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Lot 574
Shoji Hamada (1894-1978)a stoneware jug, waisted form with applied strap handle, painted in resist with three bands of leaf motif, in cobalt blue on a salt-glaze grey ground,unsigned21.5cm. high ProvenanceShoji Hamada, Hay Hill, 1963, purchased by Richard Batterham.The Estate of Richard Batterham. LiteratureThe Retrospective Exhibition of Shoji Hamada, 16th April to June 5th 1977, The National Museum of Modern Art, Tokyo page 116 catalogue number 190 for an identical salt-glaze jug with Chinese Cobalt dated to 1960.
Lot 10
Liberty & Co.'Thebes' stool, circa 1900MahoganyIvorine manufacturer's plaque to underside35cm highProvenanceProperty from the estate of the late David Cornwell, best-known as the author John le Carré.LiteratureDaryll Bennett, 'Liberty's Furniture, 1875-1915, The Birth of Modern Interior Design', ACC Art Books, 2012, page 26, see similar example illustrated
Lot 89
Sam Gilliam (American, 1933-2022). Acrylic on birch plywood titled "The Chartmaking" depicting a colorful abstract composition, 1997. Two pieces are hinged and can swing outwards from the main body of the work. Signed, dated, and titled along the verso.Lot Essay:Sam Gilliam was one of America's foremost Black artists and a leader in the color field and lyrical abstraction movements. He was influenced by German Expressionists such as Emil Nolde, Paul Klee, and Nathan Oliveira. He was additionally influenced by Vladimir Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and aul Cezanne. An artist from an early age, he was always interested in art and eventually studied fine arts at the University of Louisville, admitted as the second class of black undergraduate students to the school.Around 1965, he became the first artist to introduce the idea of an unsupported canvas, draping the paintings from ceilings, walls, and floors. These works were immensely popular and led to exhibitions and commissions worldwide including representing the United States at the 36th Venice Biennale. He moved away from this in later years to focus on jazz-inspired works like his Black Paintings, so-named because they are painted in shades of black. His works shifted once more in the 1980s to resemble the African patchwork quilts of his childhood. Though he was largely overlooked throughout the late 1980s and 1990s, his career saw a resurgence following a retrospective at the Corcoran Gallery in 2005.From then until his death in 2022, his works came into the collections of the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art among others. He also had successful exhibitions including a second show at the Venice Biennale (2017), a large-scale draped painting titled "Yves Klein Blue" in Giardini's central pavilion for the show "Viva Arte Viva," and his first European retrospective in 2018 hosted by the Kunstmuseum Basel.His honors and awards were plentiful including eight honorary doctorates, several National Endowment for the Arts grants, the Longview Foundation Award, and a Guggenheim Fellowship. In 2015 he was awarded the Medal of Art by the U.S. State Department for his longtime contributions to art in embassies and other diplomatic facilities as well as his cultural diplomacy, which showcased his works in over 20 countries during his career.From 1962 until the 1980s, Gilliam was married to Dorothy Butler, the first African-American female columnist at The Washington Post. They had three daughters together. In 2018, after a 35-year partnership, he married Annie Gawlak, owner of the former G Fine Art gallery in Washington, D.C. On June 25, 2022, Gilliam died of renal failure in his home at the age of 88 after a long, varied, and ultimately successful career creating the art that he loved.Height: 22 1/4 in x width: 33 in x depth: 1 3/4 in.Condition: The artwork is in fairly good condition. The surface is stable and there are no losses, breaks, or restorations. Both hinged panels swing open smoothly. All parts are firmly attached and there are no loose panels. Along the left hinged panel along the upper edge there are two star-shaped cracks that project outwards; visible in the lot listing. Along the center panel there is a network of paint accretions that sit on top of the thick resin layer; possibly original to the artistic process. Some light wear throughout the edges, consistent with age and use.
Lot 94
Jim Dine (American, b. 1935). Lithograph and etching titled "The Sky in Madison, Wisconsin" depicting tools detailed and outlined in black with splashes of blue above them, 2004. On two sheets of paper. Pencil signed, numbered 13/22, and dated along the lower margin across both sheets.Dine is often associated with the Neo-Dada, Abstract Expressionism, and Pop Art movements. His works are held in the collections of prestigious institutions such as the Art Institute of Chicago, the Fogg Art Museum, the Museum of Modern Art (MoMA), the Minneapolis Institute of Arts, the Guggenheim, the Tate Gallery, the Whitney, and the Stedelijk Museum.Unframed, each; height: 43 in x width: 30 1/2 in. Framed; height: 49 in x width: 67 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 99
Marc Chagall (Russian/French, 1887-1985). Lithograph on Arches paper titled "Paris of Dream" depicting a dream-like depiction of Paris, 1969-1970. Pencil signed along the lower right; numbered 12/75 along the lower left. With a certificate of authenticity from Cass Publishing. As the artist described these works, "Visions of Paris which are perhaps the same and also different. Paris, reflection of my heart. I'd like to fade into it, not be alone with myself."Literature: Mourlot 600.Provenance: Cass Publishing, Minnetonka, Minnesota; Private Collection, Minnesota.Lot Essay:Marc Chagall (born Moishe Shagal) was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's pre-eminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opera.Before World War I, he travelled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern Europe and Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1923.He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk." "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".Sight; height: 40 1/2 in x width: 28 in. Framed; height: 57 1/4 in x width: 45 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 113
Terence David La Noue (American, b. 1941). Mixed media on wood artwork titled "Kyoto Falls," depicting an abstract scene inspired by the famous waterfalls in Kyoto, Japan, 1992-1997. Signed, titled, and dated along the verso. Often taking years to complete, his works are held in numerous collections including the Center for Contemporary Art in Kitakyushu, Japan, the Power Institute of Fine Arts in Sydney, Australia, the Musee d'Art et Archeologie in Paris, France, the Museum of Modern Art (MoMA), the Whitney Musem of American Art, and the Corcoran Gallery of Art.Unframed; height: 45 in x width: 37 in. Framed; height: 51 in x width: 42 1/4 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 116
Arthur Osver (American, 1912-2006). Oil on canvas painting titled "Equinox" depicting a colorful abstract composition. Signed along the lower left. Signed, titled, and dated along the verso. With a label from Fairweather Hardin Gallery in Chicago affixed along the verso.Osver settled in Greenwich Village in 1940 and became deeply immersed in his location, referencing American industrial forms that he saw everyday. In 1952 Osver won the Prix de Rome, and was pushed into an unfamiliar space, leading to a new way of painting for the artist. Though he moved more and more towards abstraction, becoming part of the burgeoning Abstract Expressionism movement, his works often returned to familiar subjects including those industrial forms he so loved in his earlier paintings.Throughout his life, even after he moved to St. Louis in 1960, his subject matter often returned to New York. Visual perception was key for the artist and the city he spent his early artistic career in remained vital to him, even in his later years. His works are held in the collections of the Metropolitan Museum of Art, the Museum of Modern Art (MoMA), The Whitney Museum, and the Art Institute of Chicago.Unframed; height: 29 in x width: 27 1/2 in. Framed; height: 30 in x width: 28 1/2 in.Condition: The painting is in excellent condition with no visible tears, creases, or losses. The surface is stable, and the color is bold and bright. No visible sign of restoration under UV light. Very light wear to the frame.
Lot 92
Robert Motherwell (American, 1915-1991). Lithograph "Untitled (Number 24)" with chine colle from the "Octavio Paz" suite, 1988. Pen signed and dated along the lower right.Robert Motherwell was a leading Abstract Expressionist who dramatically altered the American art scene during the mid twentieth century. At first desiring to become a philosopher, Motherwell studied the discipline at Stanford University and later at Harvard University. It was in 1938-39 during a trip to Paris where he observed modern art that Motherwell decided to pursue a career in painting and went on to study art history at Columbia University. When he moved to New York he joined with like-minded artists such as Jackson Pollock, Willem de Kooning and Mark Rothko among others. Motherwell also became close friends with Roberto Matta, whom he joined on a six-month trip to Mexico in 1941. Matta’s associations with Surrealism and the delving into the subconscious no doubt influenced Motherwell and other Abstract Expressionists. Reacting against typical artistic conventions, Motherwell started painting big and bold brushstrokes set against a minimal backdrop. His paintings were meant to evoke authentic emotion by doing away with the superfluous and hence uncovering what is most essential. In 1943, Motherwell began experimenting with collage, which he continued to do until the end of his career. He was a frequent writer on the subject of art as well; in 1944 he became the editor of the literary series “Documents of Modern Artâ€. The same year he had a solo exhibit at Art of this Century Gallery in New York, leading to many more solo exhibits in the following years. Starting in the late 1940s Motherwell began painting his most famous works, "Elegy to the Spanish Republic," a series of over 170 paintings that were inspired by the Spanish Civil War. He worked on "Elegy to the Spanish Republic" until his death, the works representing the universal themes of human suffering and violence reflected in the jarring colors and forms of the compositions. At the same time he began painting "Elegy to the Spanish Republic" he spent a great deal of time teaching and lecturing, which he did through the 1950s. A retrospective of his work was held from 1983-85 by Albright-Knox Gallery in Buffalo, NY, and his work is included in the collections of such museums as the Museum of Modern Art, The National Gallery, and The Guggenheim Museum.Unframed; height: 22 1/2 in x width: 28 in. Framed; height: 25 1/2 in x width: 30 1/2 in.Condition: The item is in good condition with no visible tears, creases, or losses. The paper is floating on the frame; all four margins are visible. Light wear to the frame; however, it appears to be original to the artistic practice. No visible sign of restoration under UV light. The color is bold and bright. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Lot 260
Timothy "Tim" Noble (British, b. 1966) and Susan "Sue" Webster (British, 1967). Scrap metal sculpture titled "Metal Fucking Rats with Heart Shaped Tail," 2007. Welded steel and light projector. When light is directed on the sculpture, a shadow of two amorous rats with their tails forming a heart can be viewed.The duo referred to as Tim Noble and Sue Webster are most often associated with the post-YBA generation of artists. Working with odds and ends to create sculpture installations, their work can be divided into two categories: light and shadow. The pair met in college while studying at Nottingham Trent University and became close friends due to their shared interests in music. After moving around for several years, they both moved to London while Noble started his MA in sculpture at the Royal College of Art.In 1996 they held their first exhibition called "British Rubbish" at the Independent Art Space. The success of this exhibition led to a multitude of follow-up exhibitions including their most well-known work, "Dirty White Trash (with Gulls)," which was created from six months' worth of garbage. When the light was shown on the heap the artists, Noble and Webster, could be seen sitting back-to-back.Their works have been included in exhibits around the world including shows at the Royal Academy London, the British Museum in London, and galleries in Berlin, Seoul, New York, Athens, Boston, and Moscow. Their artwork is held in the collections of the Arken Museum of Modern Art in Denmark, the National Portrait Gallery in London, and the Solomon R. Guggenheim Museum in New York.Since the late 1980's, Tim Noble and Sue Webster have been known for their shadow sculptures built using household objects, garbage, taxidermy, and scrap metal - like the sculpture offered here. Under directed light, these works cast recognizable shadows, sometimes self-portraits. Merging together form and anti-form, high culture and anti-culture, their anti-monuments explore human psychology and how and why we attach meaning to images.Height: 23 in x width: 25 in x depth: 7 in.Condition: The scultpure appears to be in excellent condition. Due to the nature of the sculpture, it is difficult to determine if there are any losses, bends, or breaks. The metal is patinated and has oxidized, though this may be original to the production of the sculpture as it was created from scrap metal. The projector runs and works but has not been tested for prolonged use.
Lot 80
Takeshi Kawashima (Japanese, b. 1930). Large oil on canvas painting titled "N.Y. 54" depicting a gridded abstract composition of phallic and yonic suggestive images in shades of red and black, 1965. An early example of his iconic and bold New York series. Signed and dated along the verso. Further signed along an original segment of stretcher affixed to the new stretcher.Born in Takamatsu City, Kagawa prefecture, Japan, Kawashima would go on to attend the School of Fine Art in Musashino. It was in Japan that he would develop the gridded abstracts that he would become famous for. In 1963 he relocated to New York City and was invited to participate in the Museum of Modern Art's (MoMA) major 1965 exhibition "The New Japanese Painting and Sculpture." Solo and group exhibitions quickly followed including further exhibitions at MoMA and the Waddell Gallery. After living in the United States for over 50 years, he returned to Japan and opened the Takeshi Kawashima Art Factory on the "art island" of Naoshima. He assisted in establishing the Setouchi Triennale arts festival for the Seto Inland Sea.His works can be found in the permanent collections of the Norton Simon Museum and the Museum of Modern Art (MoMA).Height: 68 in x width: 68 in.Condition: The artwork has been re-stretched. There are a few small areas of scuffs throughout the painting. There are horizontal cracks to the surface of the painting in three of the grids: bottom row, third from the right; bottom row, right corner; top row, second from the right. There are areas of thicker painting along the extreme edges of the work, possibly from where the work curved around the previous stretcher.
Lot 575
M.D PARASHAR (RANTHAMBHORE SCHOOL OF ART) A PHOTOREALISM STUDY OF A TIGER, signed and dated 2003 bottom right, Gouache? on silk, approximate size 138cm x 77cm, together with two modern indistinctly signed watercolours, two flower study prints and Egyptian papyrus, Condition Report: the painting has cobwebs across the surface
Lot 1009
A rare vintage Besson ''Sessionaire'' Bb trumpet, made at the Boosey and Hawkes Edgware Factory, serial no 355509 for 1962 in brass and nickel silver, with mother-of-pearl finger button inserts and an Art Deco style design in metal on the main slide; together with a rare Vincent Bach 10c silver plated mouthpiece with 24 ct gold plating on rim and cup, and a modern gig bag.
Lot 45
Full title: Jacob Jordaens (1593-1678) and workshop: Susanna harassed by the Elders, oil on canvas, 17th C.Description:Work: 171 x 149 cm Frame: 192,5 x 171 cm Depicted is the well-known Old Testament story of Susanna, the beautiful and pious wife of Joachim, a wealthy Jew in Babylonian exile. While bathing in her garden, she was spied on by two elderly men, who made in vain indecent proposals to her, whereupon, in revenge, they accused the chaste woman of adultery with a young man, completely unjustly (Daniel 13: 1-24). This subject was one of the most popular themes of biblical iconography and was depicted countless times inearly modern period painting. As an example of female chastity, the theme was of course an 'exemplum virtutis', but this biblical bathing scene was also a pretext for depicting sensual female nudes. The destination of this type of painting was mainly the relative seclusion of the bourgeois or aristocratic interior. Jordaens depicted the theme repeatedly between the thirties and the sixties of the 17th century (for an overview: R.-A. d'Hulst, N. De Poorter & M. Vandenven, Jacob Jordaens (1593-1678), cat. tent., Antwerp, 1993, pp. 270-272, no. A88). The painting is a somewhat more detailed replica of the oldest known version that is now in the Royal Museums in Brussels and must be situated in the late 1630s on stylistic grounds (a.o. Koninklijke Musea voor Schone Kunsten van België. Departement Oude Kunst. Inventariscatalogus van de oude schilderkunst, Brussels, 1984, p. 158, inv. nr. 3295; R.-A. d'Hulst, Jacob Jordaens, Antwerp, 1982, p. 162, pl. 131; link and link). In the scheme of this composition, Rubens' version of the same theme from 1614 (Stockholm, Nationalmuseum) was taken as the starting point; moreover, Jordaens has incorporated motifs from two other Suzanna scenes by Rubens (see R.-A. d'Hulst & M. Vandenven, op. cit., pl. 152, 159, 162; linkand Tif" target="_blank">link). The ambiguous function of the Suzanna depictions is emphatically emphasized in this version by Jordaens by the depiction, on the left, of a fountain statue under the figure of Cupid and a large peacock with a graceful tail. While the first motif refers to the erotic intentions of Suzanna's interests, the second - the attribute of Juno, the Roman patron goddess of marriage - refers to marital fidelity. The painting is accompanied by a certificate from Hans Vlieghe from November 1997 (Emeritus Professor Dr. Hans Vlieghe (°1939) studied art history at Ghent University. He was an assistant at the Seminar for the History of the Textile Arts, conducted long periods of research in Munich, London, Florence and Rome and obtained his doctorate in 1967. He then worked as a research assistant at the National Center for the Plastic Arts of the 16th C. and 17th C., now the Center Rubenianum and from 1974 he was active as a Research Fellow and Research Director of the Flanders Scientific Research Fund. In the meantime he became a professor at the universities of Antwerp and Leuven and later full-time professor at the University of Leuven, emeritus professor in 2004. He is a member of the Royal Flemish Academy of Belgium for Science and the Arts, of the board of directors of the Centrum Rubenianum (chairman, 2004-7) and of the editorial board of the Corpus Rubenianum Ludwig Burchard. Together with Katlijne Van der Stighelen he is series editor of Pictura Nova. Studies in 16th and 17th Flemish painting and drawing (since 1996). He is the author of numerous books and articles on Flemish 17th-century painting, especially on Rubens and the painters from his immediate circle, link): "In the physiognomy of the depicted figures, in the rather flabby and curvaceous appearance of the flesh parts (especially the hands), the broken folds and the muted but at the same time glowing color scheme, one recognizes very striking features of Jordaens' style. Compared to the version in Brussels, the work nevertheless makes a somewhat less lively impression, so that one should certainly think of an important participation of studio employees." Ref.: - Exposition d'oeuvres de Jordaens et de son atelier: Catalogue, Musées Royaux des Beaux-Arts de Belgique, Brussels, 1928, p. 8, no. 3 - Suzanne et les vieillards: "Un tableau du même genre avec de légères variantes se trouve chez M. Van Audenhove, Bruxelles" (apainting of the same kind with slight variations is part of the collection of M. Van Audenhove, Brussels).
Lot 20
A Museum of Modern Art MOMA, dragon style white metal brooch and a leaf shaped scrolling brooch, an enamelled panelled Mexican pendant, a Mexican style turquoise mounted pendant on bead and pebble chain, a Giorgio Armani grey resin beaded necklace, an amberoid mounted bead necklace etc (a lot)
Lot 9
FRANK AUERBACH (B. 1931)J.Y.M. Seated V 1989 oil on canvas 50.8 by 40.6 cm. 20 by 16 in. This work was executed in 1989. Footnotes:ProvenanceMarlborough Fine Art Ltd., London (39475.6) Marlborough Fine Art Ltd., New York (NOL 31.388) Campbell-Thiebaud Gallery, San Francisco (FA-108) Acquired directly from the above by the previous owner in 1995Thence by descent to the present owner in 2003Exhibited Campbell-Thiebaud Gallery, San Francisco, Frank Auerbach Recent Work, 1995, n.p., illustrated in colourLiterature William Feaver, Frank Auerbach, New York 2009, p. 311, no. 638, illustrated in colourExecuted in 1989 J.Y.M. Seated V is a strikingly fresh and beautiful portrait of one of Frank Auerbach's most celebrated and recognised sitters. Rendered in a majestic and jewel-like palette of green, purple and red pigment, the intensity of the artist's response to sitter and subject is gloriously brought to life through Auerbach's bravura handling of oil paint, for which he is so well known. His subject, Juliet Yardley Mills, referred to by her friends simply as J.Y.M. or Jym, is from a small group of subjects alongside Estella (Stella), Olive West (E.O.W.), his wife Julia, son Jake, and art historian Catherine Lampert among only a handful of others. Of this intimate group, J.Y.M.'s likeness presides over a host of the artist's most iconic paintings. She first posed for him in 1956 when she was a professional model at Sidcup College of Art and continued to do so for over forty years until 1997. Auerbach completed over seventy portraits and studies of J.Y.M., and this present work was executed over twenty years into their friendship. 'She was brought into the world to be a model, she came and sat, and it was not quite like anything else. It wasn't like painting Stella or painting Julia because it was just that... She took poses that were natural to her, and then I sometimes suggested things and one would go on. It became like a central spine of what one was doing' (the artist in: Catherine Lampert, Frank Auerbach Speaking and Painting, London 2015, p. 184). In this present work, out of the forms and brushstrokes emerges a face, a presence. There is an intense substantiality both to the painting and more particularly to the head itself. Auerbach has scraped at the surface of the painting, in a process where he starts again and again, erasing one day's efforts and beginning with another's. Yet the ghost of the previous forms remains in spirit, making J.Y.M. Seated V an accumulation not only of paint, but of paintings. The contrast between the lush, glistening oil of the head and the softer but rich olive background accentuates this, while also revealing a key part of Auerbach's artistic process that is more recognisable in his portraits painted in the late 80s. The background passages of this work have been applied with a more fluid oil paint, drying relatively matte; the artist employs a sgraffito technique, possibly with the upper end of the brush, scraping wet paint to form features of the face, with other areas partly scraped back more broadly. These swathes of impasto and flurried mark-making result in his subject being brought more powerfully into the foreground, engaging the viewer more intently with her presence. Hailed as one of the most influential painters of the 20th century, Frank Auerbach is celebrated for his expressionistic portraits and cityscapes characterised by his distinctive and gestural impasto technique. Auerbach was born in Berlin in 1931. Arriving in England as a Jewish refugee in 1939, he attended St Martin's School of Art, London, and studied with David Bomberg in night classes at Borough Polytechnic, before culminating his final studies at the Royal College of Art and has since remained in London. His first exhibition was held at London's Beaux Arts Gallery in 1956. Initially he was criticised for his thick application of paint, but found support from the critic David Sylvester, who identified the exhibition as one of the most exciting and impressive first one-man shows by an English painter since Francis Bacon. By the early 1960s, Auerbach had established himself among the ranks of what would later become known as the 'School of London', a group that included Lucian Freud and Francis Bacon. The latter, in particular, shared much of Auerbach's sensibility: the two artists favoured painterly intuition over carefully studied precision, viewing painting as a means of pinning down human sensation. However, despite his affiliation with the School of London artists, Auerbach also sought to engage in the explicit dialogue with the art historical canon, and cites numerous old and modern masters as influences, including Rembrandt, Rubens, Titian, Constable and Picasso. Auerbach would continue to exhibit regularly at the Beaux-Arts Gallery until 1963. From 1965 he first exhibited at the Marlborough Gallery, and today his works have become some of the most internationally collected of a living artist.Auerbach's distortions in his portraits have been likened to Francis Bacon's figures, however perhaps unlike Bacon, a certain warmth emanates from an Auerbach portrait. As seen in J.Y.M. Seated V, his model is perhaps more understood than recognisable, arguably because Auerbach only paints those known closely to him. Still, although she may be somewhat incomprehensible, his prolonged engagement with her throughout the course of her sittings brings out its details, indeed the rapid and vivid strokes as seen here, the individuality of essence awaits, something that is more than a representation. J.Y.M. Seated V is the portrayal of an individual life, there is a contemplative personal eminence that captures the sincerity of Auerbach's long-standing relationship with Mills. Of this dialogue between artist and sitter, Mills has said: 'we had a wonderful relationship because I thought the world of him, and he was very fond of me. There was no sort of romance, but we were close. Real friends'. (Juliet Yardley Mills in Norman Rosenthal and Catherine Lampert (Eds.), Frank Auerbach: Paintings and Drawings 1954-2001, London 2001, p. 26).Frank Auerbach is widely recognised as one of the most inventive and influential painters of the post-World War II era. In 1978, the artist was honoured with a retrospective at London's Hayward Gallery and in 2015, London's Tate Britain, in partnership with Kunstmuseum Bonn, mounted another major retrospective of his work. Today, his paintings reside in the prestigious permanent collections of the Tate Gallery and National Portrait Gallery in London; Museum of Modern Art and The Metropolitan Museum of Art in New York; and the Museo Nacional Thyssen-Bornemisza in Madrid, among many others.Through brilliant colour and a faultless exhibition of Auerbach's charismatic painterly gesture, J.Y.M. Seated V carries a powerful and emotional charge. The work encapsulates a seminal exposition of Auerbach's thoroughly inimitable and compelling portraiture, and is excitingly fresh to the market having remained in the same Private Collection since the early 1990s.This lot is subject to the following lot symbols: * AR ○* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.○ The 'Seller' has been guaranteed a minimum price for the 'Lot', either by 'Bonhams' or a third party. This may take the form of an irrevocable bid by a third party, who may make a financial gain on a successful 'Sale' or a financial loss if unsuccessful.For further information on this lot please visit Bonhams.com
Lot 16
JOSEF ALBERS (1988-1976)Study for Homage to the Square 1965 signed with the artist's monogram and dated 65; titled, dated V 65 and extensively inscribed on the reverse oil on masonite61 by 61 cm.24 by 24 in.Footnotes:This work will be included in the forthcoming catalogue raisonné currently being prepared by The Josef and Anni Albers Foundation, under no. JAAF 1976.1.674.This work is accompanied by a photo-certificate of authenticity issued by The Josef and Anni Albers Foundation, Bethany.ProvenanceThe Estate of Josef Albers, New HavenThe Josef and Anni Albers Foundation, BethanyWaddington Custot Galleries, LondonPrivate Collection, SwitzerlandPrivate Collection, UKSale: Bonhams, London, Post-War & Contemporary Art, 22 October 2020, Lot 26Acquired directly from the above by the present ownerExhibitedBologna, Museo Morandi, Josef Albers Omaggio al quadrato. Una retrospettiva, 2005, p. 123, no. 62, illustrated in colourLondon, Waddington Galleries, Josef Albers: Works on Paper and Paintings, 2007, p. 69, no. 29, illustrated in colourAn arresting work by of one of the forefathers of geometric abstraction and colour theory, Josef Albers' luscious Study for Homage to the Square from 1965 is constructed in his signature tri-partite composition with a florid green over two warm greys, creating a pulsating window of colour that beautifully illustrates the visual and phenomenological systems Albers experimented with throughout his career. With comparable green paintings from the 1960s in the Tate Collection, London, the Museum of Modern Art and the Metropolitan Museum, New York, Study for Homage to the Square is a museum-quality work of art and a truly immaculate example of the artist's superlative aesthetic sense and globally celebrated oeuvre.Few artists have produced a body of work as ground-breaking as Joseph Albers, who ranks amongst Kasimir Malevich and Piet Mondrian as an artist who paved the way for post-modern Geometric Abstraction. Within a body of prints, drawings, poetry, tapestries, architectural commissions, critical writing and painting, truly exceptional examples of Albers' Homage to the Square, such as the present work, are instantly recognisable and highly sought-after. Hand-painted in rich oils over masonite, their colours exude a warmth and spatiality that is teeming and concrete. Not only is his influence on the timeline of modern art largely unparalleled, but Albers' legacy endured in the artists he taught, shared ideas with, and guided through the early years of their career, influencing the emergence of Colour Field Painting, Geometric Abstraction and Op Art. One of the worlds most lauded art teachers, his students include Cy Twombly and Robert Rauschenberg, the formidable Eva Hesse, Sheila Hicks and Richard Serra. In short, Albers' role as a mentor and his significance as an artist can be traced through the pantheon of American artists and global artistic movements.Before his departure from Nazi Germany, Josef Albers worked as a professor at the Bauhaus between 1923 and 1933, and later moving to Black Mountain College where he and his wife Anni led the arts programme. A central figure of this revolutionary school that was at the centre of burgeoning European Modernism in art, architecture and design, Albers set about examining the compositional and formal effects of colour and shape, fascinated as he was by the versatility and fragility of perception. In Albers own words, 'every perception of color is an illusion [...] We do not see colors as they really are. In our perception they alter one another. [...] This play of colors, this change in identity, is the object of my concern. It leads me to change my color tool, my palette, from one picture to the next' (the artist in: Eugen Gomringer, Josef Albers, New York 1967, p. 104).It was at the midpoint of the twentieth century, shortly after joining the Yale faculty in 1950 at the age of 62, that Albers began his definitive Homage to the Square series, a body of work he would continue to work on until his death in 1976. What may initially be read as a narrow compositional framework, the Homage series allowed Albers to explore the finite, expressive potentials of colour and their intrinsic relationships. Entirely based on a mathematically determined format of several squares, each element appears to overlap and nestle within one another, both as an autonomous shape and integral part of a complete system.The geometric abstraction that Albers had conceived of was a scientific and aesthetic method of exploring the subjective experience of colour. Albers' deliberate use of adjacent complimentary and combative colours and their effects on one another, combined with the flat planes of his compositions that appear to be staggered in a field of vision in the interior of the work, engaged an entirely novel visual style; one chiefly concerned with the experience of looking. In 1965, the artist wrote: 'they all are of different palettes, and, therefore, so to speak, of different climates. Choice of the colours used, as well as their order, is aimed at an interaction - influencing and changing each other forth and back. Thus, character and feeling alter from painting to painting without any additional 'hand writing' or, so-called, texture. Though the underlying symmetrical and quasi-concentric order of squares remains the same in all paintings – in proportion and placement – these same squares group or single themselves, connect and separate in many different ways' (the artist in: Josef Albers, Study for Homage to the Square, 1964, December 2012, Tate, online).In the present work, the qualities that made Albers such a stalwart of the modern period are evident in abundance. His exceptional aesthetic sense plays out between the simplicity of his composition and colours, and in turn produces a work of outstanding, complex beauty.For further information on this lot please visit Bonhams.com
Lot 36
MANUEL RIVERA (1927-1995)Metamorfosis (Gris) 1960 signed, titled, dated 1960 and inscribed in Spanish LIGHT WITH NATURAL OR INDIRECT LIGHT / TO AVOID SHADOWS / BASE on the reversemesh, wire and metal on wood100.3 by 79.8 by 13 cm.39 1/2 by 31 7/16 by 5 1/8 in. Footnotes:With our thanks to Alfonso de la Torre, author of the Catalogue Raisonné of Paintings, 1943 - 1994 by Manuel Rivera.ProvenancePierre Matisse Gallery, New York (ST9267)Acquavella Modern Art, Reno (#2120)Alfred Hoh Collection, Germany Horst Bittmann Collection, GermanyGalerie Arnés y Röpke, MadridPrivate Collection, Madrid (acquired circa 1995)Thence by descent to the present ownerLiteratureMiguel Logroño, 1956-1981 Manuel Rivera: Los dos lados del espejo, Madrid 1981, p. 54, listedMarisa Rivera, Aproximación a un Catálogo Razonado, 1943-1994, Madrid 1997, p. 182, listedAlfonso de la Torre, Manuel Rivera, Catálogo Razonado de Pinturas, 1943 - 1994, Madrid 2009, p. 164, no. [228] P-60-13, illustrated in colourExhibitedNew York, Pierre Matisse Gallery, Manuel Rivera, Recent Paintings, 1960, n.p., no. 9, illustrated in black and whiteEssen, Museum Folkwang; Altenburg, Lindenau-Museum, Metamorphosen - Espejos 1956 - 1966, 1994. p. 103, no. 27, illustrated in colourSanta Cruz de Tenerife, Espacio Cultural Caja Canarias, El Paso. La descomposición de las formas, 2007, p. 101, illustrated in colourGranada, José Guerrero Center, Manuel Rivera. From Granada to New York (1946-1960), 2012, p. 51, illustrated in colourThis lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 15
MAX BILL (1908-1994)Unendliche Fläche in Form einer Säule (Endless surface in form of a column) 1953 signed and dated 1953gilded brass and wooden baseHeight: 176 cm.69 5/16 in.Footnotes:This work is registered in the max, binia + jakob bill stiftung, Adligenswil, and will be accompanied by a photo-certificate of authenticity.ProvenanceThomas Ammann Fine Art AG, ZurichAcquired directly from the above by the present owner circa 1990Coming fresh to the market after remaining in the same private collection for over two decades, Unendliche Fläche in Form einer Säule (Endless surface in form of a column) is a truly magnificent and elegant work by one of the 20th centuries most influential artists. Shimmering in warm golden hues, the slender column beautifully demonstrates Max Bill's fastidiously technical and enduring vision of art that made him such a broadly influential artist of the Modern age. Audaciously pure and deceptively simple, the present work is a sterling example of Bill's mathematical approach to artmaking; a supremely elegant sculpture that formalises the concept of infinity in the eloquent and harmonious medium of gilded brass. Bill designed the first version of this sculpture in 1953 and produced others of varying sizes over the next decades. With works held in major museum collections that include the Museum of Modern Art, New York, the Art Institute of Chicago and the Centre Pompidou in Paris – as well as his public artworks, such as the Pavillon-Skulptur in Zurich, that have become landmarks in their own right – Bill, who was an autodidact and polymath, has recently seen a significant reassessment that coincided with the 100th anniversary of the opening of the Bauhaus school in Weimar in 1919. A testament to the artist's perfectionism and attention to detail, the present sculpture twists exactly 90 degrees between its base and top, the actual surface area melting into one in a mind-bending feat of manufacturing a multi-dimensional form. There is only one surface area that can be followed endlessly. Captivated by the Möbius strip – a surface of one continuous side formed by joining the ends of a rectangle twisted through 180° - and the mathematical notion of infinity, Bill's sculptures consistently play host to the abstract wonders of mathematics and geometry, which, when realised in the material, emerge as objects of beautiful, transcendent simplicity.Bill would often revisit his designs and ideas, creating multiple versions of the same concept and only beginning the process of executing his vision once the technicalities of the form had been perfectly resolved to their purest form. 'A work of art,' Bill wrote, 'must be entirely conceived and shaped by the mind before its execution. It shall not receive anything of nature's or sensuality's or sentimentality's formal data' (the artist in: Edwin Heathcote, 'Max Bill — the cult figure who shaped 20th-century design and architecture', Financial Times, June 7, 2019, online).As an architect, sculptor, designer, painter and teacher, Bill embodied the aspirations of the Bauhaus movement, who collectively sought to synthesise the arts, including graphic design, interiors and typography, into one total work of art. Born in Zürich in 1908, Bill trained as a silversmith before a decisive encounter at the age of 16 with Sophie Taeuber-Arp launched his interest in contemporary art practice. Whilst Bill would go on to be invited to exhibit alongside Hans and Sophie Taeuber-Arp, Piet Mondrian and Georges Vantongerloo as part of the Abstraction-Creation group throughout his mid-twenties, it was his studies at the Bauhaus school in Dessau in 1927, under the pupillage of Josef Albers, Wassily Kandinsky, Paul Klee, Oskar Schlemmer and László Moholy-Nagy – in the midst of an unparalleled generation of influential Modernist creatives that he would befriend and work alongside throughout his career – that Bill truly began to emerge as the multifaceted and superbly gifted artist and designer he is recognised as today.As an artist whose influence has been felt across genres, Max Bill's Unendliche Fläche in Form einer Säule (Endless surface in form of a column) is an immaculate demonstration of the artist at his most purely creative and uncompromising. Featuring the smooth metallic lines and curves that call to mind the aerodynamics of an aircraft's fuselage, the wonderful synthesis of science, mathematics and art in the present work is tangible and thrilling. A timeless piece that has never been offered at auction or placed on public view; it is a sculptural work that encapsulates and defines the legacy of one of the most important students of the Bauhaus.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
Lot 485
* MATÉO MORNAR (FRENCH, 1946-), BRONZE FIGURAL SCULPTURE EARLY 21ST CENTURY titled JUEX COQUINS, signed MORNAR, numbered 1/8, dated 2001 and with foundry stampNote: 'Born in Croatia in 1946, Matéo Mornar emigrated to France with his family at the age of ten. They settled in Paris. The young boy liked to spend time in the Louvre, especially in the sections dedicated to sculpture. At 18 he entered the École supérieure des arts modernes (ESAM Paris) school of modern art, where he studied design, graphic design, interior decoration and sculpture techniques. He graduated amongst the top of his class and joined a branch of the Publicis group. He worked for 3 years dedicated to developing scale model which are displayed at trade fair and the moved on to work as a freelancer. For many years, he worked in the area of publishing, graphic creation and interior decoration. An assignment took him to the French Riviera in 1977 where he decided to settle.At the end of the eighties, he envisioned and conceptualized his first sculptures after a meeting with the artist Antoniucci Volti at Villefranche-sur-Mer.In 1995, Mornar decided to devote himself entirely to sculpture and began to exhibit in the French Riviera (Cannes, Nice, Monaco...) his early works of bronze women.In 1997, he opened a school of sculpture in Nice wishing to introduce to people the difficult art of sculpture and to inspire them.'34cm high, 7.2kg
Lot 484
* MATÉO MORNAR (FRENCH, 1946-), BRONZE FIGURAL SCULPTURE LATE 20TH CENTURY titled INSOLITE, signed MORNAR, numbered 3/8, dated 1998 and with foundry stampNote: 'Born in Croatia in 1946, Matéo Mornar emigrated to France with his family at the age of ten. They settled in Paris. The young boy liked to spend time in the Louvre, especially in the sections dedicated to sculpture. At 18 he entered the École supérieure des arts modernes (ESAM Paris) school of modern art, where he studied design, graphic design, interior decoration and sculpture techniques. He graduated amongst the top of his class and joined a branch of the Publicis group. He worked for 3 years dedicated to developing scale model which are displayed at trade fair and the moved on to work as a freelancer. For many years, he worked in the area of publishing, graphic creation and interior decoration. An assignment took him to the French Riviera in 1977 where he decided to settle.At the end of the eighties, he envisioned and conceptualized his first sculptures after a meeting with the artist Antoniucci Volti at Villefranche-sur-Mer.In 1995, Mornar decided to devote himself entirely to sculpture and began to exhibit in the French Riviera (Cannes, Nice, Monaco...) his early works of bronze women.In 1997, he opened a school of sculpture in Nice wishing to introduce to people the difficult art of sculpture and to inspire them.'34cm high, 25kg
Lot 479
* BENNO SCHOTZ R.S.A. L.L.D. (ESTONIAN/SCOTTISH, 1891-1984) BRONZE SCULPTURE standing figure of a female, shaped oval base, signed25cm highNote: Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997.
Lot 178
M. de Reaumur. The Art of hatching and bringing up Domestick Fowls of all kinds, at any time of year, first edition in English, half-title, 15 folding engraved plates, engraved headpiece vignettes, modern half morocco, 8vo, London: C. Davis, 1750. ** Somewhat browned and spotted, a few leaves with fore-edge repaired.
Lot 220
Nishapur, Ca. 10th century AD. A pottery bowl of a conical form on a short unglazed foot. The interior is with cream ground and embellished with stylised motifs painted in brown, yellow and green. Medieval Islamic ceramics developed as a distinctive tradition of decoration in Muslim lands several centuries after the original Arab conquests. From the 9th century onwards, distinctive Islamic ceramic styles, often involving glazed and/or incised decoration developed and spread across the Islamic world and beyond; Islamic ceramics also had an important influence on pottery production in Italy and in the Byzantine empire. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:95mm / W:150mm ; 700gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 101
Middle East, Ca. 1100-1500 century AD. A fine gold finger ring having a box form upper portion, finely engraved with an overall vine pattern, and inset with an orange carnelian intaglio carved with a long-horned animal. Wide tapered gold shank, highly decorated in relief and engraved with a fancy vine pattern, and inset with two fine turquoise teardrop stones. Engraved with a rearing animal on the underside of the box bezel. Intact, excellent condition. A beautiful example. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 19.1mm / US: 9 1/8 / UK: S; 14.38gProvenance: Property of a London Ancient Art gallery, acquired on the US Ancient Art market; Ex. Sumer Gallery, H. Anavian, NYC, acquired in the 1980s, to family by descent.
Lot 221
Nishapur, Ca. 10th century AD. A nicely formed pottery bowl with its interior decorated with white tin glaze slip with black painted Kufic script around the inner edge. Nishapur was an ancient and medieval city, famous for its rich ceramic, glass and metalwork traditions, until it was destroyed by the Mongols in 1221. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:70mm / W:200mm ; 350gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 109
λ BEN NICHOLSON (BRITISH 1894-1982)1966 (INTERIOR TUSCAN CATHEDRAL)Ink and gouache on an etched ground, on the artist's prepared board, in the artist's frameSigned, inscribed, dedicated and dated Nicholson/1966/Interior Tuscan Cathedral/for/Norman/& Jean/Brissago/68' (verso)30.5 x 22.2cm (12 x 8½ in.)Provenance:Private Collection, Sir Norman & Jean Reid, Gifted from the artist Thence by descent Sale, Christie's, London, Modern British & Irish Art Day Sale, 29 June 2014, lot 139Purchased from the above by the present owner Exhibited:Hannover, Kestner-Gesellschaft, Ben Nicholson: Recent oilwash drawings, February - April 1967, no. 39Condition Report: In good original condition. Unexamined out of glazed frame.Condition Report Disclaimer
Lot 61
GLYN WARREN PHILPOT (BRITISH 1884-1937)ROBERT ALLERTON, AS A FAUN Oil on canvas 39.5 x 31.5cm (15½ x 12¼ in.)Provenance:Sale, Phillips, London, Modern British Paintings - Watercolours & Drawings, 8 March 1988, lot 35, Private Collection, London Purchased from the above by the present owner c. 1988Literature:Simon Martin, Glyn Philpot, Flesh and Spirit, with an Introduction by Alan Hollinghurst, (Pallant House Gallery, 2022), illustrated, fig. 111, p. 104 In the late 1980s, a chance encounter with Glyn Philpot's niece, Gabrielle, would inspire a fascination with Philpot's work and result in the purchase of the present lot. They recall visiting Gabrielle, who lived in the basement apartment of their friend's property. They would visit for cups of tea as she sat surrounded by exquisite works produced by her uncle. They wanted to acquire a work by Glyn Philpot to add to their own collection and Gabrielle knew of a friend selling a work privately. This sensitive and intimate portrait by Glyn Philpot depicts the American philanthropist and art collector Robert Allerton. He was the son of Samuel Walters Allerton who made his fortune through the livestock trade in Chicago and was co-founder of the First National Bank of Chicago. Determined not to follow in his father's footsteps Robert Allerton decided to follow his passion for the arts and study at the Royal Academy of Fine Arts in Munich followed by further study in Paris. However, after just five years Allerton returned to Illinois to run the family farms. Allerton owned and managed a 12,000 acre estate in Monticello, Illinois which became known as 'The Farms'. Here he built a beautiful Georgian mansion in the style of Ham House in Richmond, inspired by his travels in London. The mansion served as a place to hold lavish parties where he invited artists, friends and notable people from high society. In 1906 the Chicago Tribune released an article surrounding Allerton and his wealth, titled the 'Richest Batchelor in Chicago'. Robert Allerton was a patron of the arts and travelled widely across Europe and Asia. In 1920 he started donating works to the Art Institute of Chicago including pieces by Vincent Van Gogh, Pablo Picasso and Auguste Rodin. By the time of his death in 1964 he had donated 6600 pieces, making him one of the most important benefactors in its history. Allerton also gifted his house, grounds and farmland to the University of Illinois to be used as an education and research centre. This mischievous portrait of Allerton depicted as a mythological faun was not the first time Philpot had explored the subject. In 1912, Philpot sculpted 'The Dead Faun' cast in bronze, believed to be a mask depicting Napier Sturt, Lord Allington. Furthermore, in the spring of 1913 Nijinsky was performing 'L'Apres-midi d'un faune' with the Ballet Russes at the Royal Opera House. Philpot produced a dramatic portrayal of Nijinsky stood against the sumptuous red velvet theatre curtain. This work is now held in a private collection. It was during one of these visits to the opera that Philpot and Allerton first met. Allerton invited the aspiring young artist to visit him in Monticello to which Philpot gladly agreed. In September 1913, Philpot boarded the R.M.S Carmania and set sail on his adventure to the USA. Philpot's arrival caught the attention of 'Madame X' who wrote for the Chicago Sunday Times. The paper published an article on 21st September 1913 which dubbed the artist 'the art sensation of the moment,' and highlighted his highly regarded reputation back in England. Allerton arranged a studio space for Philpot to work from during his stay at 'The Farms' and invited close friends and members of the Chicago elite, including Miss Isabelle McBirney, to have their portrait painted. Enamoured by the people and experience Philpot stayed for four months. Philpot is known to have produced two portraits of Allerton during his stay, The Faun, presented here and a beautifully simple and captivating portrait titled The Man in Black, now held in the Tate collection in London. The present head and shoulder study presents a strikingly different depiction of Allerton compared to all other known portraits and photographs in which he was presented dressed in a smart suit, suitably posed and professional. The admiration felt for Allerton and connection between the painter and sitter exudes from the surface of the canvas. He paints strong muscular shoulders , a chiselled face with a pair of small horns atop his head, glinting in the light. Philpot and Allerton are not believed to have engaged in a sexual relationship but in letters written to Philpot's sister he reveals his infatuation with Allerton and described him as 'the most beautiful wise mature character'. Letter to Daisy Philpot, 22 October 1913.The work is believed to have been a study for a later painting produced by Philpot during his second visit to Allerton in 1921, when he visited with his partner Vivian Forbes. The pair stayed for three months and Philpot painted society portraiture just as Allerton had arranged back in 1913. During their visit Philpot produced Faun and Satyr which was hung above the over-mantel. Unfortunately, this work was moved to Allerton's estate in Kauai, Hawaii and later destroyed in a hurricane. Allerton is known to have had a couple of garden statues which depicted the mythological faun and a bass relief of pan on the carriage house on the estate, which may have further influenced Philpot's decision to depict Allerton as a faun.We are grateful to the staff at Allerton Park Retreat Center, University of Illinois, Nick Syrett and Maureen Holtz for their assistance in cataloguing this lot. Please note: This work is Oil on Canvas Condition Report: Oil on canvas. This work has recently been sensitively re-stretched and very lightly cleaned. This process has revealed a study of The Veil of Veronica on the reverse. Some patches of craquelure scattered across the surface, mostly to the green background pigment. The very extreme upper and lower edges with some evidence of framing tape which has been painted, visible in current frame. This does not detract from the images. Inspection under UV reveals very light scattered retouching to the chest and lower edge. There is one small patch of retouching the left of the nose. Condition Report Disclaimer
Lot 64
WALTER RICHARD SICKERT (BRITISH 1860-1942)EPPING, AFTER HARRISON WILLIAM WEIR, 1848 Oil on canvas Signed (lower right), inscribed Weir (lower left) further inscribed and dated 1848 to stretcher overlap (verso)76.5 x 118cm (30 x 46¼ in.)Painted circa 1928-30.Provenance:Private Collection, Dr Robert Emmons, by 1930Anonymous sale, Christie's, London, 22 February 1980, lot 44, as 'Picnic at a Country House'Sale, Sotheby's, London, 24 March 1994, lot 107Sale, Sotheby's, London, Modern British and Irish Paintings, Drawings and Sculpture, 8 March 1995, lot 12 The Rowse Collection Exhibition: London, Savile Gallery, Paintings by R. Sickert, A.R.A., 1930, no. 16London, Leicester Galleries, Retrospective Collection of Drawings and Recent Paintings by Walter Richard Sickert, June 1942, no. 119, as 'A Country House'Literature:T.W. Earp, The work of Richard Sickert, A.R.A. (1930) p.297Wendy Baron, Sickert, Paintings & Drawings, The Paul Mellon Centre for Studies in British Art (New Haven & London: Yale University Press, 2006), p. 504, no. 599The present lot comes from a series of works Sickert produced known as 'Echoes'. The series was first inspired by an encounter with Victorian artist Sir John Gilbert (1817-1897). Sickert visited Gilbert in 1893 to draw a portrait study of the artist. Following the sitting Sickert boasted that Gilbert had in fact retouched the drawing and that the work had become a collaboration. It was this work that inspired Sickert to start creating works influenced by artists from the past to produce 'Echoes'. Sickert would select an engraving or black and white illustration from a journal by a well known artist and reproduce the image in his own vibrant, modernist colour palette. The works sought to 'echo' the past which supported Sickert's campaign that modernism paved the way for contemporary artists but did not eliminate practices of the past. This work was most likely painted from the engraving by T. Bolton after Harrison William Weir. Condition Report: Not relined. Light surface dirt. Yellowing varnish causing some discolouration. A couple of light scuffs and scratches to the upper corners, with some associated loss. Inspection under UV reveals very light scattered retouching. Amendment: There are two areas of visible retouching in natural light to the upper corners. Retouching flares under UV. Please contact pictures@dreweatts.com for additional images. Condition Report Disclaimer
Lot 119
λ SIR TERRY FROST (BRITISH 1915-2003)YELLOW AND PURPLE, NOVEMBER 62 Oil on canvas 61 x 50.8cm (24 x 20 in.)Painted in 1962. Provenance:Waddington Galleries, London Private Collection, A.T. Langdon-Down Belgrave Gallery, London Sale, Christie's, London, Modern British & Irish Art, 26 June 2014, lot 213 Exhibited:London, Belgrave Gallery, Some of the Moderns, June-July 1988, no. 13Sir Terry Frost is one of the best-known British artists of the 20th century. His vibrant abstract paintings have come to epitomise the St. Ives artistic movement. He was a product of both the earlier Newlyn School of Art, and a natural successor to pioneers of British abstraction such as Ben Nicholson, Peter Lanyon and Barbara Hepworth, for whom he worked as a studio assistant in 1951. The present work, along with other examples of Frost's work featured in the sale, brings together imagery that he used repeatedly in his work from the early 1950s right up until the end of his life. Inspired by the Cornish landscape, Frost uses the juxtaposition of curved symmetrical forms with the intersection of horizontal lines against a vibrantly coloured backdrop. Whilst wholly abstract in execution, the forms are clearly rooted in the familiar motifs of boats, harbours, sun, moon and the sea. Frost also experimented with collage and three-dimensional construction and was also a prolific and extremely successful printmaker.
Lot 274
An Impressive Large Modern Black Album Containing Roughly 260 Postcards, all of subject interest. Mixed subjects but generally all cards of quality, some exceptional. Including; Tuck Oilette Press Outs of Birds (5), Advertising, Heraldic, Early Comic, Art Nouveau including Raphael Kirchner Geisha Girls (2) Silks, woven and embroidered (19) including Kitchener and Regimental, Florence Upton Golliwogs (2), Harry Payne Military (6), Horse Racing, Football, Father Christmas (29), Cats including a large quantity by Louis Wain, 40, yes 40 Louis Wains, 13 Tuck Calendar types, the rest a variety of publishers and subjects including Fortune Telling, Racing, Diablo etc. Glamour – 2 cards by Nerman, Multiple Babies Heads (6), Teddy Bears (6) and German Zeppelin (12). Condition good to very good generally across the album, some with a little corner wear or notated to obverse but very much in the minority. A valuable collection which deserves comprehensive viewing.
Lot 416
A shelf of art and antique reference books, to include titles on the Glasgow school, Scandinavian modern design, British studio pottery, C20th decorative arts, Georg Jensen, Tiffany & Co., Archibald Knox, William Morris, Ernest Gimson etc., together with a small quantity of mixed C20th reference books Condition Report:Available upon request
Lot 859
GALLE EMILE: (1846-1904) French artist and designer who worked in glass, considered one of the major innovators in the French Art Nouveau movement. An excellent Autograph Manuscript Signed, Emile Galle (in the third person to the title page and also within the text), twenty pages (including the title page), 4to (and a few smaller), n.p. (Nancy), n.d. (1884), in French. The manuscript, largely penned to the versos of Galle's personal printed stationery, is the artist's working draft (containing numerous corrections) of his report to the jury of the Central Union of the Decorative Arts VIII Exposition on the production and manufacture of his glass, including various specimens, and featuring details of the technical procedures of decoration and the diverse new applications derived from it, in particular new glass colouration including double and triple marbled glass, precious stone imitations, the use of air bubbles, extension of the palette of opaque enamels on glass, the use of transparent and translucent enamels on glass (other than cobalt oxide enamel), rare and strange decorations and new engraving procedures etc., in part, 'The exhibitor presents this year some tones coloured from the block (chrome oxide, iron oxide and diverse combinations of iron oxide, cobalt, manganese); some free imitations of precious stones, transparent, translucent or marbled with opaque veins. These colourations are obtained by introduction of diverse oxides and metallic salts in the glass, of opal glasses, and glasses coloured with gold or copper oxide….He still presents glasses with the introduction of gold sheets, platinum, finally some doublets and triplets with marbled sheet. Some specimens offer absolutely new effects, unprecedented use of which, neither modern or antique, offer any example…..the exhibitor asks the jury to examine the following samples…..Octopus light cigar case….cylindrical pot and tray…..basin with glass stopper, sapphirine colour, or blue quartz colour (composition based on potash) with translucent enamels…..Emile Galle incidentally reminds that glass, coloured with a small quantity of cobalt oxide in a pretty sapphire tone, colour which was since vulgarised by some French and foreign glass manufacturers, was emitted by him in 1878…..(and)…..commercialised by him under the name Clair de Lune, it was produced successively in Germany under the name Mondschein and in England under that of Moonlight Glass. A sample of this shade can be seen in the Decorative Arts museum……Marbled glasses with purple and bluish colours disclose the presence of gold. These marbling are yellowish when seen by reflection and red or pink by refraction…..These colours, interesting from the point of view of techniques, are not less interesting as regards decoration for the resources they offer the artist. Unfortunately, in considering the industrial use only, this procedure does not seem very practical, its effect being too variable…..it still requires some spendings of imagination to create interesting subjects out of their strange shapes…..The exhibitor also presents some tinted glasses containing gold and platinum sheets introduced in the glass in order to serve as foreground to enamels…..all the exhibitors decorations are handmade……The vivid desire to create….enamels on glass, a production with a really modern and French character, has led the exhibitor to research the colours that neither the Damas or Venise enamellers, nor the German painters have used in their productions, some reds and blues for example, some blacks, yellows and greens, some purples, pinks and violets, and most of all half tones, fine and broken shades, greys, flesh and ivory tones. Their judicious use, without dashing the decoration of the glass, can add to it a certain piquant…..diverse appropriateness between the decoration and the objects' destination had led Galle to research other translucent enamels than the old and magnificent blue derived from cobalt. Some objects having to represent the decorations by refraction as well as by reflection, it became necessary to enlarge the enamel palette in a sense contrary to opacity…..Emile Galle pays the greatest attention to the composition of the drawings intended to be executed in touret engraving. He never uses the fluor hydric acid engraving. It can be no use to him in the artistic effects he is searching for…..' Within the draft Galle details over eighty glass objects that he is presenting at the exposition including vases, scent bottles, bowls, tankards, goblets, cornets, a clock (made for the Queen of Italy), jugs, wine glasses etc. A manuscript of fascinating content and accompanied by a vintage unsigned 5 x 8.5 cabinet photograph, the albumen print by Otto Wegener of Paris depicting Galle in a head and shoulders pose and with the photographer's imprint to the lower mount. Some light overall age wear and a few creases and small tears (most noticeable to the left edge of the title page). G to VG, 2
Lot 847
DALI SALVADOR: (1904-1989) Spanish surrealist artist. A remarkable illustrated autograph Manuscript Signed, Salvador Dali, five pages (separate leaves), large folio (16 x 17”, 40 x 42.5 cm), n.p., 1953, in a singular language based on French interspersed with Hispanisms and other words phonetically reproducing the Catalan accent. Dali’s manuscript is entitled Mes secrets sinematographiques (‘My Cinematic Secrets’) and was originally published in the review La Parisienne in February 1954 in an adaptation by Michel Deon who normalized Dali’s deviant spelling and syntax. The manuscript in its original form, with important variations, therefore reveals the delirious orality of the Dalian text, the artist first affirming the conviction of his genius in cinematographic art by recalling the importance of his first two films, Un chien andalou and L’Age d’or, and by demeaning the role of the filmmaker Luis Bunuel in their realisation, further unveiling his film project La Brouette de flesh and describing the delirious visions and hallucinations he intends to put into images, in part, ‘Il i ha peu près une semaine que ge viens de découbrir que dans ma vie ge suis en tout en retard environ de 12 ans, cinéma i compris, il i a 11 ans que ge progète de faire un film intégrallement totalitairement cent pour cent hiper Dali, donc cela veut dire que vraisenbleblement ce film se tournera infin, l'ané prochaine - Ge suis le contraire du verger et du lu de La Fontaine comme que dans ma vie, et déjà dans mon adolescence ge réalisse tan de chosses sensationelles ….À 27 ans j'arrivai à Paris et ge créé avec Buñuel 2 films qui resteron historiques le Chien andalou et L'Âge d'or. Dernièrement Buñuel a faid tout seul d'autres films me rendan ainsi l'inmense service de que tout le monde puisse enfin savoir à qui apartené le côté génial et le côté primaire dans Le Chien andalu et L'Âge d'or…….Por qu'un film soit prodigieux la première des chosses c'et que l'on puisse croire au prodige que l'on vous montre, pour cela avant tout autre chosse il faut en finir avec le répugnant ritme cinématographique, cete conventionelle et anuyuesse [ennuyeuse] rétorique du mouvement de la caméra - même dans lé plus cumun mélodrame coment croire à l'asasin, si la caméra le suis en travelin partout même dans lé lavabo où il va laver le sang de ses mains?.........Mon prochain film sera exactement le contraire d'un film expérimental de vangarde et surtout de ce que l'on apelle aujurd'hui “créatif” sinonime de l'imitation servile de tous les lieux comuns du triste art moderne. Mon film sera une vrai istoire d'une feme paranoyaque amureusse d'une bruète qui succesivement se revêt de tous les atributs de la persone aimé, le cadabre de la quelle avais servi pour moayen de transport ; jusqu'à s'incarné à nouveau en elle, la bruètte devien de chair et c'et pour cela que mon film s'apellera La Bruètte de chair. Tout espectateur rafiné ou hutre moayen sera forcé de participer au délire de ma fétichiste, car il s'agit d'un cas rigureussement vrai, et cera raconté, come aucune documentaire n'est capable de le réalissé….. Ainssi ge peut déjà asurer à mes lecteurs que dans mon film il verron avec toute la minutie des mouvements lents se dévelopent dans la plus rigureusse euritmie arcangélique, l'un après l'autre 5 cignes blancs explosan. Les signes seron trufés de pomes grenades elles aussi munis d'une charge explosive adécuate, de façont que quand on aura pu observé avec minuci les derniers entre-déchirements des entrailles des cignes, se produiront les explosions des pomes grenades, de sorte que probablement tel que nous avons déjà expérimenté les grains de la pome grenade progetés à la périférie du décartelage anatomique, parvenan à causse de leur petite taille par les intertices jusqu'aux plumes en suspension, orteron cellesci, tell que l'on peut rêvé et surtout rêvassé, doit se produire entre les corpuscules de lumière (graines de pome grenade et ondes lumineusses représentés por les blanchisimes arcangéliques plumes du signe). - De sorte que les corpuscules dans la dite expérience auron la corporaïté de Mantegne et les plumes le flue qui fit fameux le peintre Eugène Carrière. Aussi on pourra voir une escène, représentan la fontaine de Trevi à Rome, les fenêtres s'ouvran et 6 rinocéros tomben à l'eau, à chaque chute de rinocéros un paraplui noir s'oubre émerjan de l'eau de la fontaine…….Dans un'autre oportunité 100 ziganes españols tueron et dépèceron jusqu'à ne lessé que son esquelette pelé, un éléfant dans une rue de Madrid (transposan ainsi une fameuse scène africaine que g'é lu dans un libre). À un moment doné qu'oùs apéressent les côtes du paquiderme, deux ziganes (lesquels malgré leur frénési sauvage n'arrêten pas un instin de chanter du canté hondo pénétren à l'intérieur pour atraper les viscères meilleures, quer, rognongs ect….’ (Translation: ‘It’s been about a week since I’ve just discovered that in my life I’m about 12 years late in everything, including cinema, it’s been 11 years since I’ve been planning to make a film entirely totally one hundred percent hyper Dali, so that means that this film will probably end up being shot next year – I am the opposite of the orchard and the lu de la Fontaine as in my life, and already in my adolescence I did so many sensational things……At 27 I arrived in Paris and I created with Bunuel 2 films that will remain historic, Le chien andalou and L'Âge d'or. Lately Bunuel has made other films on his own, so that everyone can finally know to whom belonged the brilliant side and the primary side in Le chien andalou and L’Age d’or……For a film to be prodigious, the first thing is for people to be able to believe in the prodigy that is shown to you, for that, before anything else, it is necessary to put an end to the repugnant cinematographic rhythm, this conventional and boring retort of the movement of the camera – even in the most common melodrama how to believe in the assassin, if the camera follows him in travelling everywhere, even in the sink where he will wash the blood from his hands?.......My next film will be the exact opposite of an experimental vanguard film and above all of what we call today “creative” if not the servile imitation of all the commonplaces of sad modern art. My film will be a true story of a paranoid woman in love with a brute who successively takes on all the attributes of the loved one, the corpse of which had served as a means of transport; until it is embodied again in herm the bruètte becomes flesh and that is why my film will be called La Bruètte de flesh. Any refined viewer or Moayan oyster will be forced to participate in my fetishist’s delirium, for this is a strictly true case, and it will be told, as no documentary is capable of realising it……Thus I can already assure my readers that in my film he will see with all the meticulousness of the slow movements developing in the most rigorous archangelic euritimia, one after the other 5 white swans exploding. The signs will be riddled with pomegranates, also equipped with an adequate explosive charge, so that when we have been able to carefully observe the last tearings of the entrails of the swans, the explosions of the pomegranates will occur...) In the left margin of the third page Dali has drawn two illustrations of male figures, the first somewhat grotesque and the second in a Cubist style, seemingly with another man emerging from his torso. A wonderful, rare manuscript which is distinctly Dali in its composition. Some very light, minimal age wear, VG OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION OF THIS LOT CAN NOT BE DISPLAYED - PLEASE REFER TO IAA FOR FURTHER INFORMATION
Lot 573
WINSLET KATE: (1975- ) English actress, Academy Award winner for Best Actress in 2008 for her role as Hanna Schmitz in The Reader. Signed colour 10 x 8 photograph of Winslet in a head and shoulders pose from her Oscar winning performance as tram conductor and former Nazi concentration camp guard Hanna Schmitz in a scene from the romantic drama film The Reader. Signed by Winslet in bold blue ink with her name alone to a clear area of the image. A typed label neatly affixed to the verso indicates the signature was obtained in person at the premiere of Wonder Wheel at the Museum of Modern Art on 14th November 2017. EX
Lot 1031
Shaw offers a masterful lesson in writing –‘It is not enough for you to cut a slice of life – anyone can do that who can write or imagine at all – you must eat the slice, digest it, & build it up into a living organism. That’s the meaning of creation in art’ SHAW GEORGE BERNARD: (1856-1950) Irish playwright, Nobel Prize winner for Literature, 1925. An exceptional A.L.S., G. Bernard Shaw, two pages, 8vo, written to the first and last pages, Fitzroy Square, London, 1st February 1895, to [William] Heinemann. Shaw commences his interesting letter stating 'You have no doubt seen how ruthlessly I have used you and [Sydney] Olivier & your play & his play to feed the flame that must eventually consume the censor. Why on earth did you suddenly drop bang into a mere kodaking of blackguardism? You can't have started with that idea' and continues to observe 'However, you were in a certain way right; for in those scenes in the last two acts your imaginative grip closed unmistakeably on your material & realized it forcibly. But I protest against the honors of tragedy being given to a squalid little business like that. Why not compress these three acts into one act - or rather prologue - positing the problem of a young woman who has married a man whom she believes to be a genius and is left disillusioned at the end with life before her - that is, with the play before her? That is what you have really struck out, and this calling the first step of it “a dramatic moment”, and stitching it up in green covers at [John] Lane's is all nonsense - a selling of your birthright. What the audience want to know is how the woman got out of it - what the solution of the problem is', further offering his typically forthright advice, 'It is not enough for you to cut a slice of life - anyone can do that who can write or imagine at all - you must eat the slice, digest it, & build it up into a living organism. That's the meaning of creation in art. If you doubt me, ask “her whose interest & enthusiasm inspired this effort”, and if she is the right sort of woman, as I hope with all my heart for your sake she is, she will say yes and tell you that you must follow The First Step to the end of the journey. Outside the most lighthearted comedy, there must be no happy endings; but there must be no unhappy endings at all: there must be great endings, or hopeful, or right endings; but happiness & unhappiness are the positive & negative ends of life only with fools. Plenty of people are giving up the happy ending only to substitute the negative for the positive form of it & offer unhappy endings, which are equally unconvincing & much less pleasant'. Shaw concludes his letter making a reference to his own work, 'My play is not typed yet. When it is, you shall read it if I can get a copy disengaged before it reaches the stage, concerning which, by the way, nothing is yet settled'. A letter of magnificent literary content in which Shaw provides a masterful lesson in writing and offers his opinions on the difference between a true playwright and a gifted amateur. Some light overall age toning and a few light, minor creases, about VGWilliam Heinemann (1863-1920) English publisher, the founder of the Heinemann publishing house in London which represented authors including H. G. Wells, Robert Louis Stevenson and Rudyard Kipling. Heinemann's 'modern' play The First Step: A Dramatic Moment, discussed in the present letter, was published by John Lane in 1895 and in a note within the publication the author observes that it was not his objective to write anything that 'would satisfy the usual requirements of a stage play….but simply to snatch one dramatic moment out of a story of today'. From 1895-98 Shaw was the theatre critic for The Saturday Review and the opening lines of the present letter evidently refer to a review of The First Step which Shaw had published.Sydney Olivier (1859-1943) 1st Baron Olivier. British civil servant, a Fabian and member of the Labour Party. Olivier was recognised as one of the 'Big Four' within the Fabian movement in London, alongside Shaw, Sidney Webb and Graham Wallas. The uncle of actor Laurence Olivier, Sydney Olivier was a writer throughout his life, attempting poetry although faring better with a few plays, which were first performed at the Fabian Society, and a Fabian paper on Emile Zola (1890).Shaw was working on two plays in 1895, The Man of Destiny, set in Italy during the early career of Napoleon, and the four-act play You Never Can Tell, although neither were performed or published until several years later.
Lot 643
‘….. it is not necessary to hear the song of the nightingale, that of the locomotives answering much better to the modern preoccupations of art!’ DEBUSSY CLAUDE: (1862-1918) French composer. A charming A.L.S., Claude Debussy, two pages, small oblong 8vo, Avenue du Bois de Boulogne, Paris, 9th September 1909, to G. F. Aubry ('Mon cher ami'), in French. Debussy compliments his correspondent on their lyrical poem, commenting that he has found it to be 'tout a fait ingenieuse et poetique naturellement' (Translation: 'quite ingenious and naturally poetic'), remarking 'Les poetes contemporains ont trop souvent le singulier travers d'extraire du lyrisme eperdu de sujets cruellement quelconques' (Translation: 'Contemporary poets too often have the singular failing of extracting desperate lyricism from cruelly unremarkable subjects'), and adding that he spent the summer 'a l'ombre du chemin [de] fer de ceinture qui borde ma maison' (Translation: 'in the shadow of the railway line that borders my house') and reflecting 'qu'il n'est pas necessaire d'entendre le chant du rossignol, celui des locomotives repondant bien mieux aux preoccupations modernes de l'art!' (Translation 'that it is not necessary to hear the song of the nightingale, that of the locomotives answering much better to the modern preoccupations of art!). Accompanied by the original envelope (front panel only) hand addressed by Debussy. VG
Lot 215
An 18ct gold star ruby ring by Ingeborg Bratman, 1971, the stylised flower head of fluid design, with wavy petals and stamen, centred with a star ruby, the shank formed of wirework tendrils with applied beaded detail, bloomed finish to the gold setting, full London hallmark, maker’s mark ‘IRB’, London hallmark, ring size K (leading edge). £600-£800 --- Ingeborg Ruth Bratman (1935-2015) Ingeborg Bratman was born in Vienna. Her family fled Nazi Germany and came to England in 1938. Her father set up a successful textile businesses, in Huddersfield, Yorkshire, called Jersey Craft. Ingeborg moved from textile design to train as a jeweller at Hornsey School of Art in 1965, where she studied under Gerda Flöckinger, She progressed to selling her jewellery through Cameo Corner, in Bloomsbury, London. Ingeborg continued to study jewellery at Sir John Cass College until 1971, when she set up independently. She progressed to selling her jewellery through Cameo Corner, in Bloomsbury, London and other retail outlets, and undertaking private commissions. She started to exhibit her jewels alongside British designers such as John Donald and Wendy Ramshaw. Examples of Ingeborg Bratman’s work, particularly examples in unusual metals such as tantalum, are held in permanent collections at the V & A and the Science Museum, London. Literature: Modern British Jewellery Designers 1960-1980, by Mary Ann Wingfield, ACC Art Books, pages 26-27 Condition Report The ruby with some surface wear, pinkish/purple/red colouring, displaying pale asterism, the mount in overall good condition, with minimal wear. Gross weight 19.0gm.
Lot 534
Folk Art. A 19th c softwood child's horse on wheels toy, jointed construction, traces of polychrome decoration, 20cm h Untouched 'country house' condition. Worn, slight bumps. Nails rusty. The wheels loose in places, slight wobble, and one or two dormant worm holes. The pull string maybe a later replacement, but not modern.
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