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A very Christmassy modern Royal Worcester porcelain Holly Ribbons pattern dinner service, together with a silver plated canteen of cutlery, four Champagne flutes and a pair of Art Deco period pottery figural bookends, AF, the service with place setting for ten

in Ireland. Oxford, Museum of Modern Art, 1974. Sc. (2) Thinking is Form. The Drawings of Joseph Beuys. Ann Temkin and Bernice Rose. Philadelphia/New York, Museum of Art/Museum of Modern Art, 1993. Sc. (3) Joseph Beuys. Zeichnungen: Zu den beiden 1965 wiederentdeckten Skizzenbücher "Codices Madrid" von Leonardo da Vinci. New York/Düsseldorf, Dia Center for the Arts/Richter Verlag, 1998. Sc. (4) Joseph Beuys. Barraque D'Dull Odde, 1961-1967. Krefeld, Kaiser Wilhelm Museum, 1991. Sc. -and two more from the same series. With: 9 other publications and catalogues from Joseph Beuys, including a few invitation cards. (total 15)

Eighteen cards and flyers mostly late 1960s, early 1970s. Includes an amazing set of 4 invitation cards by Alexandre Iolas for exhibitions in 1965, 1970, 1972 and 1974. (2) Flyer for Ich, Staatstheater Kassel 1967/8. (3) Card promoting Nana inflatable sculptures distributed by Niki's sister Elisabeth de Saint Phalle in New York, undated ca. 1968. (4) Two greeting cards ' Merry X-Mas' and 'Cheers' published by the Museum of Modern Art New York in 1968. (5) Seriaal Amsterdam cards 1969 and 1971. (6) Poster Ad Libitum Antwerp 1969, 42.5 x 30 cm, with pinholes and age wear. (7) Card with b/w image featuring The Devouring Mothers and other sculptures at Galerie Espace Amsterdam 1971. (8) B/w portrait of the artist, photographer unknown. (9) -and 7 others. (total 18)

Oxford/London/Eindhoven, Oxford Museum of Modern Art/Tate Gallery/Van Abbemuseum, 1978 and 1984. Two softcover catalogues, 27 x 21 cm, 84 and 124 pp., containing a survey of Haacke's work.Volume I features works from 1971-1977. Volume II presents Works 1978-1983, with texts by Haacke, interviews with the artist and an extensive bibliography. Text in English. Also includes a poster announcing the show at the Van Abbemuseum 1979, 54 x 41 cm, folded twice. Some rubbing on spines, else a very fine set. (total 2)

New York, Parasol Press, 1977. One from a portfolio of thirteen rubber stamped prints distributed in an edition of 1000 by the Museum of Modern Art New York. White sheet, 20.5 x 20.5 cm, verso featuring a rubber stamp in red ink reading ‘0791’. In very good condition.

1) Yoko Ono, Grapefruit: A Book of Instructions. London, Peter Owen, 1970. First British Commonwealth edition. Hardcover with dust jacket, 14 x 14 cm, 288 pp. Introductory drawings by John Lennon. Very good copy. (2) Yoko Ono, Have you seen the horizon lately? Oxford, Museum of Modern Art Oxford, 1997. Softcover, 13.5 x 13.5 cm, 168 pp. Published in conjunction with a touring exhibition, with essay by Chrissie Iles, texts by Yoko Ono. Very good copy. (total 2)

in gemeenzame brieven aan den uitgever. Haarlem, A. Loosjes, 1805. 1st and only ed. iv,570 p. 4to. Rebound in modern hcalf, fold. map, 23. engr. plates.Lively travel account by writer and art historian Van der Willigen (1766-1841).

(1) B.C. Verstraete & Vernon Provencal (eds.) Same-sex desire and love in Greco-Roman antiquity and in the classical tradition of the West. Birgingham, Harrington, 2005. Hc. (2) W.A. Armstrong Percy III. Pederasty and pedagogy in archaic Greece. Illinois, University Press, 1996. Cl. w. dust-j. (3) J.M. Saslow. Ganymede in the Renaissance. Homosexuality in art and society. Yale University Press, 1986. Cl. w. dust-j. (4) L. Steinberg. The sexuality of Christ in Renaissance art and in modern oblivion. New York, 1983. Softcover. (5) E. Lingo. Francois Duquesnoy and the Greek Ideal. Yale, University Press, 2007. Cl. w. dust-j.-and 3 more. (total 8)

Comprises (1) ‘Ontologische Plastik’ at Konrad Fischer Dusseldorf, 1967, with embossed grids. Plus 7 cards from 1969 including (2) 'Ecological Art' at John Gibson with a note by Riekje Swart on rear. (3) Dwan Gallery, New York. (4) Wide White Space, mailed copy. (5/6) Invite to the group show ‘A37 90 89/Dépot des Aigles’ at the Museum of Modern Art Antwerp (plus original envelope) with the text contribution ‘Questions and Answers’, 2 Sept 1969 by André, in handwritten facsimile. Folded sheet. Super rare. (7) Haags Gemeentemuseum, The Hague. (8) Konrad Fischer, mailed copy. (total 8)

Mail Art zines and ephemera from the San Francisco based collective engaged in self-publishing, Fluxus inspired events, mail art and rubber stamps. Includes: (1) 4 issues of NYCS Weekly Breeder published by Bill Gaglione and Tom Mancusi: Vol 3, No.2, No.4, No.5 'Special Smoke and Hash issue' (all 1972) and No.7 (The Very Last issue, 1974).(2) 491 Vol.1 No.2, small booklet with photocopied contributions by Daddaland, Irene Dogmatic, Genesis P.Orridge, Crozier et al. With inlaid folded sheets from Budadaism, one sheet titled 'Ray Johnson's Mother's Patato Smasher'. (3) Modern Correspondence No.3. Mini mail art zine with contributions by Mancusi, Groh, Zabala, Hosier, Zack among others. (4) Various flyers by The Western Dakota Junk Mail, Sluj and T.R. Uthco. (total 15)

(1) Andy Warhol. Stockholm, Moderna Museet, 1968. Edited by Andy Warhol, Kasper Konig, Ponthus Hulten, Olle Granath. Paperback, 27 x 21 cm, 315 pp. First edition of Warhol's famous Stockholm catalogue, published on the occasion of his first European museum show at the Moderna Museet in 1968. Text in English. Good copy.(2) Andy Warhol. Greenwich/Eindhoven, Graphic Society New York/Van Abbemuseum, 1970. Rare special edition with silkscreened covers featuring close-ups of Warhol's face. Issued in an unknown, but very limited edition by the Van Abbemuseum to coincide with Warhol's exhibition. Softcover, 28 x 23 cm, 160 pp. Text in English by John Coplans, Jonas Mekas and Calvin Thomkins. Laid in is the Dutch translation booklet designed by Jan van Toorn. (3) Raid the Icebox 1, with Andy Warhol: An Exhibition Selected from the Storage Vaults of the Museum of Art. Providence, Rhode Island School of Design, 1969. Warhol's exhibition assembled from the museum storage, is now widely recognized as the first artist-curated show of the modern era.

Altar of Reclining Buddha; Vietnam, Son La province, 18th century.Carved, lacquered and gilded wood, with carved and lacquered teakwood figure.Presented on a modern oak table.Measurements: 165 x 202 x 90 cm (temple); 40 x 131 x 40 cm (Buddha); 55 x 17 x 30 cm (lions).An exceptional altar in the form of a temple, from the Vietnamese province of Son La, in the northern interior of the country, near the border with Laos. Dating from the 18th century, it is a small temple in richly carved wood, lacquered in gilt and black on a red background, which houses a solid teak sculpture of Buddha in round form, accompanied by two guardian lions, also carved in wood in round form and gilded in gilt.Buddha is depicted in the posture known as Buddha Nirvana, which shows him lying down moments before he dies and transmigrates. This is a representation of the state in which Buddha leaves the earthly plane to attain Nirvana, a state in which he is liberated from suffering and the cycle of reincarnations, attaining Enlightenment, the supreme understanding.Although Chinese influence in Vietnam has been of great importance since ancient times, the country cannot be considered merely a satellite of this mighty empire, but has a culture that is genuinely its own, as evidenced by examples of the importance of the imperial city of Hue. Indeed, much of Vietnamese culture and history has been shaped by the struggle for identity and survival of a people made up of fifty-four ethnic groups against the superiority of China and other nearby peoples at first, and later against Western colonialism. In fact, the imposition of Chinese influence on the country was forcefully reaffirmed as recently as 1802, when the Vietnamese emperor sent his ambassadors to Beijing to announce the union of the old kingdom of An Nam with that of the Viet Thuong under the new name of Nam Viet. However, the Chinese court did not approve of the new name, but only allowed the permutation of the two syllables, to avoid confusion with the old kingdom of Nam Viet Dong, of which some Chinese provinces were part.The golden age of Vietnamese art was that of the Sham kingdoms (200-1720), although today it is a relatively little-studied civilisation. This is largely because the great achievements of Vietnamese culture are to be found not in the visual arts but in literature. Nevertheless, a brilliant art industry developed, albeit one deeply influenced by Chinese aesthetic, philosophical and religious ideas. However, some genuine artistic manifestations, such as water puppetry, were maintained, and Vietnamese phenomena such as Caodaism, a sect that originated in 1919, also emerged.

ONE BOX OF SUNDRY ITEMS, to include a modern electric table lamp in the form of a brass oil lamp, two pewter tankards, a Prinknash Abbey pewter effect ceramic tankard, two boxed Lledo model Rodda's cream lorries, a folk art Russian doll, a Lifford Tie press, three sets of ceramic and brass horse brasses, a 1952 Film Fun annual, a VRI Her Life and Empire album, a Spirograph drawing set, etc (s.d) (1 box)

ONE BOX OF VINTAGE CLOTHING AND POOLE POTTERY, to include a modern Poole Pottery 'Fleurie' Art Nouveau style vase, a small floral Poole Pottery 'Traditional Ware' posy vase, a 'Realistic' microphone, a Netgear N150 wireless modem/router, a 1960s Brother 'Riviera ZigZag sewing machine, two brown and yellow drip glazed Ewenny Pottery pieces (vase has two chips to rim), a Norwegian 100% wool cardigan together with an Emba blonde mink fur stole (s.d) (1 box + loose)

Raoul Dufy (French, 1877-1953) "Mediterranean Landscape" Lithograph Pencil signed and numbered (39/50) lower right. Provenance: comes with hand written note of woman who purchased it in 1943 from the Museum of Modern Art, NY. Later gifted to Inger-Marie Tanier & George Tanier, Knight of Dannebrog, thence by descent to present owner. Image Size:15.25 x 19 in. Overall Framed Size: 23.5 x 27 in. Framed behind glass.

Mappenwerk. „Düsseldorfer Fotomappe – Gursky / Hütte / Struth / Ruff“. 19892 C-Prints und 2 Silbergelatineabzüge, 1985–1989. Von Andreas Gursky, Axel Hütte, Thomas Struth und Thomas Ruff. (diverse Maße) (). 3 Photos je rückseitig mit Blei- bzw. schwarzem Filzstift signiert und nummeriert, 2 Photos datiert, 1 Photo betitelt. Je im Passepartout (85,8 × 68 cm), wovon 1 Photo (Axel Hütte) fest unter Passepartoutmaske montiert und auf Passepartoutrückseite mit Bleistift signiert, datiert (Aufnahme sowie Abzug), betitelt und nummeriert. Zusammen mit Titelblatt mit gedruckten Werk- und Editionsangaben in schwarzer Originalkartonmappe (87,5 x 69 cm).Eines von 30 nummerierten Exemplaren, hg. vom Kunstverein für die Rheinlande und Westfalen, Düsseldorf 1989. [2032]Literatur und Abbildung: Ausst.-Kat.: Thomas Ruff. Fotografien 1979 - heute. Baden-Baden, Staatliche Kunsthalle; Essen, Museum Folkwang; Oslo, Museet for Samtidskunst; München, Städtische Galerie im Lenbachhaus; Dublin, Irish Museum of Modern Art u.a., 2001/03, S. 191 (HÄU 01) / Ausst.-Kat.: Andreas Gursky. Werke - Works 80-08. Krefeld, Kunstmuseen, Haus Lange und Haus Esters; Stockholm, Moderna Museet; Vancouver, Art Gallery, 2008/09, S. 91 / Ausst.-Kat.: Thomas Ruff. Works 1979-2011. München, Haus der Kunst, 2012, S. 83 / Ausst.-Kat.: Fotografien werden Bilder. Die Becher-Klasse. Frankfurt am Main, Städel Museum, 2017, S. 154-155Folgende Photographien sind in der Mappe enthalten:Andreas Gursky. Düsseldorf. 1989. C-Print. Kodak-Papier. 31,3 x 45,3 cm (40,5 x 50,6 cm)Axel Hütte. Düsseldorf. 1987. Silbergelatineabzug. 56,8 x 40,4 cm (Passepartoutausschnitt)Thomas Struth. „Overbruckstrasse, Duisburg“. 1985. Silbergelatineabzug. Agfa-Papier, 42,2 x 55,8 cm (48,2 x 60,5 cm)Thomas Ruff. Haus Nr. 1 I. 1987. C-Print. Fujicolor. 26,6 x 49,8 cm (30,8 x 53,8 cm)Zustandsbericht: In sehr gutem Zustand. 2 Photos glänzendes, 2 Photos seidenmattes Papier. 3 Photos an Oberkante in Passepartout montiert, dadurch vorderseitig im weißen Blattrand je zwei schwache unauffällige Druckstellen. 1 Photo (Andreas Gursky) am oberen Blattrand minimal wellig. 1 Photo (Thomas Struth) am unteren Bildrand etwa mittig, ca. 7 cm von unten, mit sehr schwacher, kaum merklicher Griffspur, ca. 1,5 cm lang, wahrnehmbar nur im Streiflicht. Originalkartonmappe mit leichten Gebrauchsspuren.Wir berechnen auf den Hammerpreis 32% Aufgeld.

Bernd und Hilla Becher (Siegen 1931 - 2007 Rostock / Potsdam 1934 - 2015 Düsseldorf). Wasserturm, Kirkhamgate, Leeds, GB. 1968Silbergelatineabzug, 1975. 39,9 × 30,2 cm (15 ¾ × 11 ⅞ in.). Beiliegend Fragment vom Originalkarton, darauf von Bernhard und Hilla Becher mit Bleistift signiert sowie Editionsstempel, darin mit Bleistift nummeriert.Einer von 50 Abzügen aus dem Portfolio „Industriebauten“ von Schirmer & Mosel, München 1975. Von diesem Portfolio wurden nur 30 Exemplare realisiert. [2025]Literatur und Abbildung: Bernd & Hilla Becher: Wassertürme. München 2005 (5. Aufl.), S. 141 / Ausst.-Kat.: Bernd & Hilla Becher. New York, The Metropolitan Museum; San Francisco, Museum of Modern Art, 2022/23, S. 183Zustandsbericht: In sehr gutem Zustand. Glänzendes festes Papier. Im oberen Bildbereich rechts (Unterseite des Wasserbehälters) kleine, im Streiflicht schwach glänzende Stelle, vermutlich Retusche, ca. 1 cm lang. Am unteren Bildrand rechts, 2-3 sehr schwache, nur im Streiflicht wahrnehmbare Drucklinien, ca. 4 cm und 1,5 cm lang. Photo von Originalkarton abgelöst.Wir berechnen auf den Hammerpreis 25% Aufgeld und auf Hammerpreis und Aufgeld die zum Auktionszeitpunkt geltende Umsatzsteuer.

Garry Winogrand (New York 1928 – 1984 Tijuana, Mexiko). New York, aus der Serie „Women are Beautiful“, 1960–1975. 1969 oder früherSilbergelatineabzug, 1981. 22,3 × 33,3 cm (28 × 35,4 cm) (8 ¾ × 13 ⅛ in. (11 × 13 ⅞ in.)). Rückseitig mit Bleistift signiert, nummeriert und beziffert.Einer von 80 nummerierten Abzügen sowie eines von 85 Motiven des Portfolios „Women are Beautiful“, hg. von RFG Publishing Inc., New York 1981. [2011]Literatur und Abbildung: Garry Winogrand: Women Are Beautiful. New York 1975, unpaginiert / Ausst.-Kat.: Garry Winogrand. Figments from the real world. New York, The Museum of Modern Art; Chicago, The Art Institute; Pittsburgh, Carnegie Mellon University Art Gallery; Los Angeles, The Museum of Contemporary Art; Austin, University of Texas, Archer M. Huntington Art Gallery; Tucson, University of Arizona, Center of Creative Photography, 1988/90, S. 104Zustandsbericht: In sehr gutem Zustand. Schwach seidenmattes festes Papier, minimal warmer Ton. Schwarzer Bildrand, weißer Blattrand. Keine Mängel erkennbar.Wir berechnen auf den Hammerpreis 25% Aufgeld und auf Hammerpreis und Aufgeld die zum Auktionszeitpunkt geltende Umsatzsteuer.

Florence Henri (New York 1893 – 1982 Compiègne). Portrait Pierre Minet / Portrait im Spiegel. 1928/19332 Silbergelatineabzüge von Originalnegativen, 1974. 25 × 17,8 cm und 25,1 × 15,4 cm (9 ⅞ × 7 in. und 9 ⅞ × 6 ⅛ in.). Je auf Karton (42,8 × 32,4 cm) aufgezogen, darauf unten rechts mit schwarzem Filzstift signiert. Je auf Kartonrückseite Stempel der Galerie Wilde Köln sowie Editions- bzw. Copyrightstempel: „FLORENCE HENRI, Abzug vom Originalnegativ, © Galerie Wilde Köln“. Je von unbekannter Hand mit grauem Filzstift und Bleistift datiert (Aufnahme sowie Abzug), betitelt, nummeriert und beschriftet.Je einer von 50 + VIII A.P. nummerierten Abzügen aus dem Portfolio „Florence Henri. 12 Fotografien“ der Edition Ann und Jürgen Wilde, Galerie Wilde, Köln 1974. [2032]Literatur und Abbildung: Ausst.-Kat.: Florence Henri. Aspekte der Photographie der 20er Jahre. Münster, Westfälischer Kunstverein; Baden-Baden, Staatliche Kunsthalle, 1976, S. 63, Abb. 28 (dort betitelt: Portrait) / Ausst.-Kat.: Florence Henri. Artist-Photographer of the Avant-Garde. San Francisco, Museum of Modern Art; Detroit, Institute of the Arts; Iowa, University of Iowa Museum of Art; Los Angeles, County Museum of Art, 1990/92, S. 63, T. 1 (dort betitelt: Portrait Composition (Man standing next to mirror and drafting table)) / Ausst.-Kat.: Florence Henri. Fotografien aus der Sammlung Ann und Jürgen Wilde. Aachen, Suermondt Ludwig Museum, 1995, T. 4 (dort betitelt: Composition) / Ausst.-Kat.: Florence Henri – Compositionen. München, Pinakothek der Moderne, 2014, Titel und S. 17 (dort betitelt und datiert: Spiegelportrait, 1928) und S. 32 / Ausst.-Kat.: Florence Henri. Mirror of the Avant-Garde, 1927-40. Paris, Jeu de Paume, 2015, S. 35 (dort betitelt und datiert: Double portrait, 1927-28)Zustandsbericht: In sehr gutem Zustand. Je seidenmattes Papier. Keine Mängel erkennbar.Wir berechnen auf den Hammerpreis 32% Aufgeld.

Bernd und Hilla Becher (Siegen 1931 - 2007 Rostock / Potsdam 1934 - 2015 Düsseldorf). Hochofen, Völklingen, Saar, Deutschland. 1986Silbergelatineabzug, 2003. 21,2 × 15,5 cm (24,6 × 18 cm) (8 ⅜ × 6 ⅛ in. (9 ⅝ × 7 ⅛ in.)). Rückseitig von Bernhard und Hilla Becher mit Bleistift signiert sowie von weiterer Hand mit Bleistift nummeriert. Photo unter Passepartoutmaske in Leinenmappe, darin auf Vorsatz montiertes Etikett mit gedruckten Werk- und Editionsangaben, darauf mit Bleistift Editionsnummer. Zusammen mit Buch von Bernd und Hilla Becher: „Hochöfen“, München 2002, darin auf Vorsatz geklebtes Etikett mit gedruckten Editionsangaben, darauf mit Bleistift Editionsnummer. Leinenmappe und Buch zusammen im Leinenschuber (30,5 x 24,5 x 4,2 cm).Einer von 100 nummerierten Abzügen der Vorzugsausgabe / Collector‘s Edition, hg. von Schirmer/Mosel, München 2003. [2022]Literatur und Abbildung: Bernd und Hilla Becher: Hochöfen. München 2002, T. 29 (dort betitelt: Völklingen, Saarland, D) / Ausst.-Kat.: Bernd & Hilla Becher. New York, The Metropolitan Museum; San Francisco, Museum of Modern Art, 2022/23, S. 10, Abb. 4Zustandsbericht: In sehr gutem Zustand. Glänzendes festes Papier. Weißer Blattrand. In der Photographie keine Mängel erkennbar. Buchrücken leicht vergilbt. Kanten des Leinenschubers stellenweise mit minimalen, kaum merklichen Schmutzspuren.Wir berechnen auf den Hammerpreis 32% Aufgeld.

Mappenwerk. „Architektur in der Fotografie“. 19944 C-Prints und 1 Silbergelatineabzug, 1985–1994. Von Candida Höfer, Axel Hütte, Thomas Ruff, Jörg Sasse und Thomas Struth. (diverse Maße) (). Je rückseitig mit Blei- bzw. blauem Filzstift signiert, datiert und nummeriert, 4 Photos betitelt, 1 Photo mit Datum des Abzugs. Je im Passepartout (60 × 45 cm), darauf je rückseitig mit Bleistift nummeriert. Zusammen in türkisfarbener Original-Kartonbox (61,2 x 46,5 x 3,2 cm), darauf Papierbogen mit gedrucktem Mappentitel. Auf Deckelinnenseite Titelblatt mit gedruckten Werk- und Editionsangaben, darauf mit Bleistift nummeriert.Eines von 20 nummerierten Exemplaren, hg. von der Galerie Tolksdorf & Friebe, Köln 1994. [2032]Literatur und Abbildung: Ausst.-Kat.: Thomas Ruff. Fotografien 1979 – heute. Baden-Baden, Staatliche Kunsthalle; Essen, Museum Folkwang; Oslo, Museet for Samtidskunst; München, Städtische Galerie im Lenbachhaus; Dublin, Irish Museum of Modern Art u.a., 2001/03, S. 228 (Stereo 1.08)Folgende Photographien sind in der Mappe enthalten:Candida Höfer. Universität Gent. 1994. C-Print, Kodak-Professional-Papier. 34,1 x 27 cm (41,3 x 30,6 cm)Axel Hütte. Portimao. 1993. C-Print, Fujicolor. 36,7 x 26,7 cm (40,5 x 30,4 cm)Thomas Ruff. Torre de Televisao, Brasilia. 1994. C-Print. 27,3 x 27 cm (31,1 x 30,5 cm)Jörg Sasse. P-94-02-01, Brühl. 1994. C-Print, Fujicolor. 35 x 25,9 cm (37,3 x 28,5 cm)Thomas Struth. St. Giles High Street, Edinburgh. 1985/1994. Silbergelatineabzug, Agfa-Papier. 33,2 x 48 cm (39,8 x 51,4 cm)Zustandsbericht: In sehr gutem Zustand. 3 Photos glänzendes, 2 Photos seidenmattes Papier. 1 Photo (Axel Hütte) mit minimaler, kaum wahrnehmbarer Griffspur an Bildunterkante, ca. 1 cm lang. 1 Photo (Jörg Sasse) mit kleiner leichter Druckstelle an oberer linker Ecke durch rückseitige Klebemontierung. 1 Photo (Thomas Struth) im Streiflicht mit kaum merklichen Druckstellen durch rückseitige Handschrift und einzelnen winzigen Retuschepunkten sowie im unteren Blattbereich schwach wellig.Wir berechnen auf den Hammerpreis 32% Aufgeld.

Bernd und Hilla Becher (Siegen 1931 - 2007 Rostock / Potsdam 1934 - 2015 Düsseldorf). Fachwerkhäuser des Siegener Industriegebiets. 1959–19616 Vintages. Silbergelatineabzüge (Arbeitsabzüge). Photocollage, um 1965. Je 8,2 × 21,2 cm (3 ¼ × 8 ⅜ in.). Je drei Photos untereinander auf dünnen Kartonbogen montiert. Beide Kartons zusammengeklebt (29,7 x 46,8 cm), darauf mit Bleistift und schwarzem Kugelschreiber beschriftet und beziffert. Gerahmt: 59 x 67,8 x 2,5 cm. Auf Rahmenrückwand zwei Galerieetiketten mit gedruckten Werkangaben.[2032] Mit den Aufnahmen dokumentierten Bernhard und Hilla Becher das die Landschaft prägende Industriefachwerk im Siegerland, einem der ältesten Erzabbaugebiete. „Bauklötzen ähnelnd gruppieren sich die Häuser in naiver Plastizität. [...] Bernhard Becher und Hilla Becher verzichteten auf Schlagschatten, dunklen Himmel und sonst übliche Effekte zugunsten der Erkennbarkeit aller Details und zugunsten auch der Vergleichbarkeit.“ (Bauwelt, 1966) Literatur und Abbildung: Volker Kahmen: Industriefachwerk. Beitrag zur Morphologie des Siegerlandes, in: Bauwelt, Bd. 57, 1966, Heft 1/2 (10. Januar), S. 24-25 (dort Bildlegenden: Hilchenbach, Ansicht von Nordwesten; Neukirchen, Ansicht von Norden; Eiserfeld, Ansicht von Nordosten; Neukirchen, Ansicht von Osten; Neukirchen, Ansicht von Norden; Niederschelden, Ansicht von Westen) / Bernd und Hilla Becher: Fachwerkhäuser des Siegener Industriegebietes. München 1977, T. 315 (dort größerer Ausschnitt und betitelt sowie datiert: Wildener Straße, Salchendorf, 1961), T. 337 (dort größerer Ausschnitt und betitelt sowie datiert: Sterzenbacher Straße, Hilchenbach, 1961), T. 338 (dort betitelt und datiert: Wildener Straße, Salchendorf, 1960), T. 340 (dort größerer Ausschnitt und betitelt sowie datiert: Kölner Straße/ Arbachstraße, Salchendorf, 1959), T. 342 (dort größerer Ausschnitt und betitelt sowie datiert: Bühlstraße, Niederschelden, 1960) / Ausst.-Kat.: Bernd & Hilla Becher. New York, The Metropolitan Museum; San Francisco, Museum of Modern Art, 2022/23, S. 108 (dort betitelt und datiert: Wildener Straße, Salchendorf, Germany, 1960)Zustandsbericht: In gutem Zustand, mit leichten Gebrauchsspuren. Je schwach glänzendes Papier. Im Streiflicht stellenweise schwache Wisch- oder Fingerspuren sowie vereinzelt minimale, kaum merkliche Druckstellen. Photo links unten mit winzigem Verlust der Gelatineschicht an linker Kante. Photo rechts mittig mit 2-3 minimalen, kaum merklichen Kleberesten am unteren Rand. Photo rechts unten mit leichter Erhöhung an oberer linker Ecke, ca. 2 cm. Kartons leicht fleckig und stellenweise mit oberflächlichem Papierabrieb.Wir berechnen auf den Hammerpreis 32% Aufgeld.

Set of Three Designer Modern Smoky Brown Art Glass Vases

Beryl Cook (1926-2008) - Lithograph in colours - "Meadow Suite", signed in pencil and with Fine Art Trade Guild stamp "FJA", 13.5ins x 17ins, in modern frame and glazed

Beryl Cook (1926-2008) - Lithograph in colours - "Poetry Reading", signed in pencil and with Fine Art Trade Guild stamp "JCE", 15ins x 19ins, in modern framed and glazed

A pair of Art Deco style gilt metal and paste set ear pendants, 7cm; together with a pair of scarab beetle type modern ear pendants (2)

An Art Deco style bronze figure of a dancer, mounted upon a rouge marble plinth, height 48cmModern; no apparent faults.

Robert Michel, Stopp-PositionFarbige, schwarze Tusche und Aquarell auf Karton, auf Dämmplatte montiert. 77 x 52 cm. Unter Glas gerahmt. Unten rechts schwarz monogrammiert, datiert und bezeichnet 'RM : 60 alu-gr. + OZ' sowie am Oberrand links schwarz betitelt '"STOPP-POSITION"'. Rückeitig signiert und datiert 'ROBERT MICHEL : 1960' sowie vom Künstler mit technischen Daten und mit dem runden Stempel "Heimatmuseum Modern Art SCHMELZ near 6239 GERMANY" versehen. - An den Rändern des gemalten Passepartouts teils minimal berieben.ProvenienzGalerie Bargera, Köln; Privatsammlung Schweiz

Ella Bergmann-Michel, The lection of lightFarbige und schwarze Tuschezeichnung über Bleistift auf Detailpapier, collagiert, gefirnisst und auf Karton montiert. 69 x 59,5 cm. Unter Glas gerahmt. Unten rechts mit Tinte signiert, datiert und bezeichnet 'ELLA BERGMANN 23 B 174'. Rückseitig auf dem Rahmenkarton zusätzlich signiert, datiert und betitelt '"the lection of light"' sowie mit näheren Technikangaben und dem runden Stempel "Heimatmuseum of Modern Art SCHMELZ near 6239 GERMANY" versehen. - Mit kleinen Werkstattspuren und minimal gebräunt.ProvenienzGalerie Bargera, Köln; Privatsammlung SchweizAusstellungenLondon 1972 (Annely Juda), Retrospective Ella Bergmann-Michel and Robert Michel 1917-1966, Kat. Nr. 4 (rückseitiges Galerie-Etikett auf dem Rahmenkarton); Köln 1974 (Galerie Bargera), Ella Bergmann-Michel. Robert Michel. Collagen, Zeichnungen 1917-1966, Kat. Nr. 6 (rückseitiges Galerie-Etikett auf dem Rahmenkarton)

A Victorian Mahogany Single Drawer Pembroke Table, 77cm by 94cm (open) by 72cm, A Similar Victorian Two Drawer Side Table, 104cm by 52cm by 75cm, A Card Table, A Stool, An Art Deco Nest of Tables, 76cm by 36cm by 54cm, A Stick-Stand, A Modern Folding Dressing Table Mirror and A Two-Tier Torchere Stand (8)

A box of books on art including 'My Father' by Jean Renoir, 'Concise History of Modern Paintings' etc

KNOLL Studios Tulip Chair 6er Satz von Eero Saarinen, 19566er Satz drehbarer Space Age Tulpen-Stühle aus der "Tulip Collection", Modell 151 ohne Armlehnen, Entwurf 1956 vom finnischen Designer Eero Saarinen (1910-1961) für KNOLL INC. Weißer Aluminiumfuß mit Sitzschalen aus Fiberglas. Sitzpolster mit orig. rotem Stoffbezug. H. 81cm, B. 50cm, Sitzhöhe ca. 43cm. An der Unterseite vereinzelt Metallplaketten mit Logo "KnollStudio" und die Unterschrift von Eero Saarinen, sowie Jahreszahl 1956. Guter Gesamtzustand mit Alters- und Gebrauchsspuren. Designklassiker des Mid-century modern, ausgezeichnet mit dem Museum of Modern Art Award 1969. Passend dazu wird auch ein Marmor Esstisch von Saarinen in unserer Auktion angeboten.

Karen Foss. Six of Hearts. Acrylic on card, 29.7 x 20.9cm. Signed on reverse. "Originally from Leicester, I trained as a fine art painter at St Martins School of Art in the 1980's. 2002 saw me and my family relocate to Cornwall where I now have a studio in Penzance. As an abstract painter I have always used geometry, line and repetition and most recently have used colour in a more painterly way to bring emotion and spirit to the work. A project I am currently involved with has taken me back to produce a geometric series of small works which seemed to offer the perfect vehicle for my playing card design. The number six is for the six blocks of colour and in modern numerology six represents, among other things, public service, perfection, tolerance and devotion, which seem fitting attributes to TLC and, of course, the suit of Hearts speaks of love. You can see more of my work on Instagram @foss.karen"

Roy Lichtenstein (1923 – New York – 1997). „Modern Print“. 1971Lithografie und Serigrafie auf festem Papier. 61 × 61 cm (78,4 × 78,4 cm) (24 × 24 in. (30 ⅞ × 30 ⅞ in.)). Signiert und datiert.Corlett 103.–Einer von 200 nummerierten Abzügen aus einer Gesamtauflage von 212. Los Angeles, Gemini G.E.L. für das Museum of Modern Art, New York, 1971 (rückseitig mit dem Prägestempel und dem Stempel des Herausgebers sowie der Werkstattnummer in Bleistift: RL 70-363). Mit Feuchtigkeitsspuren. [3095] Gerahmt. Provenienz: Privatsammlung, SchweizWir berechnen auf den Hammerpreis 25% Aufgeld und auf Hammerpreis und Aufgeld die zum Auktionszeitpunkt geltende Umsatzsteuer.

Georges Seurat, Dans la rueÖl auf Holz. 15,6 x 24,7 cm. Gerahmt. Unbezeichnet. Rückseitig mit Bleistift bezeichnet "Dans la rue" und "No 51 Collection Mirbeau, dispersé du Durand-Ruel en Février 1919" sowie auf einem Etikett bezeichnet "NO. 56860 PICTURE". - In guter, farbfrischer Erhaltung.Dorra/Rewald 59ProvenienzStudio des Künstlers (Nachlass-Verzeichnis Nr. 26); Léon Appert (Schwager des Künstlers), Paris (bis 1900); Octave Mirbeau, Paris; Galerie Durand-Ruel, Paris, Vente Mirbeau, 24. Februar 1919, Lot 51; John Quinn, New York (bis 1926); Madame Nicol, Paris; Alfred Daber, Paris; William Weinberg, Scarsdale; Sotheby's London, Weinberg Sale, 10. Juli 1957, Lot 40; T.P. Grange, London; Sammlung Georges Page, Feldbach; Salis & Vertes (2003), Salzburg; Sammlung Corboud, Dauerleihgabe im Wallraf-Richartz-Museum - Fondation Corboud, KölnAusstellungenParis 1900 (La Revue Blanche), Georges Seurat, Kat. Nr. 19; Chicago/New York 1958 (Art Institute of Chicago/Museum of Modern Art), Seurat, Kat. Nr. 60 (rückseitig mit einem Klebezettel "Museum of Modern Art, Loan, 58.252 Grange"); Paris 1967 (Musée de l'Orangerie), Meisterwerke der Schweizer Sammlungen von Manet bis Picasso, Kat. Nr. 59, mit Abb.; Salzburg 2003 (Salis & Vertes), Bouquet d'Art. Festspielausstellung 2003, Kat. Nr. 1LiteraturGeorges Coquiot, Georges Seurat, Paris 1924, S. 247; John Quinn Collection of Paintings, Watercolors, Drawings and Sculpture, Katalog, New York 1926, S. 15 (?); César M. Hauke, Seurat et son oeuvre, 2 Bde., Paris 1961, Bd. 1, Nr. 69, Abb. S. 41; Pierre Courthion, Georges Seurat, Paris/New York 1969, S. 84; Michael Zimmermann, Seurat. Sein Werk und die kunsttheoretische Debatte seiner Zeit, Weinheim 1991, S. 126, Farbabb. 234; Die Impressionisten und ihre Nachfolger. Die Bilder der Fondation Corboud (Wallraf-Richartz-Museum & Fondation Corboud Köln, Bildhefte zur Sammlung), bearb. von Barbara Schaefer, Köln 2006, S. 32, 123, Farbabb. 22.Die farblich reizvolle Studie „Dans la rue“ ist eine der wenigen reinen Stadtlandschaften von Georges Seurat. Das bei den Impressionisten so beliebte Sujet machte das elegante Bürgertum in der von Georges-Eugène Haussmann modernisierten Stadt Paris zum alleinigen Bildthema. Von einem leicht erhöhten Standort, vielleicht aus dem Atelier am belebten Boulevard de Clichy, nahm Seurat die über die Straße flanierenden Passanten in den Blick. Mit dem berühmten Stadtbild „Regen in Paris“ (1877) von dem französischen Stadtmaler Gustave Caillebotte vergleichbar, entwarf auch Seurat zwei voneinander differenzierte Bildräume, links ein breites Trottoir mit sechs teils kühn angeschnittenen Passanten und rechts das Erdgeschoss eines Geschäfts mit großem Schaufenster. Im Schatten einer langen Markise steht lässig ein Mann in langem Mantel und Hut. Für die Figuren griff Seurat auf seine zahlreichen Bleistiftskizzen männlicher und weiblicher Flaneure zurück, die er von 1882 bis 1884 meist nur als Silhouetten anlegte. Farblich bewegt sich die Studie in einer Skala von Blau- und hellen Brauntönen. Gekonnt markierte Seurat einen Hemdsärmel mit vier Pinselzügen reinen Deckweißes. Georges Seurat gilt als der eigentliche Erfinder der pointillistischen Maltechnik, bei der die reine Farbe in meist winzigen Punkten aufgetragen wird und sich erst auf Entfernung im Auge des Betrachters mischt. Bei den kleinformatigen Ölstudien wie dieser, auch „Croquetons“ genannt, war diese Technik noch nicht ausgereift. Vielmehr dienten ihm diese Studien zur Erprobung des kleinteiligen Farbauftrags und zur Vorbereitung für so ambitionierte Werke wie „Un dimanche après-midi à la Grande Jatte“ von 1884-1886.

Josef Albers, Becher (Beaker)Sandgestrahltes Überfangglas 29 x 37 cm. Gerahmt. Rückseitig auf der Rahmenrückwand auf einem Papieraufkleber monogrammiert und gewidmet 'Für Eugen Gomringer JA'. - Mit geringfügigen Altersspuren.Die vorliegende Arbeit ist in The Anni and Josef Albers Foundation, Bethany, Connecticut, registriert. Wir danken Jeannette Redensek für weiterführende Informationen.ProvenienzEugen Gomringer (Geschenk des Künstler, ca. 1955-1960); Privatsammlung, Schweiz (ca. 1960)AusstellungenLe Cateau-Cambrésis 2008 (Musée Matisse), Josef Albers, Vitraux, Dessins, Gravures, Typographies, Meubles, Ausst.Kat.Nr.30, S.149 mit Farbabb. London 2006 (Tate Modern), Bielefeld (Kunsthalle), New York (Whitney Museum of American Art), Albers and Moholy-Nagy, From the Bauhaus to the New World, Ausst.Kat., S.42 mit Abb.53New York 1994 (Solomon R. Guggenheim Museum), Josef Albers, Glass, Color, and Light, Ausst.Kat.Nr.32, o.S. mit Farbabb.Amsterdam 1961 (Stedelijk Museum), Josef AlbersHagen 1957 (Karl-Ernst-Osthaus-Museum), Josef Albers, Ausst.Kat.Nr.19Basel 1929 (Kunstgewerbemuseum), Dresden (Kunstgenossenschaft), Breslau (Sonderabteilung der Werkbundausstellung), Dessau 1929/1930 (Bauhaus), Essen 1930 (Folkwang Museum), Mannheim (Städtische Kunsthalle), Zürich (Kunsthalle und Kunstgewerbemuseum), Bauhaus Dessau, 10 Jahre BauhausLiteraturIrving Leonard Finkelstein, The Life and Art of Josef Albers, Ann Arbor 1979Will Grohmann, Josef Albers, in: Museum Journal, Otterlo 1961, Nr. 9-10, S.212 ff., S.232f.Das Medium Glas begleitet Josef Albers Zeit seines Lebens und steht im Zentrum seines künstlerischen Schaffens bis zu seiner Emigration in die USA. Seiner Ansicht nach wirkt in der Glasmalerei die Farbe als direktes Licht. Bereits während seiner Kindheit in einem streng katholischen Elternhaus ist er fasziniert von der Lichtfülle farbiger Kirchenfenster. Von seinem Vater, einem vielseitig tätigen Malermeister, erlernt er als Jugendlicher die technische Fertigkeit, Glas zu ätzen und zu bemalen. Diese Grundlagen bringt Albers mit, als er 1920 Student des Bauhauses wird; beide Aspekte - die visuelle Qualität von Farbe und Licht und die Wertschätzung handwerklicher Prozesse – werden bestimmend für sein künstlerisches Schaffen. Am Bauhaus befasst er sich mit dem Medium Glas im Eigenstudium. Noch als Geselle wird er Werkmeister in der Glasmalereiwerkstatt, 1923 Lehrer für den obligatorischen Vorkurs und 1926 von Walter Gropius zum Meister berufen. Albers strebt stets danach, eine universale, von subjektiven und emotionalen Gehalten befreite Bildsprache zu nutzen, um zu einer höheren geistigen Aussagekraft zu gelangen. Klarheit und Leuchtkraft sollen die Kunst beherrschen. Seine sandgestrahlten Glasarbeiten, die ab 1925 in der Dessauer Bauhaus-Zeit entstehen, entsprechen diesen Anforderungen vollkommen. Mit dieser innovativen, selbstentwickelten Technik schafft der Künstler einen völlig neuen Typus von Glasbildern. Bei der Umsetzung greift Albers auf das Können der Meisterhandwerker der Vereinigten Werkstätten für Mosaik und Glasmalerei Puhl & Wagner – Gottfried Heinersdorff, Berlin-Rixdorf, zurück. Genutzt wird dabei ein Sandstrahlgerät als Werkzeug, um die durch Schablonen vorbereitete Darstellung in opakes farbiges Überfangglas einzugravieren. Durch die unterschiedliche Dauer und Intensität der Sandbestrahlung wird der glänzende farbige Glasüberfang entweder vollständig entfernt, so dass das darunterliegende weiße Milchglas zum Vorschein kommt, oder die Oberfläche nur leicht mattiert. „Durch die Verwendung von opakem Glas und nur einer Scheibe habe ich die Beweglichkeit eines kleinen Staffeleibildes erreicht, das man an eine Wand hängen oder als festen Bestandteil der Architektur in eine Wand, im Innen- wie im Außenraum, einbauen kann. […] Doch die ungewöhnliche Farbintensität, das reinste Weiß und tiefste Schwarz, und die erforderliche Präzision und die Flächigkeit der Gestaltungselemente bieten eine ungewöhnliche und besondere Material- und Formwirkung“, so erläutert Josef Albers selbst (zit. nach: Josef Albers, Interaction, Ausst.Kat. Villa Hügel, Essen 2018, S.88).Aus den zumeist von Gitterstrukturen bestimmten Sandstrahlarbeiten der späten 1920er Jahre, die oft zusätzlich mit Glasmalfarbe mehrfarbig gestaltet sind, tritt das hier angebotene „Becher (Beaker)“ durch seine puristische und harmonische Farb- und Formgebung hervor. Der kühle Farbkontrast aus Blau und Weiß erzeugt eine außergewöhnliche Leuchtkraft und Frische und bringt die Rundungen der stilisiert dargestellten Becherwandungen prägnant zur Geltung.Das eindrucksvolle Glasbild wird von Josef Albers in Deutschland zurückgelassen, als er gemeinsam mit seiner Frau 1933 in die USA emigriert, und zunächst bei Trunck & Co. in Berlin, der Möbelwerkstatt von Siegfried Fleischmann, dem Vater von Anni Albers, eingelagert. Vor Siegfried Fleischmanns eigener Emigration wird es zusammen mit anderen eingelagerten Werke 1936-37 von Berlin in das Bottroper Haus von Lorenz Albers, dem Vater von Josef Albers, gebracht. Nach dessen Tod im Jahr 1944 gelangen die Werke in das Bottroper Haus von Elisabeth und Rudolf Marx, Albers' Schwester und Schwager. Der Künstler übereignet es später dem Schriftsteller Eugen Gomringer, mit dem er seit Mitte der 1950er Jahre befreundet ist und der 1968 die umfangreiche Monographie „Josef Albers, Das Werk des Malers und Bauhausmeisters als Beitrag zur visuellen Gestaltung im 20. Jahrhundert“ veröffentlicht. „Becher“ ist das einzige erhaltene Werk mit farbigem Überfangglas in der Sandstrahl-Technik, die Albers in der Zeit zwischen 1929 und 1931 ansonsten nur für Glasarbeiten in Schwarz, Weiß und Grau verwendete.

AN EXCEPTIONAL AND MONUMENTAL GILT WOOD FIGURE OF SEISHI BOSATSUJapan, 16th-17th century, late Muromachi (1336-1573) to early Edo period (1615-1868)Of yosegi-zukuri (joined-block) construction, the bodhisattva standing atop a lotus dais with finely carved petals raised on a compressed globular element with pierced foliate and floral dharmachakra designs supported on an elaborate tiered circular base decorated with scrolling vines, a wavy collar above lappets, and diapered chrysanthemums. His lowered left hand holding a small bouquet of lotus flowers, his raised right hand held in vitarka mudra (raigo-in). He is dressed in loose-fitting robes cascading in voluminous folds and billowing scarves, and richly adorned with an elaborate pierced necklace and head-ornament of applied copper alloy with pendent ornaments and ribbons. His serene face with finely painted downcast eyes below elegantly arched brows centered by an urna (byakugo) and full lips framed by a curled mustache, the hair piled up into a high chignon. The base inset with a flattened post surmounted by a large circular lotus aureole. The underside gives some further insight into the elaborate construction of this monumental figure.HEIGHT overall 175 cmCondition: Old wear, the gilt and applied metal elements remarkably well-preserved, minor flaking, small nicks and chips, light surface scratches, minuscule losses, expected minor age cracks. Possibly minor old repairs and touchups. Generally, in very good condition, commensurate with age, and better than most statues of this extremely rare size and period.Provenance: From the estate of Dorothy Robins Mowry (1921-2021), an American think tank executive and author who lived and worked in Tokyo between 1963-1971, where she held a position in the Cultural Programs Office for 8 years at the American Embassy. Among her most well-known books are The Hidden Sun: Women of Modern Japan and Experiment in Democracy: The Story of U.S. Citizen Organizations in Forging the Charter of the United Nations. Dorothy was a sought-after public speaker at national and international conferences, universities, community and non-governmental organizations, and radio and TV stations. She presented extensively throughout the U.S. and overseas in many countries including Japan, Korea, Thailand, Indonesia, Switzerland, and Iran.Seishi Bosatsu (Mahasthamaprapta), also known as the Bodhisattva of strength and wisdom, is recognized in Japan as one of the Thirteen Buddhas and associated with the Nio temple guardians. He is one of the oldest bodhisattvas and is regarded as powerful, especially in the Pure Land school, where he takes an important role in the Longer Sukhavativyuha Sutra. He is often depicted in a trinity with Amitabha (Amida) and Avalokiteshvara (Kannon), especially in Pure Land Buddhism. Seishi Bosatsu is rarely represented in Japanese sculpture outside of the Amida triad, where he is often depicted holding a lotus flower.Literature comparison: Compare a closely related gilt wood figure of Seishi Bosatsu, dated 18th century, 143.2 cm high, in the Museum für Asiatische Kunst, Humboldt Forum, Berlin, reference number DLG 134-1996. Compare a related gilt wood figure of Seishi Bosatsu, dated 17th or 18th century, 81.3 cm high, in the collection of the Metropolitan Museum of Art, accession number 2006.438a–e.Auction comparison: Compare a related gilt wood figure of Amida, dated to the early Edo period and measuring 180 cm, sold at Christie's, Art D' Asie, 10 December 2020, Paris, lot 65 (sold for 52,500 EUR).

A MASSIVE BRONZE KORO AND COVER WITH TOKUGAWA MONJapan, 19th century, late Edo period (1615-1868)The sides of the vessel are finely worked in relief with two panels framed by ferocious dragons amid clouds, depicting to one side Lady Rokujo at the Nonomiya Shrine, with long hair and dressed in a long flowing court dress, standing in the sacred bamboo enclosure amid jars filled with water and reading a love-letter from Prince Hikaru Genji. The other panel depicts her as a vengeful spirit wearing a mask of Hannya, and clutching her long, finely incised hair with one hand.The ovoid vessel supported on a revolving foot cast with crashing waves above a compressed globular 'basketweave' segment raised on four elegantly curved legs on a tiered circular base. The pierced cover surmounted by a screeching eagle with fierce expression and outstretched wings. The vessel is flanked by two handles in the form of sinuous dragons with neatly incised scales and mouths wide open, with a third dragon writhing around the foot. The neck is cast to either side with the Tokugawa clan mon (aoi mon), while the cover and base are decorated with crests of six radiating aoi leaves. The base with a cho mon (butterfly crest).With a finely carved wood stand supported on four elegantly curved legs with scroll-form feet above an apron carved with clouds and foliage surmounted by a tiered square platform carved with decorative bands.HEIGHT 132 cm (censer only), HEIGHT (total) 180 cmWEIGHT 28 kg (excl. stand)Condition: Good overall condition with some wear, tiny nicks, light scratches, some repairs with traces of soldering, minor losses.Provenance: Belgian private collection.Lady Rokujo is a character in The Tale of Genji (Genji Monogatari). She is a mistress of the novel's protagonist, Hikaru Genji, with whom she becomes infatuated and jealous of his other lovers. Her jealousy subconsciously causes her ikiryo (wandering spirit) to become a Shiryo (also known as a Yurei) that attacks and murders multiple other mistresses and wives of Genji.The Tokugawa's clan symbol, known in Japanese as a mon, the "triple hollyhock" (although commonly, but mistakenly identified as "hollyhock", the aoi actually belongs to the birthwort family and translates as "wild ginger"—Asarum), has been a readily recognized icon in Japan, symbolizing in equal parts the Tokugawa clan and the last shogunate.The cho (butterfly) mon traditionally represents the Taira Clan, who prospered during the Heian era (AD 700 ~ 1200). They are recognized as the first to use this mon, and nearly all of the modern families who claim it are descendants of the Taira clan.Auction comparison: Compare a related bronze koro with eagle finial, dated to the late 19th century, measuring 149.8 cm, sold at Bonhams, Fine Japanese and Korean Art, 12 September 2012, New York, lot 3373 (sold for 15,000 USD).

FOUR WOOD GAMES, comprising Italian 'Legnomagia' specimen wood puzzle, and a cube construction puzzle by Bill Cutler, with solution, together with a Danish 1960's 'Con-tac-tix' game, and a boxed modern solitaire (4)Provenance: 'The St John Perrott Stimson Collection of Treen & British Folk Art’. Please see Rogers Jones & Co. website: "This Autumn: Treen & British Folk Art"

ASSORTED MODERN PICTURE JIGSAW PUZZLES ETC., including Monkey puzzle and House of cards (17)Provenance: 'The St John Perrott Stimson Collection of Treen & British Folk Art’. Please see Rogers Jones & Co. website: "This Autumn: Treen & British Folk Art"

Four items of modern art glass to inlcude Murano yellow pedestal bowl, brown striated bowl, twisted stem vase (H60cm) and ruby and black shell shaped vase

Selection of modern art glass free form sculptures, vases and bowls

Collection of Murano and other modern art glass sculptures, vases and bowls, largest H40cm

The Works of Charles Dickens (30), The Letter Book, Modern French Decorative Art in 2 volumes (33) (2 boxes)

* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003),BUTTRESS (SHINGLE POEM)mixed media on board, signed and dated 1996 verso, titled labels versooverall size 79cm x 23cm, 25cm deep Unframed, as intended. Artist's labels verso.Note: Neil Dallas Brown was born in Elgin, Moray and studied at Dundee College of Art, Patrick Allan Fraser School of Art in Arbroath and the Royal Academy Schools. He won a travelling scholarship to the continent and a number of notable awards and prizes. In 1967 he visited New York with a Scottish Arts Council bursary; in 1970 took part in the Arts Council of Northern Ireland Open winning a major prize; and in 1981 won a bursary to the Scottish Arts Council studio in Amsterdam. From 1968-78 he was visiting lecturer at Dundee's Duncan of Jordanstone College of Art, then joined Glasgow School of Art where he taught for some 20 years. He lived in Fife until his death in 2003. Dallas Brown participated in dozens of group shows but also had a series of prestigious solo shows, notably at Compass Gallery in Glasgow, a series in the late 1960s at Piccadilly Gallery in London, a touring retrospective in 1975 from Stirling University, Perth Art Gallery 1987, Thackeray Gallery London in 1989 and Glasgow School of Art 1998. Birds and humans featured in Dallas Brown's pictures, which are tinged with mystery, menace and surrealism. He said ''Painting is love. Painting is an affectionate devotion''. More than 50 of Neil Dallas Brown's paintings are held in major public collections in the UK including at Glasgow Museums & Galleries, Fife Council, Hospitalfield (Arbroath), The Glasgow School of Art, Edinburgh City Collection, Nottingham Art Gallery, The Walker Art Gallery (Liverpool), Aberdeen Museums & Galleries, Dundee Museums & Galleries, The Fleming Collection (London), Paisley Museums & Galleries and The Scottish National Gallery of Modern Art.

Runder, tief gemuldeter, gebauchter Korpus mit ausschwingendem Rand. Auf der Wandung beidseitig unterschiedliche, mehrfigurige Darstellung. Schauseitige, humoristische Szene einer fröhlichen, zechenden Gesellschaft von rauchenden, Punsch trinkenden Männern in der Art von Hogarth's "Midnight modern Conversation". Im Vordergrund ein vom Stuhl gefallener Betrunkener. Rückseitig allegorische Darstellung. Vor Seelandschaft mit Dreimaster unweit einer großen Uhr stehende Männer bei der Konversation, neben ihnen eine Dame mit Spruchband und gefesselter Kriegerin Pallas. Am Boden liegende Attribute der Künste, Globus und sitzende Eule. Umlaufende Bordüre aus farbigen Blumengirlanden. Im Spiegel großes Blumengebinde. Polychrome Malerei. Goldrand. Minim. rest.; Schwertermarke. H. 15,5 cm. D. 30,5 cm. Nach Kupferstich und Gemälde von William Hogarth. Das Motiv der sich amüsierenden, zechenden Gesellschaft erfreute sich großer Beliebtheit, es wurde um 1750 von den Porzellanmanufakturen Meißen und Berlin für Dekorationen von Punschterrinen verwandt.A very large porcelain punch bowl depicting figural scenes, partly after William Hogarth "A Midnight modern conversation". Minor restored. Crossed swords markMeissen. Um 1750 - 1760.

(1904 Frankfurt a. M. - 1998 Lugano)Abstrakte KompositionAuf einer changierenden, violetten Farbfläche angeordnete, ausgewogene Komposition aus einem Liniengerüst und einer Kreisform. 1949 entstandene Arbeit Botts, der 1937 nach Frankreich ging, wo er in Paris Anschluss an den Surrealismus und seit 1945 zur Abstraktion fand. Dort wurde er zu einem der bedeutendsten Protagonisten der "Zweiten École de Paris" und des französischen Informel. Arbeiten Botts befinden sich in zahlreichen internationalen Museen, wie dem Museum of Modern Art in New York. Mischtechnik (Kreiden)/Papier. R. u. sign.; 24 cm x 36,5 cm (Passepartoutausschnitt). Rahmen.Henze, Wvz.-Nr. 176 (mit Abb.).Provenienz: Galerie Maulberger, München; seit 2006 Sammlung Sigune von Osten (1950 - 2021), erworben auf der Art Cologne.Mixed media (chalks) on paper. Signed.

Fahrenkrog, Ludwig -- Kreuzigung Christi.Feder in Schwarz über Bleistift, grau laviert. 32,5 x 45 cm. Rechts unten in brauner Feder signiert und mit Bleistift bezeichnet "Skizze". Um 1895.Ludwig Fahrenkrog studiert ab 1887 an der Akademie der Künste in Berlin als Meisterschüler von Anton von Werner. Schon seit den 1890er Jahren beschäftigt sich Fahrenkrog intensiv mit christlichen Themen, die er jedoch zusehends modern uminterpretiert. So erhält er unter anderem im Jahre 1893 den großen Rompreis der Akademie für ein Monumentalgemälde mit der Kreuzigung Christi, dessen Verbleib heute unbekannt ist. Seine christlich geprägte Kunst wandelt sich vor allem ab 1900, nachdem er aus der Kirche ausgetreten ist, zu einem gegenständlich-symbolistischen Stil, der den Historismus genauso ablehnt wie die internationalen Avantgarden. Seine Bildthemen kreisen um die Naturauffassung der Lebensreform-Bewegung, um germanische Mythologie und innerseelische Konflikte. 1913 erhält er eine Professur und wird 1925 zum External Professor of Art an der University of Dakota, USA, ernannt. 1913 gründet Fahrenkrog weiterhin die neuheidnische "Germanische Glaubens-Gemeinschaft", zu dessen Mitgliedern auch Fidus (eigentl. Hugo Höppener) zählt, mit welchem Fahrenkrog eine lebenslange Freundschaft verbindet. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Lynn Chadwick (London 1914 – 2003 Lypiatt Park/Gloucestershire). „Sitting Figures“. 1979/80Bronze mit schwarzer Patina, zweiteilig. 188 × 88 × 125 cm; 182 × 100 × 131 cm (74 × 34 ⅝ × 49 ¼ in.; 71 ⅝ × 39 ⅜ × 51 ⅝ in.). Am Rocksaum der Frau unten rechts der Signaturstempel, die Werknummer und die Datierung: CHADWICK 786 79/80.Farr/Chadwick 786.–Einer von 6 nummerierten Güssen. [3084] Provenienz: Maren Otto, Hamburg (2009 bei der Galerie Thomas, München, erworben)Erratum/Addendum: Provenienz: Tokushima Modern Art Museum, Tokushima, Japan / Maren Otto, Hamburg (2009 bei der Galerie Thomas, München, erworben)Ausstellung: Recent Sculpture. London, Marlborough Fine Art, 1984, Kat.-Nr. 1, m. Abb.Wir berechnen auf den Hammerpreis 32% Aufgeld.

MARIE RAYMOND (1908-1988)Sans titre 1957 signé ; daté 1957 sur le châssishuile sur toile signed ; dated 1957 on the stretcheroil on canvas 46 x 60.7 cm. 18 1/8 x 23 7/8 in.Footnotes:ProvenancePascal de Sarthe Gallery, San Francisco Collection Harris et Myrna Stewart, San RafaelVente : Sotheby's, Paris, Modern and Contemporary Art, 13 décembre 2006, lot 109Acquis dans cette vente par le propriétaire actuel ExpositionsSan Francisco, Pascal de Sarthe Gallery, Marie Raymond 40 Years of Abstract painting, 1988Nice, Musée d'Art Moderne et Contemporain, Marie Raymond Retrospective 1937 -1987, 1993, p. 84, illustré en couleursThis 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

AGOSTINO BONALUMI (1935-2013)Bianco 1967 signé, daté 67 et inscrit N.Y. au revers toile de forme et tempera vinylique signed, dated 67 and inscribed N.Y. on the reverseshaped canvas and vinyl tempera 127.5 x 176 x 30.5 cm. 50 3/16 x 69 5/16 x 12 in.Footnotes:Cette œuvre est enregistrée sous le n° 67-015 auprès de l'Archivio Bonalumi, Milan ; un certificat signé par l'artiste sera remis à l'acquéreur.ProvenanceGalleria Fumagalli, BergameAcquis auprès de celle-ci par le propriétaire actuel en 2006ExpositionNew York, Galleria Bonino, Agostino Bonalumi painting – constructions, 1967BibliographieWolbert Klaus, Agostino Bonalumi, Parme 2003, p. 152, illustré en noir et blanc Renato Barilli, Lia Durante, Agostino Bonalumi. Premio 'Artista dell'anno 2006', Milan 2006, p. 53, illustré en couleurs Fabrizio Bonalumi, Marco Meneguzzo, Agostino Bonalumi. Catalogo Ragionato, Milan 2015, Vol. II, p. 406, n° 332, illustré en noir et blancAgostino Bonalumi est né en 1935 à Vimercate, en Italie. Artiste autodidacte, il a étudié le design technique et la mécanique. Il a passé la majeure partie de sa vie en Italie, à l'exception d'une période d'étude et de travail en Afrique méditerranéenne et en 1967 aux Etats-Unis. Bonalumi est surtout connu pour ses toiles monochromes enduites de vinyle façonné.Alors qu'il visite l'atelier du peintre Enrico Baj, il rencontre Piero Manzoni et Enrico Castellani, avec lesquels il exposera à Rome, Lausanne et Milan en 1958. Leur questionnement autour de l'art et de leur époque les amène à repenser leur peinture vers une forme de peinture-objet : pittura-oggetto concept qui plut aussitôt à Bonalumi. Un an plus tard, Bonalumi et Castellani fondent la revue Azimuth et commencent à fréquenter l'atelier de Lucio Fontana. En effet au contact de Lucio Fontana, Bonalumi a étudié le concept d'espace et a réalisé ses premières Estroflessioni, consistant à étirer et à déformer les toiles à travers des structures et des cadres construits derrière elles créant ainsi l'illusion d'une force invisible poussant par dessous. Dans les années 1960, l'artiste introduit de nouveaux matériaux dans ces peintures construites tels que l'aluminium, et il a agrandi l'échelle de son travail, créant finalement des installations.Le travail de Bonalumi a été présentée dans de nombreuses grandes expositions individuelles et collectives, notamment aux Biennales de Venise et de São Paulo, et fait partie des collections de plusieurs musées, dont la Galleria Civica d'Arte Moderna e Contemporanea de Turin, la Galleria Nazionale d'Arte Moderna e Contemporanea de Rome, le Museu Coleçao Berardo de Lisbonne, la Peggy Guggenheim Collection de Venise et le Walker Art Center de Minneapolis. Des rétrospectives de l'œuvre de l'artiste ont été organisées à l'Institut Mathildenhöhe de Darmstadt, en Allemagne, en 2003, au Musée d'art moderne de Moscou en 2011 et au Palazzo Reale de Milan en 2018.Le public américain a pu découvrir, Bianco et le travail de Bonalumi lors de son exposition dédiée par la Galleria Bonino à New York en 1967. Cette œuvre de 1967 est extrêmement importante étant donné cette composition extraordinaire qui sont l'une des plus recherchées par les collectionneurs et que le marché n'a que trop peu l'occasion de pouvoir voir sur le marché. Grand Artiste de son vivant, Agostino Bonalumi, nous éblouit à nouveau avec ses extroflexions semi circulaires sur les trois angles et joue avec une plus petite estroflessione pointue dans l'angle supérieur gauche, défiant avec les limites de la toile qui lui sont imposées. Son habileté et cette vision si particulière de l'espace nous amène vers la contemplation et l'introspection. Légère, aérienne, puissante, ce pur pittura-oggetto présenté est l'exemple parfait de la capacité de l'artiste à jouer avec les trois dimensions qui enrobe le spectateur. Cet architecte de la toile met en scène ici la lumière tel un réflecteur sensoriel ; les volumes dans l'espace captent avec force l'œil du spectateur et lui donne une dimension physique et tactile.Agostino Bonalumi was born in 1935 in Vimercate, Italy. A self-taught artist, he studied technical drawing and mechanics. He spent most of his life in Italy, except for a period of study and work in Mediterranean Africa and 1967 in the USA. Bonalumi is best known for his monochrome canvases covered with shaped vinyl.While visiting the studio of the painter Enrico Baj, he met Piero Manzoni and Enrico Castellani, with whom he exhibited in Rome, Lausanne and Milan in 1958. Their questioning of art and of their current times led them to rethink about their painting as a form of object painting: pittura oggetto, a concept that immediately appealed to Bonalumi. A year later, Bonalumi and Castellani founded the magazine Azimuth and began to visit Lucio Fontana's studio. Inspired by Lucio Fontana, Bonalumi studied the concept of space and made his first Estroflessioni, which consisted of stretching and deforming canvases through structures and frames built behind them, thus creating the illusion of an invisible force pushing from below. In the 1960s, the artist introduced new materials into these constructed paintings, such as aluminium, and expanded the scale of his work, eventually creating installations.Bonalumi's work has been shown in numerous major solo and group exhibitions, including the Venice and São Paulo Biennales, and is included in the collections of several museums, including the Galleria Civica d'Arte Moderna e Contemporanea in Turin, the Galleria Nazionale d'Arte Moderna e Contemporanea in Rome, the Museu Coleçao Berardo in Lisbon, the Peggy Guggenheim Collection in Venice, and the Walker Art Center in Minneapolis. Retrospectives of the artist's work were held at the Mathildenhöhe Institute in Darmstadt, Germany, in 2003, the Museum of Modern Art in Moscow in 2011 and the Palazzo Reale in Milan in 2018.The American public first discovered Bianco and Bonalumi's work at his solo exhibition at Galleria Bonino in New York in 1967. This 1967 work is extremely important due to the extraordinary composition, one of the most sought after by collectors, and which rarely surfaces on the market. A great artist during his lifetime, Agostino Bonalumi dazzles us again with his semi-circular extroflexions on 3 angles, playing with a smaller sharp estroflessione in the upper left corner, defying limits imposed by the canvas. His skill and unique vision of space lead us to contemplation and introspection. Light, airy, powerful, this pure pittura-oggetto here on show is the perfect example of the artist's ability to play with the three dimensions that engulf the viewer. Here, this architect of the canvas stages the lighting as if it were a sensory reflector; the volumes of the space, giving it a physical and tactile dimension, forcefully capture the eye of the spectator.... 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

HAMISH FULTON (Né en 1946)Mountain Skyline Fourteen days walking fourteen nights camping wind river range Wyoming summer 1989 signé au reverscrayon, fusain et terre diluée sur papier dans cadre d'artistesigned on the reversepencil, charcoal and diluted soil on paper in the artist's frameImage : 20.7 x 26.8 cm. Image : 8 1/8 x 10 9/16 in. Feuille : 59 x 60.5 cm. Feuille : 23 1/4 x 23 13/16 in. Encadré : 62.5 x 64.5 cm.Framed : 24 5/8 x 25 3/8 in.Footnotes:ProvenanceGalerie Laage - Salomon, Paris Acquis auprès de celle-ci par le propriétaire actuelArtiste-marcheur, Hamish Fulton parcourt le monde à pied depuis les années 1970 dans un art qui relève du concept et de la performance, créant par ses « artistic walks » un lien entre l'art et le paysage. De ses pérégrinations, l'artiste n'en retranscrit que l'aura fragmentaire afin d'offrir au regardant (terme qu'utilisait Poussin) une transcription allégorique. Opposé à toute préhension des sites qu'il traverse, il s'oppose en cela au Land-Art puisqu'il se refuse à toute altération du paysage, l'artiste fait de son implication physique l'essence même de son Œuvre : « no walk, no art ». Spirituel, poétique, perceptif et incarné, son Œuvre est tautologique.Formé à la Saint Martin School of Art de Londres, de 1966 à 1968, Hamish Fulton participe ensuite à des cours de photographie au Royal College où il rencontre Richard Long avec lequel il partage certains de ces voyages (Bolivie, 1972 ; Népal, 1975 ; Mexico, 1979), chose rare car l'artiste est plutôt un loup solitaire. Sa démarche artistique dénonce le cloisonnement de nos univers quotidiens, dont les vitres, cloisons, murs, nous démembrent de la nature, notre élément originel. Ainsi libéré de toute frontière, son expérience du trajet parcouru lui permet de savourer la perception et la réceptivité du paysage : « Je marche sur la terre pour m'introduire dans la nature » révèle-t-il. De ses expéditions, Hamish Fulton rapporte des clichés photographiques, auxquels il associe des inscriptions textuelles aussi précises qu'elliptiques : le lieu, la date de la prise de vue, la durée ou la longueur de la marche. A cet égard, la photographie que nous présentons est très rare puisque si l'artiste a bien indiqué de façon tapuscrite la localisation et la temporalité de sa prise de vue, il s'est autorisé l'ajout d'un élément « hors cadre », né d'une rencontre nocturne fortuite : Night Bird Songs. Tout grand marcheur connaît le ravissement que procure l'apparition d'un animal sauvage ou le chant d'un oiseau dans l'aube pure. Des dessins font irruption dans son Œuvre à partir de 1981, lui conférant ainsi une aura poétique. Dans Mountain Skyline et Ridge Skyline, à la précision des relevés topographiques, Hamish Fulton a joint un peu de terre diluée dont il a caressé le papier, substrat concret de ses excursions éphémères.Présentes dans d'importantes collections publiques, ses œuvres ont été présentées ces dernières années en Angleterre (Tate Modern, Londres, 2011), en France (Collection Lambert, Avignon, 2011), aux Pays Bas (Stedelijk Van Abbemuseum, Eindhoven, 2011), en Allemagne (Museum für Gegenwart, Berlin, 2011), aux Etats-Unis (Missoula Art Museum, Montana, 2012), en Autriche (MUMOK, Vienne, 2013).Accomplies au gré de ses rêves, ces pérégrinations, qu'elles soient solitaires ou collectives (depuis les années 1990), révèlent de l'artiste des sculptures mentales où il est question de temps, de matière et d'espace. Un art nomade, pétri de sagesse et de liberté.Hamish Fulton, an artist-walker, has been roaming the globe since the 1970s in an artistic approach that based on both concept and performance, creating a link between art and landscape through his 'artistic walks'. Through his peregrinations, the idea is key and the material object secondary, providing the viewer with a purely allegorical interpretation (a term used by Poussin).Opposed to any appropriation of his walking sites, he is thus in opposition to Land-Art since he refuses any alterations to the landscape, instead making his physical involvement the very essence of his work: 'no walk, no art'. Spiritual, poetic, subject to perception and physicality, his work is of tautological nature.Hamish Fulton attended the Saint Martin School of Art in London from 1966 to 1968, before following a photography course at the Royal College where he met Richard Long, who joined him on some of his trips (Bolivia, 1972; Nepal, 1975; Mexico City, 1979), somewhat unusual for this artist generally of lone wolf tendency.His artistic approach denounces the presence in our daily lives of compartmentalizing structures: windows, screens and walls that dissect us from nature, our original element. Thus liberated from dividing boundaries, his walks allow him to relish his perception of and interaction with landscape: 'I walk on the land to be woven into nature'. Hamish Fulton brings back photographic images from his expeditions, to which he adds concise textual inscriptions: the place, the date of the shooting, the walk's duration or distance.In this respect, the photograph on show is very rare since, although the artist has typewritten the location and time of his shot, he includes an unhabitual 'out of frame' element, inspired by a nocturnal encounter: Night Bird Songs. Every great walker knows the feeling of delight of spotting a wild animal or hearing birdsong in the brightness of dawn.From 1981, drawings burst into his works, affording them a poetic aura. In Mountain Skyline and Ridge Skyline, as precise as topographical surveys, Hamish Fulton caresses the paper with a smatter of diluted earth, a physical base of his ephemeral excursions.Present in important public collections, his works have been shown in recent years in the UK (Tate Modern, London, 2011), France (Collection Lambert, Avignon, 2011), the Netherlands (Stedelijk Van Abbemuseum, Eindhoven, 2011), Germany (Museum für Gegenwart, Berlin, 2011), the USA (Missoula Art Museum, Montana, 2012) and Austria (MUMOK, Vienna, 2013).Surging from his dreams, these peregrinations, whether solitary or collective (since the 1990s), reveal sculptures of the mind, gravitating around time, matter and space. A nomadic art, replete with wisdom and freedom.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

*** Please note, the description of this lot has changed ***Psalter, Use of Liège, in Latin, illuminated manuscript on vellum, 117 leaves (plus 2 modern paper endleaves at front and back), wanting the Beatus initial leaf from opening of main text, another single leaf from the fifth quire and some quires from the end: now ending abruptly midway through the Litany, else complete, collation: i6, ii-iv8, v7 (that originally the second leaf in quire removed), vi-xv8, text in single column of 23 lines of a good early gothic bookhand, one-line initials in red or blue, 2-line initials in gold on blue and pink grounds heightened with white penwork, twelve calendar illustrations of the occupations of the months (each of a human figure in burnished gold robes), ten large historiated initials in blue or pink with central scenes on burnished gold grounds, the whole within a gold frame and with coloured foliate extensions on thick gold grounds extending into the borders on up to three sides, a few leaves with ink flaking away and smudged, a few smudges to initials, leaves at each end slightly cockled, a few spots and stains, else in good condition, 169 x 120mm., bound by Budden of Cambridge in 19th-century red morocco over bevelled boards, each board tooled in rows of foliate designs and spine with six compartments with a single flowerbud, gilt edge and gauffered, 8vo, Southern Netherlands (Liège), [c.1270].⁂  The sequence of gold-clad figures in the Calendar and glittering historiated initials here set this apart as one of the most visually arresting Psalters to be produced in Liège in the 13th century. The atelier that produced this manuscript has been identified by Judith Oliver, and named after its principal production: a Psalter now Paris, BnF., Latin 1077. The artists who collaborated in this atelier appear to have been responsible for the importing of the French Gothic style into the Meuse valley. The historiated initials here are especially influenced by the French Gothic style, with tall and elegant figures with delicate expressive faces framed by thick hair, highly placed mouths often in smiles, and clothing edged with a thin white line. The so-called 'third hand' of the Paris Psalter was responsible for the figure painting in the present volume, and in addition notable links exist between the Calendar miniatures here and those in another Psalter from the same atelier: Princeton Art Museum, MS. 57-189, with single figures also in burnished gold robes standing on wavy lines. However, the quality of the work here is finer than that of the Princeton manuscript.The Calendar miniatures comprise: (1) fol. 1r, feasting beside the fire; (2) fol. 1v, pruning a tree; (3) fol. 2r, digging; (4) fol. 2v, a standing youth; (5) fol. 3r, youth by a tree playing a viol; (6) fol. 3v, man with a basket harvesting; (7) fol. 4r, cutting hay with a scythe; (8) fol. 4v, harvesting wheat with a sickle; (9) fol. 5r, treading grapes in a tub; (10) fol. 5v, sowing seeds; (11) fol. 12r, carrying a hog; (12) fol. 6v, slaughtering an ox. The historiated initials comprise: (i) fol. 7r, David harping; (ii) fol. 22v, Christ healing a blind man; (iii) fol. 40v, an execution; (iv), fol. 41r, King David and the fool; (v) fol. 51r, Christ above Jonah and the whale; (vi) fol. 63v, David playing the bells; (vii) fol. 74v, two monks singing; (viii) King David in prayer; (ix) fol. Christ in majesty; (x) fol. 111r, Doubting Thomas.Comparative manuscripts are published as J.H. Oliver, Gothic manuscript illumination in the diocese of Liège, 1988, pp. 148-58, ill. 12, 52, 105 and 110.Provenance: (1) written and illuminated for a wealthy patron in the vicinity of Liège: the Calendar has SS. Domitian, Servatius and Remaclus, bishops of Tongres and Maastricht in the diocese of Liège, as well as Theodardus, Hubert and Lambert (this last saint with three feasts noted), all bishops of Liège; (2) John Gilchrist Clark (1830-82) of Speddoch, Dumfries (and with a note on this manuscript with information from Francis Wormald on Speddoch notepaper included in volume), who married a daughter of William Henry Fox Talbot, the early photographer (and an albumen print of Gilchrist Clark by Camille Silvy, dated 1862, survives in the National Portrait Gallery): his ex libris dated 1851 on first modern endleaf. He also owned a French Book of Hours last appearing on the market in Swann Galleries' sale on 7 March 2019, lot 167; (3) Christie's, 29 November 2000, lot 8, evidently consigned by Gilchrist Clark's descendants, where it sold for £80,750.

Large remnant of the Psalter with Passion Sequences copied by Pietro Ursuleo of Capuo, in Latin, illuminated manuscript on parchment, 30 leaves, remains of three gatherings and a number of bifolia and single leaves, bound tightly and with numerous repairs to gutters, hence uncollatable (but see below), single column of 19 lines of the fine and accomplished humanist hand of Pietro Ursuleo (described by M.R. James from the sister volume as 'an exquisite Roman hand': Western Manuscripts in the Library of Trinity College, Cambridge, 1902, III, no. 1374, p. 384), faded red rubrics, dark blue and liquid gold capitals, 32 illuminated initials enclosed within white vinework on blue, green and red grounds, last word of Matt. 52 at end of text erased, some stains and losses at edges (probably from water damage during ownership by Jarman, see below), edges repaired with more modern parchment and edges of one or two initials restored, a few leaves with ink faded or partly flaked away, one page overwritten to correct this, with edges of some letters stretching over repair parchment of missing borders (fol. 9r here), overall presentable condition, 171 by 26mm., blue cloth covered boards with green leather spine (bound for J.H.P. Pafford: see below), 'MS' and 'SAEC XV' in gilt on spine, 4to, [southern Italy (Naples)], [c.1460].⁂ Provenance:1. Written by the scribe Pietro Ursuleo (d. 1483), bishop of Satarino and elevated on his deathbed to the archbishopric of Santa Severina, and perhaps illuminated by Matteo Felice or a member of his workshop, as one of two sister volumes (the other now Trinity College, Cambridge, MS O.7.46) for a patron in Ravenna.2. The parent volume was most probably then in the collection of John Boykett Jarman (d. 1864), and damaged by the flood that affected his manuscript collection (the parent manuscript was his sale in Sotheby's, 13 June 1864, lot 161).3. By January 1912 it had passed to the London bookseller James Tregaskis (1850-1926), who offered it intact in his cat. 717 (8 January 1912), no. 485 (and again in cat. 720, perhaps March 1912, no. 571; and cat. 743, 1913, no. 510; at which point it contained 169 leaves), but when it went unsold began to remove single leaves for sale (see his cat. 777, 1916, no. 81, 4 leaves). Leaves from it are now widely dispersed, with lists in M. Manion, V.F. Vines and C. de Hamel., Medieval and Renaissance Manuscripts in New Zealand Collections, 1989, no. 89, Peter Kidd's blogpost of 2014 and the Fragmentarium website.4. J.H.P. Pafford (1900-96), Goldsmith's Librarian of University College, London, and a prolific text editor and author, who recorded in correspondence with A.C. de la Mare in 1979 that he purchased these 30 leaves in two equal blocks, only a week or two apart in about 1962, from The Guildhall Bookshop of Twickenham and from 'a bookshop in the Bloomsbury area ... a newly opened shop'. Tregaskis' business was carried on by family members until 1939, and the parent volume seems to have passed to a member of the book trade by the late 1950s, who divided it up into short sections and dispersed these into the London trade. Manion, Vines and de Hamel note that two sections appeared on the market in the late 1950s, while 28 leaves appeared at Sotheby's, 11 July 1960, lot 153, and 22 leaves were Alan G. Thomas, cat. 14 (1964), no. 22. The Sotheby's and Thomas sections appear to have been divided and dispersed by the Folio Fine Art Society, and this group here may well be the last substantial remnant of this alluring codex to remain together. By descent from Pafford to the present owner. Text: The leaves here contain: fols. 1-6: Psalms 6:4-14:1-4; fols. 7-8: Psalms 16:4-17: 24; fols. 9-10: Psalms 31:3-33:10; fols. 11-15: Psalms 33:11-34:27, 35:1-37:9; fols. 16-18: Psalms 38:4-41:7; fol. 19: Psalms 72:9-73:3; fols. 20-21: Psalms 106:19-108:8; fol. 22: Psalms 110:9-113: 2; fol. 23: Psalms 143:14-144:19; fol. 24: Psalms 148:9-150, followed by part of the Canticle (the opening of the Song of Isaiah, here 12:1) and Is. 12:2-end, followed by Is. 38:9-18 on fol. 25; fol. 26: Canticles (the Prayer of Habakkuk, here 3:11-end, followed by the Song of Moses, here Deut. 32:1-7, with Deut. 32:7-38 continuing on fols 27-28; fol. 29: Te Deum (ending), Gloria (opening); and fol. 30: Matt. 27:52-end, with last word erased.

(Cookery), a collection of 25 mainly 19th and early 20th Century cookery and related books and booklets, plus a few earlier titles, including T. Williams: 'The Accomplished Housekeeper, and Universal Cook', London, J. Scatcherd, 1797, 1st edition, xvi,274[2]pp, 12 engraved plates of place settings/bill of fare as called for, but lacks large part of folding frontis, 12mo, contemporary calf, later rebacked; Vincent la Chapelle: 'The Modern Cook', London, for the author and sold by Nicolas Prevost, 1733, 1st edition in English, volume 1 (of 3 volumes) only, viii,[20],328pp, 2 folding plates of menus at end, contemporary calf worn. The first 'new' English cookery book to be published in the 18th century, which appeared in English while the author was in Chesterfield's employment. One of the great 18th century classics, having a strong influence on upper class food in England; William Kitchiner: 'The Cook's Oracle containing receipts for plain cookery on the most economical plan for private families, also the art of composing the most simple, and most highly finished broths, gravies, soups, sauces, store sauces, and flavoring essences...', L, A. Constable, [1822], 4th edition, 12mo, old half calf; [Maria Eliza Ketelby Rundell]: Modern Domestic Cookery', L, John Murray, 1853, engraved frontis + 1 engraved plate + ills. in text, 644pp + 32pp adverts at end, original cloth gilt (worn); Edward Spencer: 'Cakes & Ale', L, Grant Richards, 1897, 1st edition, 2pp ads at end, original pictorial cloth; George H. Ellwanger: 'The Pleasures of the Table', L, Heinemann, 1903, 1st UK edition, ills. throughout, rebound contemporary cloth gilt; Auguste Mario: 'Easy French Cookery', L, Cassell, 1910, 1st English language edition, 8 plates as called for, orig. pictorial cloth gilt (worn); A.B. Marshall: 'The Book of Ices', L, circa 1894, revised and enlarged edition, vii,[1],80pp, original cloth gilt, scarce; Adelaide Keen: 'With a Saucepan Over the Sea', Boston, Little, Brown & Co, 1902, 1st edition, original pictorial cloth gilt; Vera, Countess Serkoff: 'The Visits of Doris. Cookery Hints to a Young Housewife', L, A.E. Walter, [1920], 1st edition, original decorative wraps; Mrs Black: 'Household Cookery and Laundry Work', L, Collins, c.1890, 75th thou., orig. cloth; E & B May: 'May's Practical Methods. To Ensure Instant Relief and Permanent Cure of Diseases without Drugs, Minerals or Doctors' Fees', L, c.1897, 5th thou., [2],81,[10]pp, original cloth covered boards; Janet McKenzie Hill: 'Practical Cooking and Serving', L, Heinemann, 1903, 1st edition, colour frontis + numerous plates throughout, 10 pages of contemporary m/s receipts at front and end, original cloth gilt; plus 12 others similar (25)

A small collection of mainly Edward Bawden ephemera, including 'The Delectable History of Fortnum & Mason', c.1957, 1st edition, 2nd issue, [12]pp promotional booklet with colour illustrated wraps and colour illustrations throughout by Bawden, light crease to lower wrap, else near fine; 'Caribbean Waters' by F. Tennyson Jesse, illustrated by Edward Bawden, pp[163]-174, 6 leaves letterpress text with 3 large in text Bawden illustrations; illustration 'Doctor Faustus Conjuring Mephostophilis' by Eric Ravilious; 'The Penguin Modern Painters Edward Bawden', 1946, 1st edition, original wraps; 'British Art BBC talks pamphlet', woodcut illustrated front cover by Eric Ravilious; plus other similar ephemera, private press prospectuses etc, all housed together in a large cloth covered solander box (52x37cm) with "Edward Bawden" printed paper label to lid, produced to house a special edition of Edward Bawden engravings published by The Merivale Press, 1988, in a limited edition of 35, small printed label inside "Boxes designed and made by Clarissa Hinsley"

A collection of 12 Edward Bawden and related titles, including Malcolm Yorke: 'Edward Bawden & His Circle. The Inward Laugh', Antique Collectors Club, 2007, revised and expanded edition, 271,[1]pp, profusely illustrated in colour and black & white throughout, original cloth, dust wraper, some relevant material loosely inserted; Weaver et al: 'Edward Bawden in the Middle East', Antique Collectors Club, 2008, profusely illustrated in colour throughout, orig. cloth gilt, d/w; 'Edward Bawden's London', V & A, 2011, profusely illustrated throughout, original pictorial wraps; Bacon & McGregor: 'Edward Bawden', Cecil Higgins Art Gallery, 2008, orig. cloth gilt, d/w; James Russell: 'Edward Bawden', Dulwich Picture Gallery, 2018, orig. pictorial wraps; 'Edward Bawden Engravings 1927-1929', Merivale Editions, 1988, limited edition (500), 15 black and white ills. as called for, [16]pp, designed by Sebastian Carter, original decorative patterned paper wraps, printed paper label to front cover; 'Edward Bawden 1903-1989 a Centenary Celebration', Fine Art Society, 2003, original wraps; 'Edward Bawden's Kew Gardens', V & A, 2014, orig. cloth, d/w; 'Design - Edward Bawden - Eric Ravilious', 2006, orig. cloth, d/w; 'One Lump or Two. Te, Twinings and Edward Bawden', Mainstone Press, 2010, 1st, original pictorial wraps; J.M. Richards: 'Edward Bawden. The Penguin Modern Painters', 1946, 1st edition, oblong, original card wraps, pictorial dust wrapper; plus 1 other (12)

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

Mudwig (British b. 1980) That’s All Folks, 2008 Giclee print Signed and numbered 16/50 in pencil with gallery blind stamp (Pictures on Walls) 50 x 70 cm (19 x 27 in) Daniel Sparkes-(Mudwig) (Born England-1980) works out of the Comic Abstraction genre; by applying visual interventions to found imagery with his dark painted and drawn motifs that stylistically falter between the worlds of Dr Seuss, Philip Guston and bunker architecture. Through his depictions of, what he calls, ‘Spoof Monuments’ the artist creates a thematic oddball merger in oil paint and graphite. By traversing a stylistic void between 16th century Dutch still life painting and early Disney cartoon background, he composes visions of historically unhinged shrines to paradoxical cultures.  His comic character subjects, with facial features misplaced, are abstracted and fused into warped statue-esque forms adorned in esoteric symbolism. Sparkes cut his teeth as Müdwig in the Bristol street art scene during the 00’s, gaining recognition for his playful spraypaint-subverted advertising billboards (his ‘Müdverts’) and his graffiti work as part of the Wet Shame Krew. His early gallery work saw him continue this idea of editing existing imagery by painting directly onto found photographs, often from such mundane sources as cookery books, pet grooming magazines and old copies of National Geographic. His surreal post-apocalyptic Dr ‘Seussian’ additions saw him welcomed into the folds of the Comic Abstraction movement.In his distinctive visual world, modern trademarks become primitive hieroglyphs and forest dwellers become two-dimensional mossy-facades as the line between object and character is blurred, amalgamated to form dilapidated totems. Viewing Sparkes’ painterly oils creates within the viewer a strange dichotomy, the feeling of not wanting to inspect too closely (for fear of what one might find) while simultaneously being drawn to the recognisable. Both comical and disturbing in an unsettling yet comforting world, one in which both Seuss and Guston might feel right at home. His gallows subversion induces an arcane, yet a awkwardly recognisable visual language that simultaneously warps the recognisable and blurs the distinction between the character- totem, & its landscape. Sparkes has been nominated for the prestigious Jerwood drawing prize, and the ING Discerning Eye. He has created artwork for brands such as Nike, Medicom, Givenchy and Warp Records and exhibited extensively across the globe. Sparkes is currently based in Cornwall, England.

Mudwig (British b. 1980) Pluto's Licking 2008 Giclee print Signed and numbered 35/50 in pencil with gallery blind stamp (Pictures on Walls) 50 x 70 cm (19 x 27 in) Daniel Sparkes-(Mudwig) (Born England-1980) works out of the Comic Abstraction genre; by applying visual interventions to found imagery with his dark painted and drawn motifs that stylistically falter between the worlds of Dr Seuss, Philip Guston and bunker architecture. Through his depictions of, what he calls, ‘Spoof Monuments’ the artist creates a thematic oddball merger in oil paint and graphite. By traversing a stylistic void between 16th century Dutch still life painting and early Disney cartoon background, he composes visions of historically unhinged shrines to paradoxical cultures.  His comic character subjects, with facial features misplaced, are abstracted and fused into warped statue-esque forms adorned in esoteric symbolism. Sparkes cut his teeth as Müdwig in the Bristol street art scene during the 00’s, gaining recognition for his playful spraypaint-subverted advertising billboards (his ‘Müdverts’) and his graffiti work as part of the Wet Shame Krew. His early gallery work saw him continue this idea of editing existing imagery by painting directly onto found photographs, often from such mundane sources as cookery books, pet grooming magazines and old copies of National Geographic. His surreal post-apocalyptic Dr ‘Seussian’ additions saw him welcomed into the folds of the Comic Abstraction movement.In his distinctive visual world, modern trademarks become primitive hieroglyphs and forest dwellers become two-dimensional mossy-facades as the line between object and character is blurred, amalgamated to form dilapidated totems. Viewing Sparkes’ painterly oils creates within the viewer a strange dichotomy, the feeling of not wanting to inspect too closely (for fear of what one might find) while simultaneously being drawn to the recognisable. Both comical and disturbing in an unsettling yet comforting world, one in which both Seuss and Guston might feel right at home. His gallows subversion induces an arcane, yet a awkwardly recognisable visual language that simultaneously warps the recognisable and blurs the distinction between the character- totem, & its landscape. Sparkes has been nominated for the prestigious Jerwood drawing prize, and the ING Discerning Eye. He has created artwork for brands such as Nike, Medicom, Givenchy and Warp Records and exhibited extensively across the globe. Sparkes is currently based in Cornwall, England.