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Pair of side or occasional tables standing on decorative metal bases with square glass tops, the bases measure 57cm high x 36.5cm wide excluding the glass, the glass tops are 45cm x 45cm (2)Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.

Pair of Mintons pottery vases with blue foliate designs on yellow ground, decorated in the Chinese taste, with Kensington Gore factory marks, painted and impressed marks to the base, 26cm high overall (2)Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Some damage and restoration. Both with minimal glaze and firing faults. Overall wear and some scratches.

Aesthetic movement light oak, bedside cupboard or occasional cupboard, with galleried back, metal handle, standing on a plinth base, 38cm wide x 80cm high x 34.5cm deepProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall wear, marks, minimal signs of age and use as expected. Tiny scuffs to corners and edges. Minor marks to the top, please refer to images.

Cotswold School pair of brass terminals for a pair of fire dogs, of pierced design, 20th Century, unmarked, 16cm across (2)Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.

Edward Porter for William De Morgan (1839-1917) pottery vase, decorated with peacocks and leaves, signed with initials 'E. P' and impressed tulip mark to the base, 20cm high overallProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.The lip/neck of the vase has damage and restoration. Some hairline cracks. Crazing throughout. Overall wear, display marks and some scratches.

Nigel Ramsey Newton (1903-1976)'Untitled house in the wood', oil on canvas, unsigned, 49cm x 59cmProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall wear, scuffs and marks to the frame. Crazing to the paintwork. Creases and particular marks to the lower corners.

Attributed to Spode Aesthetic movement framed tile, with gilded decoration, 28.5cm x 28.5cm overallProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall wear, scuffs and scratches. Some minor losses to painted decoration in places. We have not removed this from the frame to examine.

French wheel engraved glass vase 20th Century, decorated with flower and leaves with repeating decoration to the rim, unsigned, with silver mount to the foot, marked 'Saint Yyves, Paris' with indistinct hallmark, 13cm highProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall wear, marks and scratches. Tiny fleabites to the top rim of the vase. Tiny dent to silver footrim. Otherwise seems ok.

Cotswold School oak, side table or cupboard with galleried top, fielded panelled door and carved handle, unsigned, 55.5cm wide x 96cm high x 43cm deepProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall wear, marks and scratches, consistent with age and use. Minor marks to the top as expected, otherwise seems ok.

After Fra Filippo Lippi (1406-1469)'The Annunciation study', watercolour with gilded detail, unsigned, 26cm x 36cmProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.With overall wear and some losses to the frame. The painting is slightly loose in the frame. The picture itself seems ok.

Attributed to William Birch for Liberty & Co oak, card table, the fold over top with baize lining on splayed legs, unmarked, 50cm wide x 73cm high x 38cm deepProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall wear, some marks, scratches and scuffs. Baize not original. Some light water marks in places.

Louis Gueule at Elge pottery vase with mottled glaze, marked to the base, 21.5cm highProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall display wear and minor scratches. Minor glaze faults as expected. Marks to the base partially concealed by the glaze.

Pair of Persian brass converted lamps previously vases,with engraved foliate designs, unmarked, with later Kelim pattern shades, 60cm high to the top of the fitting, approx 79cm high including the shades (2)Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Please note these are untested and would require rewiring. Overall wear, some scuffs and marks, consistent with age and use. Small dents in places, nothing major.

John Ruskin (British, 1819-1900)La Cascade de la Folie, Chamonix signed with initials, inscribed and dated 'Chamonix; 1854. JR.' (lower right)pencil, pen and ink, watercolour and wash40 x 31.1cm (15 3/4 x 12 1/4in).Footnotes:ProvenanceSir John Simon, MD, FRS, KCB and Lady Simon (almost certainly received as a present from Ruskin).Sir John Simon sale, Messrs Trollope, 7 Hobart Place, Eaton Square. By order of the Executors of Sir John Simon. K.C.B., deceased, 40 Kensington Square, W. ...The Contents of the Residence ... including a number of water-colour drawings, by J. Ruskin ... etc., as 'La Cascade de la Folie' and its uplands, as seen from the old Hotel de l'Union, Chamonix, (with price of 22 [guineas] added in ink), 16 November 1904, lot 198.Private collection, UK (probably acquired from the above).Property of an Institution (gifted by the above).LiteratureEd. E.T. Cook and Alexander Wedderburn, The Works on John Ruskin, Library Edition, London, 1903-12, vol. 5 (Modern Painters III), plate C, opposite p. xxii; and, vol. 38 (Catalogue of Ruskin's Drawings), p. 241. Christopher Newall, John Ruskin – Artist and Observer, exhibition catalogue, National Gallery of Canada, Ottawa, 2014, pp. 23 and 275, fig. 1.8.The present lot is one of two drawings showing a particular feature of the mountain landscape at Chamonix made by Ruskin in the course of his stay there from 10 July to the end of August in 1854. Its counterpart, a somewhat larger drawing of the same topography but shown in a wider perspective and therefore allowing a view of fretted horizon and sky to be included, is in the collection of Birmingham Museum and Art Gallery (1905P2).The view shown is of a mountainside to the south-east of Chamonix which is known as the Montagne de Blaitière and at the summit of which lie the Glacier and Aiguille de Blaitière. The Cascade de la Folie, which took its name from a hamlet called Fouilly which once stood on the south-eastern edge of Chamonix, is now referred to as the Torrent de Blaitière. As seen in both drawings, the stream runs over relatively level ground at a higher altitude but then crosses a shelf or sill below which it flows more steeply within a jagged ravine with flanks of exposed earth. Dense groves of pine trees are seen on the folding ground above while fringes of trees stand along the upper edge of the ravine. A distinction may be made between the sketches that Ruskin drew when walking and climbing in the mountains, often loosely treated and serving as memoranda of landscape formations, and the more deliberate drawings that he made from relatively convenient vantage points in the valley bottom and representing topographies to which he attached particular significance. The two views of the Cascade de la Folie are of this latter type. The original titles of both the present drawing and that now in Birmingham identify them as having been made from the Hotel de L'Union, which in the nineteenth century stood at the centre of Chamonix close to the river Arve, and which – as the most comfortable hotel in the town – was where Ruskin and his parents chose to stay. From this vantage point the mountainside represented in the two drawings was seen at a range of between one and a half and two kilometres and at a steep angle of vision. Furthermore, the particular feature of the stream, sill and ravine on the Montagne de Blaitière as shown represents a very small part of the entire expanse of mountain landscape to be viewed from Chamonix and along the sides of the valley of the river Arve, and thus it may be understood that Ruskin operated a system of search and selection to find and then to focus on landscape elements which he considered to be especially interesting. It may be assumed that Ruskin used binoculars or a telescope to give careful study of the landscape and it is known that he referred to daguerreotype photographs that he and his servant Frederick Crawley had taken to ensure the accuracy of his drawings (Daguerreotype 73 in the collection of the Ruskin Foundation at Lancaster University shows the Cascade de la Folie and the glacier and aiguilles above).In the early months of 1854 Ruskin was in a state of despondency. The crisis in his marriage, although in a practical sense brought on by his having deliberately encouraged a friendship between his wife Effie and the painter John Everett Millais, leading to their falling in love, nonetheless was the cause of lingering anxiety. In April of the year Effie left Ruskin and shortly afterwards a suit for nullity of their marriage on grounds of non-consummation was served upon him. In May, Ruskin and his parents set out on a long tour of France and Switzerland, in part to escape from the unpleasantness associated with the failure of the marriage, and gradually his spirits recovered. He had an intense love of Chamonix and the mountains of Savoy, and so – on his arrival there on 10 July 1854 – he exclaimed: 'Thank God, here once more; and feeling it more deeply than ever. [...] all unchanged, and happy'.Much has been written about Ruskin's sexuality, with the conclusion widely drawn that because his marriage to Effie was unconsummated, and because he never subsequently had the experience of physical love with any other partner, that he must have been in some way asexual or indifferent to the mechanisms of sexual attraction. In my view, and as previously discussed in the catalogue of the 2014 exhibition John Ruskin – Artist and Observer, particular drawings of his of landscape forms derive from or parallel feelings of sexual desire. These thoughts may have been entirely subliminal or were perhaps conscious explorations of the wish that he may have had for physical intimacy. The present drawing is one of the most striking instances of the translation that Ruskin made between landscape formations of protuberance and cleft and in which the whole is animated by the visible flow of water and the growth of organic nature, and the normally concealed parts of a woman's body. As I have emphasised, it was by no means by chance that he lit upon this specific part of the actual landscape at Chamonix; it was a topographical feature that attracted his fervent attention and at a time when his own unspoken preoccupation must have been much to do with the opportunity for, or conversely the determined abstinence from, sexual experience.E.T. Cook and Alexander Wedderburn included a photogravure plate of the present drawing, and another of the drawing referred to above showing the same topography which is now in Birmingham, in the introductory text of Modern Painters III in their Library Edition of Ruskin's works. A confusion occurred whereby the photogravure of the present drawing was identified as showing the version of the subject which belonged to Sir John Simon, whereas, in the catalogue of Ruskin's drawings which forms part of Volume 38 of the Library Edition, it was the drawing now in Birmingham that was claimed as having belonged to Simon. It can now confidently be stated that it was the present drawing that Simon had in his collection and which was sold after his death in 1904. Professor Stephen Wildman has helpfully pointed out that the Birmingham version of the subject was apparently acquired by the museum through the agency of Arthur Severn.

Frederic, Lord Leighton, PRA (British, 1830-1896)Sea Echoes oil on canvas51.5 x 44.5cm (20 1/4 x 17 1/2in).Footnotes:ProvenanceW. Gillilan; his sale, Christie's, London, 15 May 1925, lot 121 (bought Sampson).H. Nelson; his sale, Christie's, London, 17 December 1937, lot 15, titled Music of the Sea (bought Mitchell).Anon. sale, Sotheby's, London, 27 January 1960, lot 148. Private collection, UK (acquired from the above).Thence by descent.ExhibitedLondon, Royal Academy, 1862, no. 494.Dublin, Irish International Exhibition, 1907.LiteratureMrs Russell Barrington, The Life, Letters and Work of Frederic Leighton, two volumes, London, 1906, pp. 87-8.Ernest Rhys, Frederic Lord Leighton London, 1898, p. 16.L. & R. Ormond, Lord Leighton, London, 1975, p. 154, cat. no. 81.Leighton's beautiful and sensuous painting Sea Echoes shows a young woman holding a sea-shell to her ear so as to try to hear, or to imagine that she might hear, the sound of waves breaking on the shore. The woman wears a garment of white satin over her shoulder, while her head rests against an embroidered or printed drapery showing luscious white peonies and their stems and leaves. The background of the composition shows a sea-shore and a deep green-blue expanse of ocean, with ominous dark clouds indicating an incoming storm. The model is a woman whose distinctive golden hair and pale complexion and blue eyes are seen in a number of Leighton's paintings of the early 1860s, such as Odalisque (Private collection) and Girl with a Basket of Fruit (Eucharis) (Private collection), shown at the Royal Academy in 1862 and 1863 respectively. It may tentatively be suggested that the person represented was one or other of Leighton's two sisters, Alexandra and Augusta, as there is a distinct family likeness in the physiognomy.The present painting came from a phase of the artist's career when he was striving for a new and personal style. He had first exhibited at the Royal Academy in 1855 when he showed Cimabue's Madonna (Royal Collection), a painting which was met with great enthusiasm, and which was bought by Queen Victoria. However, his subsequent exhibits of narrative type were met with indifference. In 1859 he established himself in London (having lived previously in Germany, Italy and France), and began to explore a type of thematic figurative composition from which the story-telling element was excluded but which instead depended purely upon mood and the elegance of physical type. This was a form of art of a sensuous kind which had been treated previously by French artists among them painters familiar to Leighton from the years that he had lived in Paris in the late 1850s, but which was at first regarded with suspicion by critics and fellow painters in London. Sea Echoes, painted we may assume in circa1861 and exhibited for the first time in the summer of 1862, and in which there is no indication of the circumstances or situation of the young woman represented, is one his very early experiments in this modern style of painting.Sea Echoes may therefore be seen as a product of the artistic movement which has come to be called Aestheticism and for which the theoretical basis lay in German and French art. Leighton sought to conjure sympathy for the experience of the person represented by inviting the spectator to imagine his or her response to their situation or setting. In various paintings of the 1860s he introduced the motif of imagined sounds which might be seen to prompt reflection or indicate mood. In paintings such as Duett (Royal Collection), Rustic Music (Leighton House Museum) and Golden Hours (Private collection), all from the 1860s, he showed figures transported into a realm of delight by the action of making music, or by listening to it, while still more remarkable is the subject Lieder ohne Worte – 'Song without Words' (Tate), of 1860-61, where all appears to be silent and static except for the imagined song of a blackbird. In its reference to sound, Sea Echoes is explicit, but at the same time fanciful. The painting is intended to give pleasure to the viewer by means that represented a radical departure from the solemn realities and portentousness of much the art of a previous generation of British painters.Leighton had been trained in a European academic method, and once again Sea Echoes may be seen as dependent upon the artist's formative experiences in France and Germany. It was his practice to make preparatory chalk and pencil drawings from the nude and draped model. Studies would then follow which would establish the overall format of the intended composition and determine how the figure would be placed. However carefully this process of preparation was undertaken, when once he was ready to work in paint on canvas, Leighton had the skill and confidence to work in a way that was naturalistic and unstilted, with rich colours and freedom of handling that makes the whole thing fresh and spontaneous. The flesh tones and the texture and colour of the woman's hair in Sea Echoes are beautifully captured and appear translucent in the light of the sun. The fabrics of the model's dress and the floral hanging are richly given in paint, whether in the ethereal and floating softness of the garment around her shoulders, arms and bosom, or the gorgeous ornateness of the floral hanging. The outcome is the representation of a languorous and eroticised female figure which is both sensuous and physically enticing.Lastly, the painterly immediacy of the expanse of sea and cloud, and of the glimpse of sandy foreshore, is a reminder that Leighton was – in addition to his primacy in Victorian art in the sphere of figurative art – one of the great landscape painters of the nineteenth century. This was something he refined in plein-air oil sketches, and which were then the inspiration of the landscape elements in his figure compositions. In the present painting, the view of sea and dark clouds is particularly beautiful.This is an important painting which has been untraced since 1960 and which has not appeared in any modern exhibition or publication. It is an important rediscovery and a painting which will take its place in the canon of Leighton's most innovatory early works and of the type of advanced paintings which transformed British art in the period of the Aesthetic Movement. ReferencesLeighton referred to the work in a letter to his father written at the time of its admission to the Royal Academy summer exhibition in 1862: 'Dear Papa, - I think I may confirm the report made to you of the success of my pictures [at the Academy]. Particularly the 'Odalisque' and 'Echoes' [the present work] (by-the-bye, I have just received a letter from somebody who wants to know if they are sold. What the papers say, you will have seen. You will be glad to hear that I have received congratulations on all sides, which gives me the idea of being tolerably secure; at all events, I got no such last year, nor indeed at all since the 'Cimabue.'' (Quoted Barrington II, p. 87)

TEXTILE DESIGNSJUDGE (CECIL HENRY) Portfolio containing approximately 100 large striking original designs for textiles, pencil and pochoir on paper, some hand-painted, all but 15 richly and brightly coloured, most with title caption beneath image, some signed with initials ('C.J.') and with design number in margin, sheet size typically 960 x 900mm., a few smaller, c.1935 (quantity)Footnotes:STRIKING COLLECTION OF LARGE COLOUR POCHOIR TEXTILE DESIGNS, MANY IN AN 'ART MODERNE' STYLE.A varied collection of designs for textiles such as curtains, carpets and upholsteries comprising floral, modern and Jacobean designs - palm trees, golf patterns, modern loops with marguerites and tulips, waterlilies, and abstract and figurative modern designs. All are the work of Cecil H. Judge, N.R.D., of Watford, England.These designs were realised using pochoir, an unmechanised stencil technique that places a strong emphasis on hand-colouring since the colour is added directly onto the paper by hand, giving the artist total control over the process. The pochoir technique was perfectly suited for the elegant and extravagant designs typical of Art Nouveau and Art Deco in the early 20th century.For further information on this lot please visit Bonhams.com

Tracey Emin (born 1963)Docket in my hand, 2014 incised with the artist's initials, date, and stamp-numbered 89/100 to the undersidebronze multiple with silver nitrate patina10 x 5 x 5cm (4 x 2 x 2in).Produced by the Modern Art Foundry, New York, with their foundry mark 'MA'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

John Piper C.H. (British, 1903-1992)Mosaic Coffee Table, circa 1957 signed 'John/Piper' (lower right)ceramic mosaic, painted metal and wood107.5 cm. (42 1/4) longFootnotes:ProvenanceThe Artist, from whom acquired by the parents of the present ownerPrivate Collection, U.K.In 1957 Piper saw another artist Martin Froy working on a mosaic mural at the Kingston workshop of Dennis M. Williams & Co. Dennis Williams was from a lineage of 'Freeman Tilers' and proposed that he and Piper design some tables. The intention was to revive the use of mosaic as a modern decorative art and indeed during the late 1950s and 1960s many new civic and commercial buildings incorporated mosaics as a featured surface especially in the public areas. With Williams' principal assistant, Mrs Grace Grove, vitreous glass, ceramic and porcelain was imported from Italy, Sweden, Spain and India. Some squares were made to Piper's specification e.g. a rich monastral blue and a delicate pale yellow. Thus Piper had the technical and workshop facilities to interpret directly his designs into mosaic patterns. He worked closely with setting out the individual tesserae in all the ventures.In 1957 Piper's main pre-occupation with stained glass design fed directly into how he set about displaying the mosaic colours onto the table tops. Namely he favoured using distinct colours in bold abstracted patterns but with something of the effect of age and softening of ancient stained glass by partial interspersing and graduating of colour boundaries. Piper created four main scales of mosaic tables, another similar example of the present lot is illustrated in Frances Spalding's John Piper, Myfanwy Piper: Lives in Art, Oxford University Press, Oxford, 2009, colour plate 53. Another example on this scale is also in the collection of Pallant House, Chichester.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

*Item to be collected from Friargate, Derby* An Art Deco mahogany bentwood chair, with padded back and seat; a set of five oak and leather dining chairs, cup and cover supports, circa 1940s; three oak dining chairs; two modern pine rush seat dining chairs (11) Condition - wear and tear commensurate with age Object location - Cellar 1

*Item to be collected from Friargate, Derby* Treen - a pair of shoe lasts; another; a carved ebony elephant, hardwood rhino and hippo; a carved embracing couple; a hardwood pillbox; an ebony letter opener; a carved trinket box; together with a 19th century jewellery box; a Japanese lacquer box; a Chinese mother of pearl inlayed box; a lacquered jewellery box, matching mirror and circular ring box; an art deco Bakelite box; other modern jewellery boxes etcCondition - wear and tear commensurate with age (see images) Object location - Bedroom 1

CRUZEIRO SEIXAS (1920-2020)Sans titre signé et daté 'Cruzeiro Seixas - 73' (en bas à droite)gouache et stylo sur papier brunExécuté en 1973 signed and dated 'Cruzeiro Seixas - 73' (lower right)gouache and ballpoint pen on brown paperExecuted in 197320 x 28cm (7 7/8 x 11in).Footnotes:ProvenanceCollection particulière, Italie (don de l'artiste).Artiste métamorphe possédant d'innombrables compétences en peinture, sculpture, dessin, poésie, scénographie et collage, Cruzeiro Seixas est d'une importance capitale pour le mouvement surréaliste portugais. Son œuvre a été décrite comme une 'poésie du fantastique', car elle reflète l'ensemble des paradoxes surréalistes : rêve et cauchemar, sacré et profane, sexe et mort, corps et âme. L'atmosphère évoquée dans les œuvres de Cruzeiro Seixas est à la fois paisible et angoissante, mêlant des paysages nocturnes sublimes à une végétation extraterrestre, une architecture creuse, des phénomènes célestes, des fantômes, des monstres et des corps humains aux têtes zoomorphes. Au travers de l'univers de l'artiste, nous retrouvons l'influence de Salvador Dalí, Giorgio de Chirico, William Blake, Arthur Rimbaud et Hieronymus Bosch. Comme ses prédécesseurs, Seixas fait habilement allusion à l'existence d'une narration, tout en l'occultant sous des couches sinistres d'images étranges. Seixas a vécu une vie plurielle, ses voyages à travers l'Afrique, l'Inde et l'Asie alors qu'il était engagé dans la marine marchande de 1950 à 1964 lui offrent une vision plus globale du monde. La période qu'il a passée en Angola le marque de manière significative, il collectionne des œuvres d'art indigènes, celles-ci inspirent et influencent sa propre création, c'est également en Angola qu'il organisera des expositions marquantes de l'art moderne portugais. C'est là, dans les années 1960, que Seixas noue une amitié étroite avec le propriétaire de ces trois captivantes œuvres sur papier, un Italien né en Angola. Dès lors et ce jusqu'à la mort de Seixas en 2020 à l'âge de 99 ans, les deux hommes ont échangé de nombreuses lettres. Les envois de l'artiste comprenaient souvent de belles illustrations et œuvres sur papier avec des dédicaces personnelles au propriétaire, ce qui l'a amené à rassembler un ensemble diversifié et personnel d'œuvres de Seixas. Ces trois œuvres sont le témoignage d'une amitié unique entre deux individus qui partageaient un amour de l'art surréaliste et une fascination durable pour l'exploration du potentiel subconscient de l'inattendu.An artistic shapeshifter possessing innumerable skills across painting, sculpture, drawing, poetry, scenography and collage, Cruzeiro Seixas is of central importance to Os Surrealistas, the Surrealists of Portugal. His work has been described as 'poetics of the fantastic', as he weaves together central Surrealist paradoxes: dream and nightmare, sacred and profane, sex and death, body and soul. His works achieve atmospheres that strike both tranquillity and anxiety, overlaying sublime nocturnal environments with alien vegetation, hollow architecture, celestial phenomena, ghosts, monsters, and youthful human bodies with zoomorphic heads. In tone and imagery, his influences from Salvador Dalí, Giorgio de Chirico, William Blake, Arthur Rimbaud and Hieronymus Bosch ring true. Like his forebears, Seixas was able to deftly hint at the existence of some narrative, while at the same time obscuring it beneath eerie layers of outlandish imagery. Having a distinctly global outlook, Seixas lived a peripatetic life, travelling throughout Africa, India and Asia while enlisted in the merchant navy from 1950 to 1964. Momentous in this regard was his period in Angola, during which he collected indigenous artworks, contributed fervently to his own practice and curated landmark exhibitions of Modern Portuguese art. It was there in the 1960s that Seixas struck a close friendship with the owner of these three captivating works on paper, an Italian born in Angola. From this period until Seixas' passing in 2020 at the age of 99, the pair sent many letters back and forth. Seixas' correspondences would often include beautiful illustrations and works on paper with personal dedications to the owner, leading him to gather a diverse and personal body of Seixas' work. The following three works therefore stand as a testament to this unique friendship between two individuals that shared a love of Surrealist art and an enduring fascination with exploring the subconscious potential of the unexpected.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

HENRI LE DOUANIER ROUSSEAU (1844-1910)LETTRE AUTOGRAPHE SIGNÉE à Cher Monsieur. Paris, le 1 avril 1910, 3 pages in-12 à l'encre (légère déchirure et pliures). Rarissime et lettre capitale du Douanier Rousseau expliquant son célèbre tableau Le Rêve dans lequel figure une femme nue sur un canapé dans la jungle. ...'Je réponds à cette aimable lettre afin de vous expliquer le motif pour lequel se trouve le dit canapé en question. Cette femme endormie sur ce canapé rêve qu'elle est transportée dans cette forêt entendant des sons de l'instrument du charmeur'......'Et si j'ai conservé une naïveté, c'est parce que Monsieur Jérôme qui était professeur à l'école des Beaux-arts... m'a toujours dit de la conserver. Et l'on m'a dit aussi que je n'étais pas de notre siècle' ...La lettre est signée Henri Rousseau, artiste-peintre rue Perrel 2 Bis.Le Rêve fut peint en 1910, la femme représentée est inspirée de Yadwgha, polonaise dont il était amoureux. Lorsque Rousseau peint cette toile, Freud lance ses travaux autour du rêve. C'est sur un sofa semblable à celui du Douanier Rousseau que les séances de psychanalyse se tiendront. Le Douanier Rousseau à l'origine de la psychanalyse sans le savoir? Les surréalistes répondront par l'affirmative.L'on joint une note autographe à l'encre rédigée par le concierge de la rue Perrel après le décès du Douanier Rousseau le 2 septembre 1910, l'année de son célèbre tableau Le Rêve. 'H. Rousseau est décédé insolvable à l'Hôpital Necker il n'a même pas laissé de quoi payer les frais des obsèques.'Le Rêve figure à New-York au Museum of Modern Art. AUTOGRAPH LETTER to 'Cher Monsieur', SIGNED. Paris, 1 April 1910, 3pp., ink on paper, some tears and folds, 12mo. Extremely rare and important letter from Douanier Rousseau explaining his famous painting Le Rêve depicting a naked woman on a sofa in the jungle....'Je réponds à cette aimable lettre afin de vous expliquer le motif pour lequel se trouve le dit canapé en question. Cette femme endormie sur ce canapé rêve qu'elle est transportée dans cette forêt entendant des sons de l'instrument du charmeur'......'Et si j'ai conservé une naïveté, c'est parce que Monsieur Jérôme qui était professeur à l'école des Beaux-arts... m'a toujours dit de la conserver. Et l'on m'a dit aussi que je n'étais pas de notre siècle'...The letter is signed Henri Rousseau, artist-painter Rue Perrel 2 Bis.Le Rêve was painted in 1910, the woman depicted is inspired by Yadwgha, a Polish woman the artist was in love with. When Rousseau painted this canvas, Freud was working on the dream. It was on a sofa similar to that of the Douanier Rousseau that the psychoanalytic sessions were held. Is Douanier Rousseau at the origin of psychoanalysis without knowing it? The surrealists would answer positively. We attach an autograph note by the janitor of the rue Perrel after the death of the Douanier Rousseau on September 2, 1910, the year of his famous painting, Le Rêve'H. Rousseau est décédé insolvable à l'Hôpital Necker il n'a même pas laissé de quoi payer les frais des obsèques'.« Le Rêve » is exhibited at the MoMA, New York.Footnotes:ProvenanceCollection particulière, France.For further information on this lot please visit Bonhams.com

MARCEL MARIËN (1920-1993)Le cœur sur la main signé, inscrit et daté 'Le cœur sur la main 1991 Marcel Mariën' (sous la base)pierre et ruban dans une boîte en Plexiglas Exécuté en 1991signed, inscribed and dated 'Le cœur sur la main 1991 Marcel Mariën' (under the base)stone and ribbon in a Perspex boxExecuted in 199121 x 21 x 21cm (8 1/4 x 8 1/4 x 8 1/4in).Footnotes:ProvenanceCollection Jacques Schroeder, Belgique. Acquis auprès de celle-ci par le propriétaire actuel. Né à Anvers en 1920, Marcel Mariën est rapidement devenu l'un des membres les plus prolifiques du mouvement Surréaliste belge.Mariën a découvert le surréalisme en 1935 à travers deux peintures de son compatriote belge René Magritte lors d'une exposition d'art contemporain organisée au centre communautaire d'Anvers. Il rencontra Magritte deux ans plus tard en 1937 et rejoignit ensuite le groupe surréaliste dont il était le membre le plus jeune agé de 17 ans seulement. Ce fut cette année qu'il créa et exposa son tout premier objet surréaliste et son travail le plus connu : L'introuvable, une paire de lunettes à un seul verre.Ses travaux jouent avec la norme et la déforment, formant des ponts entre le langage, l'image et l'objet, jouant en concurrence avec la perception de la réalité. Ses expérimentations artistiques à travers différents media sont une preuve de sa polyvalence comme artiste et membre du mouvement.En dehors de sa participation au Surréalisme, Mariën était écrivain, poète et théoricien. Il écrivit la première monographie de René Magritte, publiée en 1943. En 1954 il fonda le magazine Les Lèvres Nues avec Jane Graverol et Paul Nougé et en 1979 il signa le premier livre de référence sur le Surréalisme en Belgique intitulé L'activité surréaliste en Belgique (1924-1950), pour ne nommer que ses publications les plus célèbres.Ses travaux sont conservés dans les institutions artistiques les plus prestigieuses du monde comme la Tate Modern à Londres, le Getty Museum à Los Angeles, le MoMA à New York, et le Musée royal des Beaux-arts à Bruxelles.Born in Antwerp in 1920, Marcel Mariën swiftly became one of the most prolific members of the Belgian Surrealist movement.Mariën discovered Surrealism in 1935 through two paintings by fellow Belgian René Magritte during a contemporary art exhibition organized at the Antwerp community centre. He met Magritte two years later in 1937 and subsequently joined the Surrealist group - he was the youngest member at 17 years old. It was this year that he made and exhibited his very first surrealist object and his most famous work: L'introuvable, a set of single-lens glasses.His works play and distort the accepted norm, creating bridges between language, image and object, all concurrently playing with the viewer's perception of reality. His experimentation with different media is testament to his versatility as an artist and member of the movement.Aside from his involvement with the Surrealists as an artist, Mariën was a writer, poet and theorist. He penned the first monograph of René Magritte, published in 1943; in 1954 he founded the magazine Les Lèvres Nues with Jane Graverol and Paul Nougé and in 1979 he authored the first reference book on Surrealism in Belgium titled L'activité surréaliste en Belgique (1924-1950), to name just a few.His works are housed in some of the world's most prominent modern art institutions such as Tate Modern in London, The Getty Museum in Los Angeles, MoMa in New York, and the Royal Museums of Fine Arts in Brussels.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

Jazz LPs, approximately sixty albums and a Box Set of mainly Jazz with artists including John Coltrane, Gil Evans, Art Blakey and his Jazz Messengers, Milt Jackson, Charlie Mingus, Modern Jazz Quartet, Coleman Hawkins, Dizzy Gillespie, Ella Fitzgerald, Count Basie, Oscar Peterson, Buddy Rich, Charlie Parker and more - mainly all in Excellent condition

Two art pottery tiles by Kenji Funaki (Japanese B.1927) depicting an owl on a branch and a snail in brown, green and ochre glazes on cream ground, 16.5cm x 16cm and 13.5cm x 13cm, both in modern hardwood frames. Provenance: Liberty Japanese Collection 12th April 1986. With typed exhibition catalogue.

Quantity of modern issue Star Wars collectables including miniature helmets x 8, Episode III official 2005 pin collection (complete), Topps Master Visions Collector Cards set of 6.5"x10-3/16" art cards, Cartamundi limited edition playing card deck LE 130/5000 within presentation box with COA, and others, all generally Good to Excellent.

A Carved Wooden Modern Art Sculpture depicting Couple Embracing, 93cms High

A box of art books including History Of, Modern Sculpture, Photography etc (14)

Six Art referemce volumes including Cubism & Abstract Art Adventures of the Blacksquare, Modern Art, Ben Nicholson

Auction Catalogues, A large quantity of catalogues on Modern Art and Design covering 1870- present day, predominantly Sotheby's CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

An Art Nouveau white metal spoon with leaf-shaped handle, 10.5cm long, a small modern silver menu/place name card holder, London 1961, 2cm high, 3.6cm long and a silver-bladed mother-of-pearl fruit knife, (3).

Books - William Morris, by Himself, Designs and Writings, edited by Gillian Naylor; Waterhouse (JW), The Modern Pre-Raphaelite; others similar, Arts and Crafts, Charles Rennie Mackintosh, Christopher Dresser, Art Nouveau (11)

Martin Weener (American, 1913-2001)'To Jack with love...Dallas' from a series of paintings: 'Painted in protest: landscape of violence and climate of assassination', signed 'M.W' l.r., and dated '1964' verso, oil on canvas45.5 x 61cm, unframedExhibited: ASUC Art Gallery, Berkeley, California, 'Landscape of Violence', 30 April-15 May 1967.Martin Weener grew up in New York. He started his career as a TV scriptwriter, writing films and TV scores, but after some success, he moved to Paris to study art, an interest he pursued until his death. During his lifetime he lived for many years in Paris, London, Southern France and Israel, where he maintained a prestigious artistic output, some pieces of which are now with the Royal Academy of Music, the Jewish Museum, London and the Tate Modern. Martin used many mediums, be it oils, acrylics or watercolours, and he was heavily involved in graphics.During a turbulent period in America during the mid-1960s, there were many high-profile assassinations, including Senator Robert F Kennedy, his brother, President John F Kennedy, and the civil rights activist, Martin Luther King. Weener prepared a number of paintings 'in protest' which were exhibited throughout the whole of the United States and a number of embassies throughout the world. His work was highly praised by Norman Mailer and said to have both strength and delicacy. 'Painted in protest: landscape of violence and climate of assassination' is a series of pictures around the theme of President John F Kennedy's death. The series starts from this scene, but also seeks to question many of the 'sicknesses' of the modern social climate.Condition ReportOverall 47.5cm x 63cmSome scuffing to canvas edges and some surface dirt but otherwise good condition.

Martin Weener (American, 1913-2001)'American Heritage 3'from a series of paintings 'Painted in protest: landscape of violence and climate of assassination', signed 'M.W' l.r., and dated '1964' verso, oil on canvas45.5 x 61cmExhibited: ASUC Art Gallery, Berkeley, California, 'Landscape of Violence', 30 April-15 May 1967.Martin Weener grew up in New York. He started his career as a TV scriptwriter, writing films and TV scores, but after some success, he moved to Paris to study art, an interest he pursued until his death. During his lifetime he lived for many years in Paris, London, Southern France and Israel, where he maintained a prestigious artistic output, some pieces of which are now with the Royal Academy of Music, the Jewish Museum, London and the Tate Modern. Martin used many mediums, be it oils, acrylics or watercolours, and he was heavily involved in graphics.During a turbulent period in America during the mid-1960s, there were many high-profile assassinations, including Senator Robert F Kennedy, his brother, President John F Kennedy, and the civil rights activist, Martin Luther King. Weener prepared a number of paintings 'in protest' which were exhibited throughout the whole of the United States and a number of embassies throughout the world. His work was highly praised by Norman Mailer and said to have both strength and delicacy. 'Painted in protest: landscape of violence and climate of assassination' is a series of pictures around the theme of President John F Kennedy's death. The series starts from this scene, but also seeks to question many of the 'sicknesses' of the modern social climate.Condition ReportOverall 47.5cm x 63cmSome scuffing to canvas edges and some surface dirt but otherwise good condition.

Marvel - DC - A collection of 30 silver, bronze, copper and modern age comics. Lot includes Deadly Foes of Spider-Man #1-4 1991; Amazing Spider-Man #318 Aug 1989 - Key Issue - Cover art by Todd McFarlane; Amazing Spider-Man #347 May 1990 - Key Issue - Cover art by Erik Larsen and similar. Comics appear flat and unfolded, with some general handling and wear signs, and appear generally Good - Very Fine overall. (This does not constitute a guarantee

A PORTABLE ZENNOX TURNTABLE, VASE AND CAST FRAMED MIRROR, comprising a large Oriental style vase height 47cm, a Sheffield Rose pewter circular hip flask, engraved with Anne Hathaway's Cottage, an Art Nouveau style metal jewellery box, a modern red cased portable Zennox turntable , floral magazine rack, a heavy cast metal Victorian wall mirror, decorated with a pair of cherubs and the words 'Welcome, Welcome, Thrice', together with an unsigned oil on board of a vase of wild flowers (7) (Condition Report: turntable untested, others appear in good condition )

A collection of mixed metal ware to include Art Nouveau brass picture frames, similar modern examples and 2 vintage oil lamps (1 tray).

A modern oak side table Art Deco design

After Edward Hopper (American, 1882 - 1967) "Cape Cod Morning", "Automat", "Soir Bleu", "Nighthawks", "Chop Suey" and "Lighthouse Hill", six uniformly framed prints, card mounted in moulded metallic frames under glass, 48 cm x 38 cm largest overall [Hopper was regarded as the most important realist painter of 20th Century America, studied at the New York School of Art and exhibited at the Museum of Modern Art.]

An impressive collection of books on Japanese prints, including: Kuniyoshi From the Arthur R. Miller Collection by Timothy Clark; Hiroshige Prints and Drawings by Martin Forrer [Royal Academy/1997]; The Passionate Art of Kitagawa Utamaro by Shugo Asano and Timothy Clark; Shunga/Sex and pleasure in Japanese Art Edited by Timothy Cark and others; Shunga/Erotic Art in Japan by Rosina Buckland; Japanese Prints From the Early Masters to the Modern by James A. Michener with notes on the prints by Richard Lane; Japanese Erotic Art/The Hidden World of Shunga by Ofer Shagan; Beauty and Violence/Japanese Prints by Yoshitoshi [1839-1892]; Chikanobu by Brian Coats; Sumo and The Woodblock Masters by Lawrence Bickford; The Japanese Print Since 1900 by Lawrence Smith; Poem of The Pillow and other Stories by Utamaro, Hokusai, Kuniyoshi and other Artists of the Floating World by Gian Carlo Calza; The Jacob Pins Collection of Japanese Prints, Paintings and Sculptures; Japanese Prints/Barry Davies Oriental Art [1998]; The Dawn of The Floating World by Timothy Clark and others [2001]; The Colour Prints of Hiroshige by Edward F. Strange; Kuniyoshi/Visionary of the Floating World edited by Rossella Menegazzo; The Art of Hiroshige by Tsuneo Tamba [bi-lingual text]; Kuniyoshi/The Faithful Samurai by David Weinberg; Kabuki Heroes on the Osaka stage/1780-1830 by C.Andrew Gerstle; Japanese Woodblock Prints, 1680-1900 by Andreas Marks; Hiroshige's Journey in the 60 odd Provinces by Marijie Jansen; and Samurai Stars of the Stage and Beautiful Women edited by the Stiftung Museum Kunstpalast, Dusseldorf [about 101 books altogether]

ART DECO STYLE FIGURAL LAMP MODERN in bronzed composition, modelled as a dancing female, on stepped base, with glass rear panel38cm high

Oil on table. Measurements: 27 x 35 cm. The Cretan school describes a major school of icon painting, under the umbrella of post-Byzantine art, which flourished while Crete was under Venetian rule during the Late Middle Ages, reaching its climax after the fall of Constantinople, becoming the central force in Greek painting during the fifteenth, sixteenth and seventeenth centuries. Cretan artists developed a particular style of painting under the influence of both Eastern and Western artistic traditions and movements; the most famous product of the school, El Greco, was the most successful of the many artists attempting to build a career in Western Europe, and also the one who most left the Byzantine style behind in his later career. Reference bibliography: Hatzidakis, Manolis (1987). Έλληνες Ζωγράφοι μετά την Άλωση (1450-1830). Τόμος 1: Αβέρκιος - Ιωσήφ [Greek Painters after the Fall of Constantinople (1450-1830). Volume 1: Averkios - Iosif]. Athens: Center for Modern Greek Studies, National Research Foundation. hdl:10442/14844. ISBN 960-7916-01-8.

Incised with the Artist's initials and numbered 'EN/5/6' along the base, to the right; also stamped with the conjoined initials of the Modern Art Foundry 'MA,' the symbol of the Art Founders Guild and dated '1982' on the rear of base, bronze with black patinaHeight: 27 1/2 in. (69.9cm)Width: 15 in. (38.1cm)Depth: 12 1/2 in. (31.8cm)Base: 4 1/2 x 10 x 10 in. (11.4 x 25.4 x 25.4cm)Conceived circa 1926, posthumously cast in 1982. Edition of 6.ProvenanceEstate of Elie Nadelman.Kent Fine Art Inc., New York, New York.Acquired directly from the above in 1986.Collection of Alan I. and Dianne Kay, Bethesda, Maryland.The Estate of Alan I. and Dianne Kay, Bethesda, Maryland.Exhibition"Masters of Modern and Contemporary Sculpture," Marlborough Gallery, New York, November 8-December 4, 1984, no. 49 (illustrated).LiteratureLincoln Kirstein, Elie Nadelman, Eakins Press, New York, 1973, no. 71, p. 294 (in reference to the galvano plastique).Masters of Modern and Contemporary Sculpture, Marlborough Gallery, New York, 1984, no. 49 (illustrated).Barbara Haskell, Elie Nadelman: Sculptor of Modern Life, New York, 2003, pp. 157, 159 and 166, fig. 189 (another example illustrated). To receive additional images or for any other information, please email Raphaël Chatroux at rchatroux@freemansauction.com

Signed with conjoined letters 'HE CROSS' bottom right, oil on board12 1/4 x 18 15/16 in. (31.1 x 48.1cm)Executed circa 1905.ProvenanceCollection of Ambroise Vollard, Paris (no. 350).Galerie Druet, Paris.Armand Hammer, New York, New York.Christie's, London, sale of July 2, 1974, lot 36. Acquired directly from the above sale.Private Collection.Façade Gallery, New York, New York.Acquired directly from the above in 1986.Collection of Alan I. and Dianne Kay, Bethesda, Maryland.The Estate of Alan I. and Dianne Kay, Bethesda, Maryland.Exhibited"The Armand Hammer Collection," Brooks Memorial Art Gallery, Memphis, Tennessee, October 2-December 30, 1969, no. 56."Hammer Galleries, 50th Anniversary Southern Exhibition," High Point Theater and Exhibition Center, High Point, North Carolina, July 23-August 20, 1978.The Mint Museum, Charlotte, North Carolina, August 27-September 17, 1978.Federal Reserve Bank of Richmond, Richmond, Virginia, September 26-October 15, 1978, no. 14 (as Leda and the Swan).NoteWe wish to thank Mr. Patrick Offenstadt for confirming the authenticity of the present work, which will be included as no. 315 (p. 347) in the upcoming Catalogue Raisonné of the Artist's work. The present lot will also be accompanied by a copy of the original Letter of Authenticity by André Schoeller, dated May 13, 1986.The Impressionist movement was born in rebellion against the official Academic movement, which championed religious and mythological art. Instead, the Impressionists chose to depict everyday life, and to focus on the ephemerality of light and its effects on colors and shapes. As such, mythology and Impressionism are not notions that necessarily pair well with eachother. The Impressionists almost never depicted episodes derived from ancient mythology, which they considered as an attribute of their academic rivals; a resolutely anti-modern theme. However, such a trend gradually disappeared at the turn of the 20th century, firstly through masters of the early Impressionist movement, Pierre-Auguste Renoir and Berthe Morisot (two lovers of 18th century Rococo art), later continuing with the Post Neo-ImpressionistsPaul SignacandHenri-Edmond Cross, whose present painting, inspired by the myth of Leda and the Swan, embodies a shift in the precepts of the Impressionist movement.Executed in 1905, the oil depicts the beautifully naked Leda languishing on a boat which a white swancasuallyapproaches. The bird is in fact Zeus, who transformed his physical appearance to casually seduce the princess. Without knowing the painting’s title, it is difficult to identify the scene, as it is strippedfromany explicit mythological reference, and set in modern times. The swan itself does not seem very engaging with Leda: its back is turned to the viewer, about to veer off. Cross in fact uses the pretext of the myth to push through the inherent limits associated with Impressionism. He invents a new world where the fantastic mixes with the naturalistic, in which Leda and Zeus morph into an anonymous nude and a passing animal, both bathed in a warm and refracted light, characteristic of Cross's divisionist style from 1900 onwards.The work is a vibrant example of Cross’ pointillist technique and luminous artistry, and beautifully illustrates the artist’s ongoing exploration of light and color. The contrasting, yet harmonious hues are spread across the board in small ellipses of paint. The dappling shadows of the trees on the other bend of the river balance the shimmering haze of greens, turquoise and pinks in the foreground. The scene channels the warm light and peaceful atmosphere of the South of France, where the artist and his wife moved at the turn of the century in search of new inspiration. It also reflects the artist’s new pictorial ideals at the time, as such bright and pure touches of color were not necessarily observed first-hand by Cross. Here, the artist departs from a strictly naturalistic observation of nature and focuses on the harmony of light and color instead, to capture its total intensity. As Isabelle Compin, Cross’ biographer, explains: “Cross, now believing that the effects of light could not be rendered with accuracy in painting, chose instead to suggest light’s intensity and to emphasize its ability to harmonize or unify differing compositional elements.”Mythology allowed Cross to explore such chromatic explorations without being constricted by a realistic subject. It also provided the artist with an elegant, refined and graceful iconography, which integrated itself perfectly within his colorful world. It came naturally to Cross, who confessed in 1905 to his friend Théo van Rysselberghe: "...On the rocks, on the sand of the beaches, nymphs and naiads appear to me, a whole world born of beautiful light.” He was also not the only one to channel such mythological references. Around that time, Paul Signac himself worked on integrating harmony into his compositions, and often used arcadian subjects, such as nymphs or goddesses, to that effect (see In the Time of Harmony). In doing so, Cross and Signac suggested a cohesion between man and nature, and rekindled the idea of a new Eden, hermetic to industrialization and the modern world - a measured idealism which, at the sight of the present oil, forces us to pause in our ever so active and hectic life to contemplate beauty around us.Once in the collection of famousart dealerAmbroise Vollard, this mosaic jewel is making its first reappearance on the market for more than thirty years. To receive additional images or for any other information, please email Raphael Chatroux at rchatroux@freemansauction.comFrame: 22 x 28 x 3 1/2 in.

Numbered 'no. 5' and signed 'A. MAILLOL' (underlined) on the rim of the base bottom left, also stamped with 'Cire/Valsuani/Perdue' foundry mark on the rear of base, to the right, bronze with dark brown patinaHeight: 35 in. (88.9cm)Width: 11 in. (27.9cm)Depth: 17 in. (43.2cm)Cast circa 1920, during the artist's lifetime, from an edition of 8.ProvenancePersonal Collection of Erhard Weyhe, New York, New York. Façade Gallery, New York, New York.Acquired directly from the above in 1986. Collection of Alan I. and Dianne Kay, Bethesda, MarylandThe Estate of Alan I. and Dianne Kay, Bethesda, Maryland.LiteratureWaldemar-George and Dina Vierney, Aristide Maillol, New York Graphic Society, Greenwich, 1965, p. 110 (another example illustrated). NoteA certificate of authenticity will be issued by Olivier Lorquin, Président de la Fondation Dina Vierny - Musée Maillol to the buyer of this sculpture. Pomona was the Roman goddess of the flourishing and cultivation of fruit trees, gardens and orchards, most often depicted throughout art history holding baskets of fruit or a cornucopia. Early Modern French sculptor, Aristide Maillol, depicted Pomona several times throughout his career, as early as 1910, either nude or draped in a tunic, holding round, sensual fruits in both hands. A great admirer of gardens and garden statuary, Maillol was also greatly influenced by Classical and Renaissance art and literature in his work, in large part due to his life on the Mediterranean coast, steeped in Greek and Roman heritage. He was known to recite passages of Virgil by memory, and even illustrated editions of Virgil and Ovid’s writings in the 1920s and 30s. Maillol’s graceful, peaceful Pomona shows his emphasis on a serene surface and emotional restraint that set him apart from his contemporaries. In his close study of this symbol of fertility and abundance, Maillol creates Pomona as a picture of tranquility, her frontal position and elegantly draped tunic speaking to a concentration on geometry, balance and form, a solidity and groundedness that exemplify the artist’s most notable works. While beginning his artistic career in many mediums, including painting, drawing and tapestry, Maillol quickly turned his attention to sculpture and dedicated his career to modeling beauty and serenity through the female form. Pomone à la Tunique, cast in the artist’s lifetime, is classical in subject and beauty, while revealing Maillol’s impact on Modernist realism, as he reduces the figure to its most stable and beautiful form.To receive additional images or for any other information, please email Raphaël Chatroux at rchatroux@freemansauction.com

A LARGE PORCELAIN FIGURE GROUP, A PAIR OF GERMAN FIGURINES, AND A MODERN FIGURINE IN ART DECO DRESS.

Coins and Medals - a collection of mainly 19th century and later AE medallions, coins and badges, to include (mostly EF or better) Renaissance re-strikes: 1571 Pius V Gian Antonio di Rossi, 1530 Clement VII ‘I am Joseph’ by Giovani Bernardi da Castel Bolognese, 1572 Gregory XIII St. Bartolomew Massacre by Gianfederico Bonsagni; 1779 Maria Theresa Themidi Tutelari 32mm some lustre, 1815, Waterloo/ Rogat Napoleon 40mm, 1820 Sir Edward Thomason’s metallic vase 54mm (two, one boxed), 1823 Antoni Canova by F Caqué, 1832 York Minster restored Wiener/Elkington 59mm also similar Lincoln Cathedral, 1840 Rubens exhibition Anvers by L. Hart 72mm, 1845 Births, Marriages and Deaths Historical Register 22mm, 1851 Great Exhibition prize medal by L C Wyon 77mm edge to F M C Leal Class IV, 1862 International Exhibition opened 41mm by Pinches, also Prince Albert Commemorative by Wiener stamped Uhlhorn 41mm, 1862 Gen. C[harles] R[ichard] Fox/Greek Coins 57mm, 1877 Manchester Town Hall opening 34mm, 1878 Art Union of London Daniel Maclise RA by A B Wyon 55mm, twentieth century issues, also Derby opening of Free Library 1879, Haslam DRI 1891, prize & jubilee medals, modern visitor attraction brass issues (12) also Stonehenge with reverse plan; military: Grenfell Medal 1st Bn Green Howards to Miss F L Bunyard Chelsea Flower Show 1932, XXX Corps 1945 Alamein Cuxhaven, brass 50mm,; badges: Royal Life Saving Society, Amateur Swimming Assoc (incl. cloth badges), blood donor, National Smallbore Rifle Assn., Civil Defence, International Plant Propagators Soc., CPSA, British Bee Keepers’ Assn. bee brooch, YHA etc, steel twelve drawer table top collectors’ cabinet

A studio pottery wall mask in the form of a ram's head, a modern ceramic bust depicting a lady in the Art Nouveau style and a Bradford Exchange resin figurine entitled Radiant Encounter in the Whispering Winds series depicting a pair of hummingbirds feeding

A large Blue Sky pottery vase with tube lined and painted floral decoration - sold with a pair of modern Past Times Art Nouveau style porcelain vases

A modern reproduction Art Cameo Glass vase in the Galle style, decorated with mushrooms and butterflies

George V silver sugar castor London 1931, two sauce boats, cream jug, Art Nouveau pierced bon-bon dish, Birmingham 1910, modern armada dish, London 1962, two napkin rings, pair of filled sliver candlesticks a plated bottle coaster. weighable silver 32.25oz, 1003gm

Degas, Edgar nach Mädchenakt "Spanische Tänzerin", nach dem Original im Museum of Modern Art, New York. Grün-braun patinierte Bronze. Gießerstempel ARA-Kunstguss. H. 42,5 cm. Aktueller Neupreis € 2.180,-.

Rideout, John Gordon (1898 USA 1951) Art Deco-Teekessel "Magnalite Tea Kettle". Magnalite, schwarz lackierter Holzgriff. Unterseite mit Prägemarken WAGNER WARE SIDNEY (Ohio, USA), 1936. 21,6x 25 cm. Lit.: Museum of Modern Art (MoMA) New York, Department: Architecture and Design, Object no. 254.1944.

El Anatsui (Ghanaian, born 1944)Untitled panels 1, 2, 5, 7 and 8 are inscribed with the following: 1: B4, 2: C18, 5: C6, 7: B18, 8: B22 (verso) carved, incised, and painted wooden panels 126.2 x 106 x 4cm (49 11/16 x 41 3/4 x 1 9/16in).(in 9 pieces)Footnotes:Composed of nine wood panels, the present work is quintessential of El Anatsui's notion that an artist's materials should be derived from their immediate environment. In using this material, along with the application of the artist's techniques in marking wood by carving, incising and scorching is reminiscent of the traditional African mark making that El Anatsui grew up surrounded by. Conventionally, the operation of mark making on wood was performed as a means of consolidating the identity of the owner of, for instance, a vessel or staff. Giving a fresh and modern perspective to this traditional exercise, and catalysed by the artist's interest in linguistic graphics, each panel in this work possesses its own individual marking. 'I felt the need to answer to an allegation that Africa does not have a tradition of writing, so by drawing from various cultures that have developed systems of writing I educate those who are ignorant of that fact.'Isolated in their own carvings yet hung coherently in the manner of other wooden wall hangings by the artist, such as 'Mammoth Crowd Series' sold at Bonhams in 2021, the present lot is consistent with the artist's practice, yet stands out in his opus. It is a strong example of how El Anatsui transforms an everyday material into a visually striking and dynamic relief work, recalling African traditions with a look towards a redefined identity. It is this theme of transformation that is consistent throughout the artists oeuvre.We'd like to thank El Anatsui for kindly confirming the attribution of this work.BibliographySusan Mullin Vogel, El Anatsui, Art and Life (USA: Prestel, 2012)Chika Okeke, Slashing Wood, Eroding Culture: Conversations with El Anatsui (Nka, no. 1), p. 35.For further information on this lot please visit Bonhams.com

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Portrait of a Girl signed and dated 'BE/92' (lower right)oil on canvas47.5 x 33.5cm (18 11/16 x 13 3/16in).(framed)Footnotes:Informed by the Negritude ideology, Portrait of a Girl, from subject matter to painterly execution, exemplifies the artist's hope for the future of his culture. This was to transcend from any colonial interruption within his contemporary practice in order to exemplify modern life while being aware of his traditional roots. This movement sought to diminish colonial interjection within the art that black Nigerian artists were creating, reclaiming a sense of pride in Nigerian artist's cultural history, such as Enwonwu. Leopold Senghor had spearheaded this movement with the strong belief that it was imperative for black culture to recover the cultural pride that colonialism had attempted to stamp out. By emphasising the heritage of back intellectual's and calling for an acknowledgment or incorporation into their work, whether that be in literacy or artistic practise.Following his formal artistic training in Europe, attending the Slade School of Fine Art in 1945, some of the artists early works employed the traditional Western techniques of portrait painting. While it could be said that this work possesses elements of this formal training and European modernism, the Negritude ideology and aesthetic is also firmly present within the work. In the faded background figures, and the removal of detailed eyes, presenting the subject with a level of anonymity, the current work grants the viewer with a rhetoric of the Negritude ideology. This later work steps away from any rigidity that had characterised some of his earlier works that were more directly informed by Western portraiture techniques, framing the girl in the foreground of a background of movement. Towards the end of his life, Enwonwu turned to informal and quickly completed works, perhaps drawing inspiration from more domesticated scenes. The present work could have been a child of his family members or house staff's children due to their domestically informal attire. Painted two years before the artists death, the present work gives a sense of the artist's hopes for the future and a stamp of his identity he has carved out in art history.BibliographyA Celebration of Excellence: Ben Enwonwu 1921 - 1994, (The Ben Enwonwu Foundation, 2004)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Gerard Sekoto (South African, 1913-1993)Donkeys signed 'G SEKOTO' (bottom right); bears 'South African Association of Art' label (verso)oil on canvas49.4 x 59.8cm (19 7/16 x 23 9/16in).(framed)Footnotes:ProvenanceThe collection of South African Railways and Harbours;Mrs M. G. Morgenroth, South Africa;A private collection.Exhibited Pretoria, Christi's Gallery, Sekoto: Solo Exhibition, 25 April-12 May 1947, no. 7.London, Tate Gallery, Exhibition of South African Art Abroad, 20 September 1948.Amsterdam, Stedelijk Museum, Exhibition of Contemporary South African Paintings, Drawings and Sculpture, 10 December 1948.Paris, Musée Galerie, Overseas Exhibition of South African Art, February 1949.Ottawa, National Gallery of Canada, Exhibition of Contemporary South African Paintings, Drawings and Sculpture, with a Prelude of Historical Paintings, 21 April 1949.Washington D. C., National Gallery of Art, 31 July 1949.Cape Town, South African Association of Arts, Exhibition of Contemporary South African Paintings, Drawings and Sculpture, 1948-49, no. 102.LiteratureLindop, B., Gerard Sekoto (Randburg, SA, 1988), (illustrated) bears the title 'Man in a Donkey Cart', pp. 176-177. A label on the back of this important South African painting by Gerard Sekoto formally identifies it as Donkeys. The Donkeys was listed as #7 at Sekoto's solo exhibition at Christi's Gallery, Pretoria, between 25 April and 12 May 1947, which suggests that it was painted shortly before. The artist noted that he made successful sales at both this exhibition and the one in July-August 1947 at the Gainsborough Gallery, Johannesburg, so well, in fact, that he was able to fund his forthcoming trip to Paris and self-imposed exile.At, or soon after, the Christi's exhibition, Donkeys was acquired by the South African Railways and Harbours, the collection of which is recorded on the same label on the reverse of the painting which further states that it lent the work to the 'Exhibition of South African Art Abroad' in the following year. The fact that the South African Railways and Harbours also bought two works at this exact time from Irma Stern suggests that Donkeys was destined (as the Stern works) for the same proposed South African Railways Hotel. The 'Exhibition of South African Art Abroad', organised by the South African Association of Arts, and sponsored by the South African Government, opened at the Tate Gallery, London, in September 1948 and travelled to several European and North American countries before returning to Cape Town in 1949-50. Sekoto was represented by four works in this show, Sophia Town, Evening, the much-celebrated Sixpence a Door, Three Picanins, and Donkeys. The painting is listed in the exhibition catalogue, under the slightly different title 'Exhibition of Contemporary South African Paintings, Drawings and Sculpture, Cape Town', 1948-49, number 102. Donkeys was de-accessioned by the South African Railways and Harbours when the 'palatial' hotel project was abandoned, resulting in the present owner's family acquiring the work at auction in Johannesburg in 1954-55.Sekoto painted Donkeys in Eastwood, an African township outside Pretoria, where the artist spent almost two years living with his mother, stepfather, and other family members before leaving for Europe in September 1947. This period is generally understood to be the most productive and successful period of his life. As well as several portraits of family members, Sekoto made remarkable still lifes such as Mine Boy and many paintings of Eastwood township life inter alia The Kitchen Table, a domestic interior (sold by Bonhams in 2014) and Seated at Table. Sixpence a Door represents a street performance; and Gossip at Eastwood and Raw Light (also sold at Bonhams in 2019) represent social interactions on the streets of the township. The Donkey Cart and the present work, Donkeys, celebrate an old-fashioned, even picturesque mode of transport.The complete absence of white people from these scenes is testimony to the segregation of South African communities that was soon to be brutally reinforced under Apartheid. But Sekoto, like George Pemba in the Eastern Cape, represents a harmonious and self-contained social order. Both artists, of course, depended on a white clientele which would have doubtless preferred a positive over a negative view of South African township life. But it has been argued that, in context, these works constitute a form of protest in that not only do they replace the primitivizing stereotype of rural African people that was still popular with white artists such as Irma Stern with a contemporary view of urban black life, but they also tend 'to humanise the world of the anonymous masses for the white viewer'. However, there can be no doubt that Sekoto and Pemba took both pride and pleasure in representing the communities where they lived. Sekoto's account of the origin of Donkeys, for example, is entirely positive:'At Eastwood I was relaxed. I could work hard at my painting. I was not worried by all the people and things around me as I had been in the big cities. The people in Eastwood did not mind when I looked at them. In fact, some people were happy to model for me.There was a man who sold water to the people in the township. He had a tank of water, which was pulled by donkeys. He was very happy for me to make sketches of him. Later I painted a picture of him.'Within a few years, Eastwood, like Sophia Town in Johannesburg, and District 6 in Cape Town, where Sekoto had previously lived and worked, was demolished by Apartheid urban planners. The present work represents the quality of life, no doubt impoverished but certainly dignified and vital, that was annihilated in the process.We are grateful to Professor Michael Godby for the compilation of the above footnote.BibliographyBarbara Lindop, Gerard Sekoto (Johannesburg: Dictum Publishing, 1988), pp.24-26.Irma Stern's Cashbook, National Library of South Africa, Cape Town, MSC 31, 3, p.89.The Cape Times, 'Pictures for South African Railways Hotel', (13 March 1947)Lize van Robbroeck, ''That Magnificent Generation': Tradition and modernity in the lives, art and politics of the first modern black painters', in, Visual Century: South African Art in Context, Volume 1, 1907-1948, ed. Jillian Carman (Johannesburg: Wits University Press, 2011), pp. 114-133.Gerard Sekoto, My Life and Work, (Cape Town, Claremont: Viva Books, 1995), p. 57.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Yusuf Adebayo Cameron Grillo (Nigerian, 1934-2021)The Seventh Knot, 1969 signed and dated 'Y GRILLO/ 69' (lower left); inscribed '22/ THE SEVENTH KNOT/ OIL ON BOARD BY/ Y.A GRILLO 1969' (verso)oil on board 121 x 75cm (47 5/8 x 29 1/2in).(framed)Footnotes:ProvenanceAcquired directly from the artist in 1969;Thence by descent to the current owner. Arguably one of the most prominent post-colonial modern artists and advancer of the subject, Yusuf Grillo's (1934-2021) influential and meticulously executed oeuvre encapsulates the vivaciousness of modern Lagos life. The Seventh Knot (1969) is characteristic of some of Grillo's most famous and successful work, yet prominent in its dynamic composition and scale. As a key figure of the Zaria Art Society, Grillo, and his contemporaries such as Demas Nwoko, Uche Okeke and Bruce Onobrakpeya, directed the trajectory of what post-colonial African art would look like. Coining the term 'natural synthesis', Uche Okeke presented the ideology of Modern West African art as an informed incorporation of pre-colonial and Western art motifs, displaying an evolvement in subject matter, medium, and execution. Challenging colonial interference which attempted to eradicate pre-colonial practices and depictions, the society aimed to take ownership of their culture, history, and art. In Grillo's view, he criticised the nationalist efforts made by some post-colonial artists to out rightly reject the impact colonisation had as to do so would consciously limit instinctive creative intuition within artistic practice. The priority for Grillo, was to produce work with a heightened emphasis for the process of painting itself and vigorous study of palette and form. 'This politically desirable aim often forms the philosophy of many a contemporary artist, with the sad result that sincere creative urges are replaced by over consciously chauvinistic syntheses.' Yusuf A. Grillo,'Appreciations of Felix Idubor', African Arts 2:1 (autumn 1968), p. 33.Characteristic of some of the most successful pieces of Grillo's oeuvre, The Seventh Knot (1969) displays the geometrical forms and shapes that acknowledge Grillo's love of mathematics, a theme that has been stimulated in a wide body of the works created by the artist. This abstraction technique presents us with a female raising both arms behind her head, seemingly with effort to assemble her head piece. Following his education at the Nigerian College of Arts, Science and Technology in Zaria in 1951, Grillo was fascinated not only by the visual aesthetic that these planes of colour could achieve but also the way they could convey a metaphysical world beyond realistic notions of painting was quintessential of Grillo's creative process. Here, we can see these bold geometric planes differentiated by thick black brushstrokes and varying tones of blue and purple, creating the movement and dynamism throughout the work. This work may be compositionally reminiscent of a figure in Pablo Picasso's Les Demoiselles d'Avignon(1907) which could well have informed his work. However, this also neatly acknowledges Yoruba sculpture as the route of inspiration as Picasso's cubist work, allowing 'natural synthesis' to come full circle.Perhaps the most consistent element of Grillo's work that can be seen to span the course of his career (albeit in phases or recurring years) is his palette of blues and purples at their varying depths and derivatives. Possibly aesthetically influenced by both Picasso's 'blue period' (1901-1904) and more significantly adire dye (commonly used in Yoruba communities for dying clothes), Grillo has not explicitly confirmed his colour inspiration. However, by having a coherent colour palette system, Grillo allows a conversation to be formulated between colour and compositional form which dominates his work allowing extensive narrative possibilities within the aesthetic cohesion of this painting. Heavily influenced by his Yoruba heritage and traditions, a subject that is thematically consistent within his paintings, the work depicts a woman tying the final knot in her gele (headscarf) as was traditional form of attire for Yoruba women. Painted during the years of the Nigerian/Biafran war (1967-1970), Nigeria was a conflict zone, Grillo used the female symbol to illustrate struggle, endurance and stoicism, intrinsic motifs in his work at the time. Bookended by works such as Blue Moon(1966) and African Woman in Gele(1975) we can see the thematic interest in how the Yoruba woman presents herself, eyes downcast or turned away from the viewer. In comparison to these works, it can be concluded that the The Seventh Knot is synonymous in palette, execution, and subject, whilst holding an outstanding position as one of the artist's most dynamic works in composition. We are grateful to Chika Okeke-Agulu for his assistance in our compilation of this footnote.BibliographyYusuf A. Grillo, 'Appreciations of Felix Idubor', African Arts 2:1 (autumn 1968)Simon O. Ikpakronyi, Master of Masters, Yusuf Grillo: His Life and Works, ed. Paul Chike Dike & Patricia Oyelola, (Nigeria: National Gallery of Art, 2006)For further information on this lot please visit Bonhams.com

Algernon Cecil Newton R.A. (British, 1880-1968)Country Lane oil on board23 x 31cm (9 1/16 x 12 3/16in).Painted in April 1959Footnotes:ProvenanceWith Ash Barn, Hampshire, where acquired by Mrs M. ArchdallPrivate Collection, U.K.Algernon Newton painted a number of paintings entitled Country Road and Country Lane in the 1950s and 60s. It is believed that this was painted in April 1959 and may initially have been entered in his records as Country Road. We are grateful to Sir Mark Jones and Nicholas Newton for their assistance in cataloguing this lot. Sir Mark is currently preparing the forthcoming catalogue raisonné of the Artist's work and would like to hear from owners of any work by the Artist so that these can be included in this comprehensive catalogue. Please write to Sir Mark Jones, c/o Modern British and Irish Art, Bonhams, Montpelier Street, London, SW7 1HH or email britart@bonhams.comThis 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

Eliot Hodgkin (British, 1905-1987)Snail Shell, Onion, Feather, Daisies signed 'Eliot Hodgkin' (lower centre)tempera on board 9cm (3 1/2 in) diameterPainted in April 1952Footnotes:ProvenanceThe Artist, by whom gifted toMr and Mrs K. AultPrivate Collection, U.K.We are grateful to Mark Hodgkin for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Mark Hodgkin, c/o Bonhams, Modern British Art Department, 101 New Bond Street, London, W1S 1SR, or email britart@bonhams.comThis 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

A modern wall unit cabinet, width 178cm also an Art Deco style display cabinet (2).