigt. Sie vertrat Venezuela 1959 auf der Kunstbiennale von São Paulo und 1964 auf der Biennale von Venedig. Ihre Werke sind in privaten und öffentlichen Sammlungen in Lateinamerika und weltweit vertreten, darunter das Museum of Modern Art, New York, das Museum of Fine Arts, Houston, das Art Museum of the Americas, Washington, D.C., das Denver Art Museum, das Museum of Modern Art in Bogota und das Museum of Fine Arts in Caracas.Die im Jahr der Biennale-Teilnahme entstandene Assemblage "La Atalaya Roja" ("Der rote Wachturm") gehört zur Serie der "Chatarras". In diesen plastischen Collagen verwendet Elsa Gramcko ausrangierte Metallteile – alte Zahnräder, Autoteile, verrostete Schlösser – und baut aus diesen Schrotteilen (chatarras auf Spanisch) magische Bildwelten. Diese weisen eine reduzierte, gedämpfte Farbpalette auf: Ocker-, Rost- und Sepiatöne legt die Künstlerin über ein stellenweise löchrig belassenes Gitterwerk, in das sie zwei verrostete Türschlösser eingearbeitet hat. Alltägliche Gebrauchsteile erhalten somit eine neue Identität und das Bild einen lyrischen Gehalt, der aber auch eine Kritik an der rücksichtslosen Industrialisierung ihrer Heimat Venezuela birgt. Elsa Gramcko selbst bezieht dazu Stellung: "Diese Arbeiten stellen die zeitgenössische Gesellschaft in Frage... es geht wirklich darum, uns dagegen zu wehren, dass wir zu automatisierten Maschinen werden, zu Zähnen auf einem Zahnrad, und es geht darum, unsere Individualität zu verteidigen." (https://www.jamescohan.com/exhibitions/elsa-gramcko, aufgerufen am 12.3.2023) Ihr Werk, voller Mysterium und Schönheit, kann also als stiller Protest gegen eine ungezügelte Modernisierung interpretiert werden und ist somit als visionär zu bezeichnen, nimmt sie doch viele Themen, die uns heute beschäftigen in ihrem Werk vorweg. In einem Brief an ihren Landsmann, den Maler und Bildhauer Alejandro Otero, aus dem Jahr 1961 schreibt sie: "Von Tag zu Tag wird alles, was nicht politisch oder sozial ist, unwichtiger, und die Situation scheint so chaotisch, dass wir alle das Gefühl haben, am Vorabend einer Katastrophe zu stehen." (https://literalmagazine.com/elsa-gramcko-the-path-of-intuition-form-and-things/, aufgerufen am 12.3.2023)(Sophie Cieslar)
Franz Ringelo.T.1995Öl und Acryl auf Leinwand; gerahmt155 x 100 cmSigniert und datiert links oben: M.J.M. Ringel 95österreichischer PrivatbesitzFranz Ringel gehört neben Martha Jungwirth, Kurt Kocherscheidt, Peter Pongratz und Wolfgang Zeppl-Sperl der losen Künstlergruppierung "Wirklichkeiten" an. Diese – vom Kunsthistoriker Alfred Schmeller als "Krokodile im Karpfenteich" bezeichnet – wollen mit ihrer Malerei einen Gegenpol zur abstrakten Kunst und auch zum für sie viel zu akademischen Phantastischen Realismus schaffen, den damals alles beherrschenden Kunstströmungen im Nachkriegsösterreich. Ringel, wie vor ihm die Phantasten, aus der Gütersloh-Klasse an der Akademie am Schillerplatz kommend, interessiert sich für die Malerei der Cobra-Gruppe und die Art Brut. Seine Begegnung mit Jean Dubuffet in Paris in den frühen 1970er Jahren wird wegweisend. In engem Kontakt steht er auch zu Leo Navratil und den von diesem geförderten Gugginger Künstlern. "Ein gutes Stück gewollter Wahnsinn im Ausdruck begleitet seine (Franz Ringels) Bilder bis heute." (Klaus Albrecht Schröder (Hg.), The Beginning. Kunst in Österreich 1945 bis 1980, Albertina modern, Wien 2020, S. 457)Frei von allen Konventionen und klassischen Ausformungen der Kunstszene aus dem Unterbewussten heraus schaffen ist es, was Franz Ringel antreibt und was die Basis für seine seltsamen oft rätselhaften Figurenschöpfungen ist, die sich durch große Dynamik und eine grelle Farbigkeit auszeichnen. Wild-Kindliches paart sich mit Verrücktem. "Ringel malt keine Ideen. Er coloriert bloß seine Geister", schrieb sein Dichterfreund Wolfgang Bauer 1999 (https://www.derstandard.at/story/1319181509031/1940-2011-maler-franz-ringel-gestorben, aufgerufen am 13.3.2023). Fratzenhafte Figuren ohne Körper schweben im Raum vor einem bühnenartigen Quadrat. Darunter, als Kontrapunkt zum aggressiven Gebaren der beiden Kopfgestalten, schwebt ein grinsendes Herz. Wir erkennen eine Verwandtschaft zu den absurden Settings seiner frühen Kasperlbilder. Man könnte die Szene mit den absurden Köpfen auch als Kasperltheater interpretieren. Die Unmittelbarkeit im Ausdruck der Fratzen wird begleitet von einer spontan-gestischen Malweise. Franz Ringel drückt die Farbe direkt aus der Tube auf die Leinwand, bevor er sie mit heftigem Strich verteilt. Sie wird, verstärkt durch die deutlich fühlbare Materialität, zum emotionalen Ausdrucksmittel.(Sophie Cieslar)
LALIQUE, RENE LALIQUE, POUILLY, A SET OF SIX FROSTED AND BROWN STAINED ART DECO LIQUEUR (MADEIRA) GLASSESSECOND QUARTER 20TH CENTURYDecorated with band of fish7cm highTogether with a pair of modern Lalique glasses, Angel, 20.5cm highProvenance:From the private collection of author and publisher Colin SmytheSee Marcilhac, page 845 (no 5226) for the suite of table glass in the Pouilly pattern, designed 1931, not continued after 1947Condition Report: No damage detected.Condition Report Disclaimer
GIANMARIA POTENZA (ITALIAN B.1936) FOR LA MURRINA; A VENETIAN PALE-BLUE GLASS BOTTLE VASE1960sDecorated with a flattened cane incorporated into the pale-blue glass body of a bullseye of yellow, opaque-white and blue, 34cm highCf. Lot 127, Lyon & Turnbull 30 Apr 2021, Modern Art & Post-War Design for a yellow example that sold for £500 hammer. Note: Potenza was born into a family of palazzo decorators in Venice and received much early tuition from family members before enrolling in the Art Institute of Venice in 1947. He emerged as one of their most renown students and in 1968 he founded La Murrina Glassworks with Ulderico Morettiin, leaving in 1975. Glass was just one of many of the areas he worked, principally working in interior design and decoration. Today he can be found in the San Trovaso artist's area of VeniceCondition Report: No damage detected.Condition Report Disclaimer
GERMAN NECKLACE ETC. A German black bakelite & clear paste Art Deco necklace, stamped D.R.G.M. 1138625. Also, a modern Art Deco style paste brooch. Length of necklace, 44cm. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
A collection of reference books on modern silver,comprising: Andrew, J. and Styles, D., Designer British Silver, Atterbury, P. and Benjamin, J., The Jewellery and Silver of H.G. Murphy, and other volumes including The Designs of Archibald Knox for Liberty & Co., A Personal Touch: The Seawolf Collection, Gerald Benney Goldsmith, and The Silversmith Art. (6)
By Charles Hall, a modern commemorative silver bowl,Sheffield 1996, number 256,tapering circular form, spot-hammered and geometric decoration, made to mark the demerger of THORN from the EMI Group, in a fitted box, with a certificate and copy of a menu, diameter 18cm, approx. weight 7.8oz.Prior to establishing a studio and workshop in Cornwall in 1972, Charles Hall studied at Hornsey College of Art and the Royal College of Art. He is a founding member of Contemporary British Silversmiths and has undertaken many important commissions.
A collectors lot to include; Transcendental Vision: Paintings by Peng Ximing - University Museum and Art Gallery, The University of Hong Kong book depicting descriptions and photos of work by Peng Ximing (1908-2002) Accompanied by small information book inside. Approx. 31.5cm long x 21.5cm wide. Slight wear due to usage. With a modern doll with clothing and accessories (broken) and a Palitoy modern reproduction boxed Action Man Sportsman clothing for an Arsenal player.
TWO BOXES OF EPHEMERA, one box contains several hundred matchboxes from many different manufacturers, some contain original contents, box two contains seven ring-binder files containing a large collection of Art prints and postcards from all areas of the artistic field from classical to modern pop-art
An Art Deco platinum, sapphire and diamond brooch. The canted-rectangular open panel grain-set at the centre with an early modern round brilliant diamond approx. 0.26cts, within a box surround, the border and fan-shaped accents set with small calibre sapphire panels, and set throughout with small eight-cut and single cut diamonds, approx. 37mm long overall. Condition Report: Overall good condition, general wear and tear commensurate with age and use, Diamonds. The small diamonds bright. Central diamond measures approx. 4.4mm x 2.1mm, colour about J, clarity about SI1. The sapphires a good blue however a little sleepy.
Modern 18ct gold pendant mounted with an oval Arts & Crafts enamel panel of a tulip by H G Murphy, with tulip engraved decoration to the gold mount, hallmarked Jon Braganza, London, L7cm x W5cmCondition Report:24.52 gm approx. Henry George Murphy was a silversmith and jeweller known for his work in the Arts & Crafts and Art Deco styles. This enamel panel was acquired in the dispersal sale of Murphy's Falcon Studios at 58 Weymouth St, Marylebone, and is also featured in Paul Atterbury and John Benjamin's book Arts and Crafts to Art Deco The Jewellery and Silver of H G Murphy (page 29).
Modern silver box, of rounded form, the cover mounted with an Arts & Crafts enamel panel of an orange tree by H G Murphy, circa 1920, hallmarked Jon Braganza, London 2018, H4.5cm x W7cmCondition Report:approximate gross weight 6.43 ozt (244 grams)Henry George Murphy was a silversmith and jeweller known for his work in the Arts & Crafts and Art Deco styles. This enamel panel was acquired in the dispersal sale of Murphy's Falcon Studios at 58 Weymouth St, Marylebone, and is also featured in Paul Atterbury and John Benjamin's book Arts and Crafts to Art Deco The Jewellery and Silver of H G Murphy (page 29).
NO RESERVE Art Nouveau.- Collection of 40 colour-printed plates, including duplicates, etchings printed in colours, each signed in pencil, on thick wove paper, probably re-strikes, various sheet sizes between 330 x 250 mm (13 x 9 7/8 in) and 650 x 500 mm (25 1/2 x 19 3/4 in), all unframed, [20th century]; together with a good group of 25 20th century prints by various hands, including modern re-strike etchings of Cricket at White Conduit House, 3 horse racing prints by Loui Claude, 3 prints of cricket at Lords, and 8 late 20th century pochoir prints, a large poster for the Triumph Mayflower car, various sizes, all unframed, [20th century] (c.65)
Kinetic Art.- Signals Newsbulletin, director: Paul Keller, editor: David Medalla, 4 copies (vol one:number nine, aug-sept-oct 1965; vol one:number 10, nov-dec 1965; vol two:number II, jan-feb-march 1966, last with duplicate), illustrations and photographs, worn at extremities, creased and worn along fold, 1965-1966 § Kunsthalle Bern, one copy ("25 Mai bis 3. Juli 1966"), illustrations and photographs, small pencil annotation to upper left corner of first page, some spotting to first page, creased along fold, 1966; and c.75 others relating to kinetic art, including artist books and catalogues, and an Art Information Registry pivoting information card (c. 80)⁂ Signals was an experimental art gallery which opened in London in the mid-1960s. Their publication Signals Newsbulletin promoted the gallery's aim to be 'dedicated to the adventures of the modern spirit', and became an important relic of the contemporary art scene, particularly in its representation of international art, kinetic art, the Fluxus movement, and progressive politics.
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED pastel on papermounted, framed and under glassimage size 75cm x 54cm, overall size 97cm x 77cmProvenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), THE YELLOW DRESS pastel on paper, signed and dated '73mounted, framed and under glassimage size 64cm x 47cm, overall size 84cm x 65cmProvenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.
* DAVID MARTIN (SCOTTISH b. 1975), ALEPPO pencil on paper, signed and titled versomounted, framed and under glassimage size 14cm x 12cm, overall size 29cm x 26cm Note: from "The Cusp of Change: A Journey Through the Middle East". Note: David Martin won the 2006 RSA Alastair Salvesen Art Scholarship. David is from and based in Edinburgh and graduated with an MA Fine Art from the University of Edinburgh in 2000. He was also the winner of the RSA John Kinross Student Scholarship to Florence in 2001. David took an epic journey through the Middle East and into Europe. "This journey represents the dissemination of ancient alchemical knowledge from Egypt, through the Middle East and into Europe, in order to explore the transforming effects of modern development brought about by technologies such as nuclear development and global communications. Without staying in one place for any length of time, this huge journey provided a range of encounters with cultures undergoing transformation, nations being born and people adapting to new ways of life amid their ancient heritage". His work from this journey was exhibited as a solo exhibition at the Royal Scottish Academy "The Cusp of Change: A Journey Through the Middle East" 16th March - 15th April 2007. Alongside his full-time artistic practice, he is also the Founder and Creative Director of Hidden Door, an organisation set up to generate exciting events to showcase new up-and-coming arts talent in Scotland across different art forms, mainly through staging annual ‘underground’ multi-arts festivals in Edinburgh. He is also the Head of the Foundation Course at Leith School of Art and has previously sat on the council of Visual Arts Scotland. David exhibits at the prestigious Open Eye Gallery in Edinburgh and his most recent solo show there was 3rd - 21st November 2020. David Martin has won numerous major commissions including a huge canvas which dominates the impressive lobby of The Edinburgh Grand (hotel) on St Andrew's Square in the city.
KEITH HARING (AMERICAN 1958 - 1990), UNTITLED (KEITH HARING, SAN FRANSISCO MUSEUM OF MODERN ART MAY 8 - SEPTEMBER 9 1998) mixed media on papermounted, framed and under glassimage size 29cm x 21cm, overall size 45cm x 33cm Note: stamp verso for The Keith Haring Estate and the Nakamura Keith Haring Collection
* RYAN MUTTER (SCOTTISH b. 1978), PEOPLE WITH TOWER BRIDGE oil on board, signedframedimage size 46cm x 59cm, overall size 70cm x 85cmNote: Born in 1978, Ryan Mutter studied at The Glasgow School of Art, where he graduated in 2001. He has since won many distinguished awards, including a remarkable six from the Royal Glasgow Institute of Fine Arts. His inspiration comes from Britain's industrial heritage and its connection between man and the sea. In Glasgow alone, shipbuilding provided work for 70,000 men in more than 50 yards spread along 11 miles of quayside. But today these yards sit empty, a silent shadow of their former self. The advancements made in technology and design methods superseded the old, and made once important skills and craftsmanship redundant. This is what drives Ryan as he looks to capture and remind people of how important this workforce was in the development of the modern world. Ryan has built up a formidable reputation as a powerful contemporary painter of Industrial and Maritime subjects. His bold realism combined with expressionistic brushwork transports you into a world of arresting detail and mechanised splendour. Perhaps unsurprisingly, very few of Ryan Mutter's paintings appear at auction (anywhere) and his larger work is even rarer. However, in The Scottish Contemporary Art Auction of 28th March 2021, lot 517 "Cutty Sark in Moonlight" a relatively small 38 x 46cm oil on canvas (by Ryan Mutter) sold for £3000 (hammer)Condition is good overall
* RYAN MUTTER (SCOTTISH b. 1978), EARLY START oil on board, signed, titled label versoframedimage size 31cm x 53cm, overall size 50cm x 73cm Handwritten label verso.Note: Born in 1978, Ryan Mutter studied at The Glasgow School of Art, where he graduated in 2001. He has since won many distinguished awards, including a remarkable six from the Royal Glasgow Institute of Fine Arts. His inspiration comes from Britain's industrial heritage and its connection between man and the sea. In Glasgow alone, shipbuilding provided work for 70,000 men in more than 50 yards spread along 11 miles of quayside. But today these yards sit empty, a silent shadow of their former self. The advancements made in technology and design methods superseded the old, and made once important skills and craftsmanship redundant. This is what drives Ryan as he looks to capture and remind people of how important this workforce was in the development of the modern world. Ryan has built up a formidable reputation as a powerful contemporary painter of Industrial and Maritime subjects. His bold realism combined with expressionistic brushwork transports you into a world of arresting detail and mechanised splendour. Perhaps unsurprisingly, very few of Ryan Mutter's paintings appear at auction (anywhere) and his larger work is even rarer. However, in The Scottish Contemporary Art Auction of 28th March 2021, lot 517 "Cutty Sark in Moonlight" a relatively small 38 x 46cm oil on canvas (by Ryan Mutter) sold for £3000 (hammer)Condition is good overall
* RYAN MUTTER (SCOTTISH b. 1978), MAN AT THE CRANE oil on canvas, signedframedimage size 43cm x 36cm, overall size 63cm x 55cm Note: Born in 1978, Ryan Mutter studied at The Glasgow School of Art, where he graduated in 2001. He has since won many distinguished awards, including a remarkable six from the Royal Glasgow Institute of Fine Arts. His inspiration comes from Britain's industrial heritage and its connection between man and the sea. In Glasgow alone, shipbuilding provided work for 70,000 men in more than 50 yards spread along 11 miles of quayside. But today these yards sit empty, a silent shadow of their former self. The advancements made in technology and design methods superseded the old, and made once important skills and craftsmanship redundant. This is what drives Ryan as he looks to capture and remind people of how important this workforce was in the development of the modern world. Ryan has built up a formidable reputation as a powerful contemporary painter of Industrial and Maritime subjects. His bold realism combined with expressionistic brushwork transports you into a world of arresting detail and mechanised splendour. Perhaps unsurprisingly, very few of Ryan Mutter's paintings appear at auction (anywhere) and his larger work is even rarer. However, in The Scottish Contemporary Art Auction of 28th March 2021, lot 517 "Cutty Sark in Moonlight" a relatively small 38 x 46cm oil on canvas (by Ryan Mutter) sold for £3000 (hammer)
* PAUL RITCHIE (SCOTTISH b. 1948) UNTITLED oil on board, signedframed and under glassimage size 30cm x 38cm, overall size 40cm x 49cmCollections include: Arts Council of Great Britain, Scottish Arts Council, Victoria and Albert Museum, Johnsonian Museum (New York), Scottish National Gallery of Modern Art, Elf Oil UK, The Hunterian, Aberdeen Art Gallery, University College Wales, Grampian TV, Bradford Art Gallery, Bolton Art Gallery, Inverness Art Gallery, Livingstone Development Corporation, Tayside Regional Council, Salford Art Gallery, Oldham Art Gallery, Provident, Eastern Airlines and The Hunting Group.
JAYANT PARIKH (INDIAN b. 1940) PLANT HOUSE oil on canvas, signed, titled versoframedimage size 89.5cm x 85cm, overall size 92cm x 87cm Note: Jayant Parikh is an Indian artist, printmaker and muralist. He was a student of N.S. Bendre, K.G. Subramanyan and Sankho Chaudhuri. He lives and works in Vadodara, India. His work is held in the collections of the National Gallery of Modern Art (in New Delhi, Mumbai, and Bangaluru) and the Lalit Kala Akademi in New Delhi. Jayant Parikh was born on 2 April 1940 into a Gujarati Bania family in Bandhni village, Gujarat State, India. His family had a grocery shop in his village. He moved to Vadodara in 1957 to study art at the Faculty of Fine Arts, Maharaja Sayajirao University. In 1962, he achieved his Post Diploma in Painting under the teaching of N S Bendre. He has had more than 74 one-man shows. He has participated in national and international art exhibitions including the Third Triennale–India. His work has been sold at auction houses including at Christie's and Sotheby's. His work is held in the collections Jehangir Nicholson Art Foundation (Chatrapati Shivaji Museum, Mumbai)and the Chester and Davida Herwitz collection (The Herwitz Collection) and in numerous prestigious corporate collections including Taj Hotels (including in the TATA Presidential Suite at The Taj Mahal Palace Hotel, Mumbai) and Air India who have acquired at least twenty five works which are on display in their premises around the world. His work has also featured in Air India calendars. Jayant Parikh has won numerous prestigious awards including, most recently in 2022 when he was presented with The Raja Ravi Varma Award for Excellence by Her Highness Rajmata Shubhanginiraje Gaekwad.
J.G. Graves Sheffield; A Hallmarked Silver Cased Openface Pocket Watch, the signed dial with seconds subsidiary dial (lacking hand); together with a Smiths openface pocketwatch within Art Deco style stand and original box bearing label "This watch and stand presented to Mr F Lievesly as a token of esteem and with best wishes for happy and long years of retirement from Ireland Colliery General Fund"; and a modern Rapport pocket watch. (3)
James Dixon (1887 – 1970) Giant Muldoon at the West End Village, Tory IslandOil on board, 38 x 53cms (15 x 21”)Signed, indistinctly inscribed with legend and dated 1967Exhibited: ‘Ireland: Her people and landscape’ Summer loan show, The Ava Gallery, Clandeboye Estate June – September 2012 Cat. No. 11; ‘A Wild Atlantic Way – Irish Life and Landscapes’ The Hunt Museum July – October 2021Literature: ‘Ireland Her People and Landscape’ Illustrated P. 18; ‘A Wild Atlantic Way – Irish Life and Landscapes’ The Hunt Museum, Full page illustration P21The idea of an unmediated connection to place is most evident in the paintings of the untrained Tory Island painter James Dixon (1887-1970). He took up painting in the late 1950s having met the artist Derek Hill (1916-2000) when he visited the island. Dixon’s images of Tory, although influenced by Hill’s practice, seem to convey an honest, engaged representation of the island. This is attributed to the fact that the artist was a native islander who spent his entire life in its environment. Also as seen in Giant Muldoon at the West End Village, Tory Island, (1967) the flattened perspective, crowded composition and expressive use of colour indicate a childlike sense of his surroundings. The guileless qualities of the work convey the uncomplicated nature of the island, thereby fulfilling the cosmopolitan view of the rural as pure and simple. In reality, of course, Dixon’s work is much more sophisticated than this suggests and life on Tory is equally more complicated. What is significant is that the expressive qualities of such outsider art were highly prized and were emulated by more conventional professional artists.James Dixon was born on Tory Island, Co. Donegal, the most remote of all Ireland’s off shore islands. Apart from an occasional visit to the mainland and one short period in the west of Ireland as a fishing instructor, Dixon spent most of his life there and was one of the most significant members of the highly regarded Tory Island school of primitive art. Dixon and other islanders painted what they saw around them in a distinctive detailed, naturalistic style: boats, the wild seas, the island and the small villages grandly named East Town and West Town.The artist Derek Hill organised exhibitions of the work of the Tory school painters, the first of which took place at the New Gallery, Belfast in 1966, with subsequent exhibitions in Dublin, Vienna and London. In 1990 a retrospective exhibition was held at the Glebe Gallery, Co. Donegal, and the Boole Library, University College Cork. James Dixon along with Alfred Wallis was also the subject of a major exhibition in 1999 that opened in IMMA before travelling to Tate St. Ives. Dixon's work is included in the collections of The Ulster Museum, The Scottish National Gallery of Modern Art, The Hugh Lane Gallery, Bournemouth Art Gallery as well as being well represented at Derek Hill’s Glebe House and Gallery in Churchill, Co. Donegal.Our thanks to Róisín Kennedy whose writings formed the basis of this catalogue note
1940 Warwick Tricycle Transmission: paddleMileage:Originally a gunsmith, John Warrick, the founder was apprenticed to William Soper and the two had considerable success manufacturing rifles. After some years, the market in guns declined and Warrick turned his attention to the growing trade of bicycle manufacturing and he used both the Warrick and Monarch brands in their factory on the Caversham Road, Reading. The company specialised in delivery and later motorised tricycles, specifically for lighter items and comestibles.Interestingly and more recently, they moved on to enamelling and electroplating including making some parts for the prototype of the Concorde aircraft.Thought to have been manufactured around 1940, this Warrick Tricycle was restored in 1992 by Alan Jones and George Dawes with help from John Pinkerton, a cycle historian. Now Ideal for a trip to the shops, office art or corporate advertising this classic piece of cycling history falls between two stools, that of modern steam punk and classic/traditional bicycles. Interestingly, in recent years, it has even had a starring role in Tim Burton's 2019 film, Dumbo, with Colin Farrell, Danny DeVito and Michael Keaton.
1947 Curtis Wright Model 5 Transmission: Mileage:Holiday accommodations all booked up, no matter what time of year? Why not go touring instead? Fancy starting a glamping business or need high-end guest accommodation? This stunning American trailer could be the answer, fun, freedom, comfort, and style. Offering superb high-quality accommodation, this Curtis Wright has the flexibility to either, use for holidays away or as extra living space at home as either as additional guest accommodation or home office. This represents great value when you consider that there is no need for planning permission or expensive foundations.So, it looks a bit like an Airstream? Well, there is good reason for that. Wally Byam built his first travel trailer in 1929 and founded the company we now know as Airstream in 1931. A boom of more than 400 travel trailer companies started in the 1930s, but they soon trickled out. Only Airstream was left standing and was already well known for the first riveted aluminium monocoque trailer, the Clipper. Business was booming until World War II, when the factory had to close due to wartime demands for all available aluminium. During the war, Wally worked several jobs in the aviation industry, including as a certified manufacturing engineer and production supervisor at Curtis Wright Industries. When the war ended in 1945, Wally persuaded the management at Curtis Wright to let him design and manufacture a line of travel trailers and here we have one example. Wally parted ways with Curtis Wright and re-opened Airstream, with his eyes planted as firmly as ever on creating more of these ultimate vehicles for adventure.'Tinkerbell' is ready to use and enjoy. Its high specification ensures a comfortable experience, and, from our own exploits, you are bound to attract a lot of interest, especially with its polished, rivetted, aircraft construction aluminium exterior. And there are no worries as to whether the weather is hot or cool as the double skinned insulated coachwork keeps things cool in summer and warm during winter. Sleeping up to four, this trailer is deceptively spacious and has a walk-in wet room that includes, shower, basin and toilet. The living area consists of a round table and seating at the front that easily converts into a round bed (very cool). There are worktops with a gas hob, sink, oven, fridge, with cupboards above and cupboards below. There is extra seating for four at the rear that may be converted into that extra bed for a further two. There are plenty of modern power points whilst warm air heating and a multi-fuel stove keeps things cosy during chilly days and nights. The interior is well lit with Art Deco lights, LED lighting and mood lighting at the front.The trailer further benefits from a separate awning, front and rear privacy windows, and blinds for the side windows. A solar panel keeps the recently replaced leisure battery topped up whilst there are also 240 volt and mains water plugs. Fresh and grey water tanks are also fitted. The exterior's polished aluminium aircraft construction monocoque style body is in very good order for a 75-year-old. The vendor reports that towing this lightweight trailer is a delight, sitting on a modern galvanised axle with brakes. For security, a Bulldog wheel clamp, locking hitch and Tracker are included. If you wish to travel and accommodate with a difference, then here it is.
1998 Aston Martin V8 Volante (Long Wheelbase) Transmission: automaticMileage:21751The Aston Martin Volante LWB is a classic convertible that is known for its elegant design and luxurious features. The LWB (Long Wheelbase) model was introduced in 1996 and was designed to provide more legroom for rear passengers. It was based on the DB7 platform and was produced until 2003. The exterior of the Volante LWB is timeless and sophisticated, with sleek lines and a distinctive Aston Martin grille. It is available in a variety of colours, but the most popular is British Racing Green, which is the traditional colour of Aston Martin cars. The interior is equally impressive, with sumptuous leather seats and a dashboard that is both stylish and functional. The car is equipped with all the modern amenities, including air conditioning, power windows, and a high-end sound system. Under the bonnet, the Volante LWB is powered by a 5.9 litre V8 engine that produces 420 horsepower and 400 lb-ft of torque. It is mated to a four-speed automatic gearbox and can accelerate from 0-60 mph in just 5.9 seconds. Overall, the Aston Martin Volante LWB is a true classic that combines performance, luxury, and style. It is a car that will always turn heads and is a must-have for any serious car collector.This excellent 1998 Aston Martin V8 Volante LWB was purchased by the current owner from his business partner in 2009, at which point the car had only covered 15,000 miles. Our vendor has only driven the car a further 6,750 miles since, giving a total of 21,750 miles from new. It has been fully maintained and serviced throughout by Aston Martin main dealers and then by a specialist company. Finished in Dark Blue metallic with Dark Blue roof and grey leather interior, this excellent Aston Martin V8 Volante is supplied with a V5C registration document, a MoT test certificate which expires in January 2024 and is fitted with a period 'state of the art' satellite navigation and stereo system. This Aston Martin Volante LWB is a stunning car that combines performance, luxury, and elegance in one exceptional package. It is a car that is sure to impress anyone lucky enough to ride in it, and it remains a highly sought-after collectible car today.
TWO FOLK ART SAILOR'S WOOLWORKS CIRCA MID-19TH CENTURY the larger depicting a three masted frigate flying a Naval Union flag docked at the end of a pier with building and further Union flag; the second smaller example also depicting a frigate, this at sea, also flying a Naval Union flagboth framed and behind glassthe larger 55.5cm x 75.5cm overallQty: 2Both in overall good to fair condition without visible damage or loss; the larger with some slight browning/discolouration to lower section and a few further isolated spots; the smaller does display some small gaps to the sails on the right side with some small tufts which have come loose, overall this work does display more more discolouration but again without major or fundamental issues; additional images available; frames are relatively modern and heavily worn, glass very dirty
*JOHN MYATT (B. 1945) 'Morning on the Seine II' river scene after Claude Monet and bearing Monet's signature and dated (18)96 lower left, signed and numbered 29/150 by Myatt verso, embellished giclee print on canvas, 77cm x 74cm Provenance: Westover Gallery, Bournemouth.Former secondary school teacher, John Myatt, along with John Drewe, perpetrated what has been described as "the biggest art fraud of the 20th century". In 1986, John Myatt placed a classified advert in the satirical British current affairs magazine Private Eye. ‘19th and 20th-century fakes for £200’ stated the ad, heralding the birth of what was initially a legitimate business. Producing paintings to order, John painted his way through 20th century art history, commissioned by a man known as ‘Professor John Drewe’. His materials were unorthodox, including household emulsion mixed with K-Y Jelly, yet the quality of his work led Christie’s to value one of his paintings at £25,000. This was the moment that the business stopped and the crime began.Between 1986 and 1994, Myatt faked as many as 200 works by artists like Marc Chagall and Alberto Giacometti, fooling collectors and experts at Christie's, Sotheby's and the Tate Modern alike. Many of these counterfeit works found their way into private collections and public institutions in the United Kingdom and abroad. Eventually the scheme was exposed by Scotland Yard, and Myatt was sentenced to a year in HM Prison Brixton for his role in this now-legendary art fraud.Upon his release from prison, Myatt was persuaded to pick up his brush again by the detective who arrested him. In recent years, he has emulated the style of legendary artists like Henri Matisse, Pierre-Auguste Renoir, Paul Klee, Leonardo da Vinci and Vincent van Gogh. Comparing himself to an actor immersing himself in a role, he says he climbs into the mind of his chosen artist to adopt, rather than copy, their technique. In a 2005 interview with the Guardian newspaper, Myatt explained: “I try to get the artist’s work to hypnotise me. I also surround myself with lots of books. I like to know everything…where he was, what he was doing…when he was painting.”Private Collection, Dorset
Bol Fars en laiton incrusté d'argent, Perse XIVe siècle A Fars silver-inlaid brass bowl, Persia, 14th Centurywith rounded base, the walls tapering towards a short neck, profusely engraved and decorated in silver inlay with a series of cartouches filled with inscriptions in thuluth interspersed by roundels containing figures on horseback, all on a ground of foliate interlace, below a band of pendant palmettes radiating towards the foot, the rim with vegetal motifs, the interior with a central roundel surrounded by fish, three ownership inscriptions to base 23 cm. diam.Footnotes:ProvenanceProperty from a Royal Collection.Inscriptions: li-mawlana [a]l-sultan [a]l-a'zam malik riqab [a]l-umam al-sultan al-salatin al-'arab, 'For our lord, the great sultan, dominant over the nations, the Sultan of sultans of the Arabs.' The additional owners' notes including, 'O Muhammad! O 'Ali', 'Its owner Abu'l-Hasan', 'Its owner Hji Ibrahim bin Ghawan.'For a bowl with a similar inscription and decorative scheme in the Victoria and Albert Museum, see A.S. Melikian-Chirvani, Islamic metalwork from the Iranian World: 8-18th Centuries, London, 1982, pp. 209-210, no. 95. For a similar bowl without silver-inlay sold at Bonhams, London, see Islamic & Indian Art Including Modern and Contemporary South Asian Art, 22 October 2019, Lot 29.Important Notice to BuyersSome countries e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid or import a lot in contravention of the sanctions or trade embargoes that apply to them.Avis important aux acheteursCertains pays, notamment les Etats-Unis, interdisent ou restreignent l'achat par ses ressortissants (peu important leur localisation) et/ou l'importation de certains types d'objets d'origine iranienne. Afin de renseigner ses acheteurs, Bonhams indique par le symbole R tous les lots iraniens ou perses. Il incombe à chaque acheteur de s'assurer qu'il n'enchérit pas ou n'importe pas un lot en violation des sanctions ou des embargos commerciaux qui lui sont applicables.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Trois dagues Ottomanes en acier damasquiné or serties de corail et turquoise (jambiyyas), Turquie XIXe siècle Three Ottoman coral and turquoise-set gold damascened steel daggers (jambiyyas), Turkey, 19th Centuryeach with curving double-edged steel blade, one with central fuller, one of watered-steel, variously decorated in gold overlay with inscriptions and foliate motifs, the hilts and scabbards inlaid with coral (corallium rubrum) and turquoise, the reverses decorated in repoussé the largest 38 cm. long(3)Footnotes:ProvenanceProperty from a Royal Collection.Inscriptions: to one of the daggers, the names of three of the Seven Sleepers of Ephesus, 'Marnush, Dabarnush and Shadhanush.For a comparable example sold at Bonhams, London, see Islamic and Indian Art Including Modern and Contemporary South Asian Art, 24 April 2018, Lot 199.For further information on this lot please visit Bonhams.com
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