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MODERN ANGLEPOISE STYLE LAMP,50cm high, along with two other desk lamps and an Art Deco style table lamp (4)

LOT OF MODERN SCOTTISH ART POTTERY,including Anne Morrison, Govancrafty, Moffat Pottery and others (15)

A large portfolio of unframed modern prints mostly of Leeds interest including Anthony Ratcliffe "For Leeds Art Fair 96" Phil Redford "Leeds Art Fair" John A Mcpake "Fair Arrival Leeds" L M Hainsworth "The Light" Exam "Fruit and bowls" and further works by J Rothenberg, Alan Flood, three lithographs by Victor Willing "Drum (triptych)", abstract works by another hand, landscape etchings by Paul Ritchie etc (a collection)

Philip Sutton (b.1928)Exhibition Poster for Graves Art Gallery, Sheffield Together with a collection of further modern pictures and prints, including three prints by Barry Herbert, prints by Brian Holmes, after Euan Uglow, Michael Anderson, a watercolour nude by Nikolaas Boden, a mixed media study of figures before houses by another hand etc... (12)

Kunstnachlass, 10 Arbeiten von: Jean Michel Basquiat, Elvyra Katalina Kriaučiūnaitė (Lithuania), Bruce Onobrakpeya (Nigeria), Dieter Olaf Klama, Johannes Heisig, Günther Huniat, meist in Galerierahmungen, daher für Selbstabholer - kein Versand !!Jean Michel Basquiat, 1960 - New York - 1988, "Puzzle", Giclee-Druck auf Lwd.,56 x 195 cm -- Elvyra Katalina Kriaučiūnaitė, 1942 Buenos Aires - lebt und arbeitet in Vilnius, bedeutende litauische Grafikerin, 2 Blatt aquarellierte Prägedrucke (sign. & numm. Unikate je 2/15) -- Bruce Onobrakpeya, 1932 Agbarha-Otor in Bendel State, aufgewachsen im Nigerdelta, ab 1957 Kunststudium in Zaria, bedeutender nigerianischer Maler und Bildhauer, "Fligth to Egypt III", "deep etching", sign. u. dat. 1982 (He has exhibited at the Tate Modern in London, the National Museum of African Art of the Smithsonian Institution in Washington, D.C. and at The National Gallery of Modern Art, Lagos. His works can be found at the Virtual Museum of Modern Nigerian Art) -- Dieter Olaf Klama, 1935 Hindenburg - 2021 Waal, deutscher Grafiker und Maler, Ein Frauenakt wird bemalt, große sign. Farblithographie 6/100, in Galerierahmung -- Johannes Heisig, *1953 Leipzig, deutscher Maler, Zeichner und Grafiker in der sozialkritischen Tradition des Realismus, "Was`n los", sign. Lithographie, 154/200, in Galerierahmung -- Rolf Kilian, *1963 Marburg, dtsch. Maler & Graphiker, 1983-84 Studium an der Freien Kunstschule Stuttgart, 1984-90 Studium an der Staatlichen Akademie der Bildenden Künste Stuttgart bei Peter Grau, Horst Bachmayer und Rudolf Haegele, 1994 Gründung der Künstlergruppe maximal, Abstrakt, 2 sign. Farboffsets in Galerierahmen -- Günther Huniat, *1939 in Thammühl, deutscher Maler und Grafiker, "Dein Körper, eine Landschaft - Eva", sign. Farblithographie, 2/25, in Galerienrahmung, dazu Unleserl. von 1991, abstrakte Landschaft in Gelb/Silber, übermalte Farblithographie (Unikat 1/5), im Metallrahmen

Ensemble aus Steh-, Tisch- und Hängeleuchte im Vintage-Stil der 1960er JahreDrei formgleiche Lampen in Art der Paillettenkleider des Paco Rabanne oder der Muschellampen des Verner Panton, frei schwingende Ketten aus Kunststoffscheiben und Chromringen, modern elektrifiziert, nicht geprüft, alle Lampen in gutem Zustand, Stehleuchte H 146 cm, Dm 34 cm; Tischleuchte H 42 cm, Dm 20 cm, Hängeleuchte H 80 cm, Dm 40 cm

Alfred Statler (American, 1916-1984). Oil on canvas titled "The Night Cathedral," depicting a surreal train platform rising above assembled automobiles parked below in a transportation minded urban cityscape, 1948. At the top, a seemingly living cathedral rises into the night. Captured with oils on canvas in a dark haunting color palette, the dramatic impasto technique is impressive and everything we love about American art of this period. The painting has been cleaned and is framed in a handsome rough-hewn Larson-Juhl wood frame that accents the painting well. Signed and dated 1948 in the lower right corner.Lot Essay:Alfred Statler, who was active in New York City from the post-war era until the 1970s, was an American photo-journalist whose name is most often associated with the booming modern art scene of the 1950s and 1960s, and in particular with Andy Warhol’s early gallery exhibitions. Along with his work on assignment for publications like TIME magazine, Statler was an exhibited fine art photographer, drawn to the bustling street scenes of New York.Statler began his art career as a student of Fernand Leger, the cubist master, and these early works exhibit both the influence of cubism and America’s WPA movement. Never before seen, many of these paintings capture the urban eccentricities of life in New York City, with pronounced industrial machine age imagery.Sight; height: 15 1/2 in x width: 19 1/4 in. Framed; height: 22 1/4 in x width: 26 1/4 in.

Alfred Statler (American, 1916-1984). Oil on canvas depicting an abstract yellow figure to the left with three red figures holding a pillar to the right. Signed and dated 1951 along the lower right.Lot Essay:Alfred Statler, who was active in New York City from the post-war era until the 1970s, was an American photojournalist whose name is most often associated with the booming modern art scene of the 1950s and 1960s, and in particular with Andy Warhol’s early gallery exhibitions. Along with his work on assignments for publications like TIME magazine, Statler was an exhibited fine art photographer, drawn to the bustling street scenes of New York.Statler began his art career as a student of Fernand Leger, the cubist master, and these early works exhibit both the influence of cubism and America’s WPA movement. Never before seen, many of these paintings capture the urban eccentricities of life in New York City, with pronounced industrial machine age imagery.Sight; height: 19 1/2 in x width: 12 1/2 in. Framed; height: 25 1/4 in x width: 21 1/4 in.

Erle Loran (American, 1905-1999). Liquitex on stretched canvas painting titled "Light Operator," depicting a kinetic, large format industrial-themed modernist painting, 1968. This is signed and dated in the lower right corner, and additionally signed, dated and titled on the verso with an Oakland, California exhibit label from a 1969 Institute of Creative Arts traveling exhibition arranged through The University of California. An exhibition catalogue is included in sale, with the painting shown as a full page color plate. This is a commanding remarkable example housed in the original wood strip frame.Literature: The University of California, Santa Barbara, "The Institute of Create Arts," 1969.Lot Essay:Erle Loran (1905-1999) Erle Loran was born in 1905 in Minneapolis, Minnesota on October 3, 1905. After graduating from the University of Minnesota, Loran studied at the Minneapolis School of Art under direction of Cameron Booth. His talent was recognized early when in 1926, he won the Paris Prize, which provided him the benefit of a traveling scholarship to Europe where he lived in the studio of Paul Cézanne. This exposure provided much influence to Loran’s life, where he saw the works of Picasso and other European modernists.But, it was Cézanne’s work that motivated him. His fascination with Cézanne led him on a three-year odyssey through Cézanne country where Loran painted and photographed the countryside around Aix en Provence. It would be this experience that formed the foundation for Loran’s 1943 book, “Cezannes’ Compositionâ€. After returning from Europe, he exhibited extensively. In 1936, he moved to California where be began his long teaching career in the art department of the University of California, Berkeley. It would also be during this period that Loran would associate himself with modernist Hans Hoffman. Loran served as the department’s chair in the early 1950s, and was awarded a University Citation upon retirement in 1973.His early paintings include lyrical abstractions in primary colors; however, his style has constantly changed with the times. Watercolor was Loran’s medium of choice because it dried fast and was lighter to transport to his often-remote plein air locations, such as the ghost towns of California and Nevada. His landscapes, often to include a building or structure, were clean, fresh, and spontaneous.In the 1940s, as the war in the Pacific intensified along with domestic tensions, Loran’s work transitioned from plein-air painting to studio work. During this period, landscape painters were occasionally seen as suspicious figures and sometimes mistaken for spies. Loran had such an experience when an armed soldier detained him. Shortly thereafter he decided to focus his painting on abstraction.In the late 1960s, his work became a fusing of Op, Pop, and Hard Edge. From this he moved to figurative painting and later to geometric designs and symbols.In 1960, while in New York City, Loran had further study with Hans Hoffmann who brought European modernist philosophy and techniques to the United States.Among Loran’s many exhibitions were in 1924 at the Minnesota State Fair; the Museum of Modern Art in New York City, 1933; the Rockefeller Center, 1935; Oakland Art Gallery, 1936-1946; the San Francisco Art Museum annuals from 1936; the Golden Gate International Exposition of 1939; California Palace of the Legion of Honor, 1945; California Watercolor Society, 1947, among many others. His works can be seen at the San Francisco Museum of Modern Art, the Denver Museum, the University of Minnesota, the Santa Barbara Museum, and the International Business Machines (IBM) Corporation.Afflicted with a visual impairment, Erle Loran continued to paint until about a year before his death. He died in Berkeley, California on May 13, 1999 at the age of 93.Sight; hight: 47 in x width: 37 in. Framed; height: 48 in x width: 37 1/2 in.

Le Pho (Vietnamese/French, 1907-2001). Oil on silk-lined Masonite painting depicting two women surrounded by blooming flowers. Signed along the lower right.Le Pho was born in Vietnam in 1907. As a child, he was constantly finding opportunities to make art. As the son of the Viceroy of Tonkin, he had the opportunity to study art at the newly established Ecole des Beaux-Arts in Hanoi under Victor Tardieu (1870-1937), a well-respected French painter. In 1931, he traveled to France with Tardieu, where he studied at the Ecole des Beaux-Arts in Paris on a scholarship. He then traveled to Italy to do research, also visiting the Netherlands and Belgium in his tour of Europe.After returning to Vietnam, Le Pho became a professor at the Ecole des Beaux-Arts in Hanoi. During his professorship, he decided to continue his education by making trips to China to study and make art. While in China, he studied traditional Chinese sculpture, visited museums, and even had the opportunity to paint the Emperor and Empress.In 1937, he was sent to Paris to work on the Indochina Pavilion at the International Exposition of Art and Technology in Modern Life. He stayed in France after the Exposition, where he found great success as an artist. His first solo exhibition was in 1938, and soon after, his work began getting international exposure. His works were widely distributed, particularly in the United States because of an exclusive contract he signed in 1964 with Wally Findlay Galleries, an American company.Despite his expatriate status, Le Pho kept close ties to his homeland. He was active in the Vietnamese community in Paris, and worked with Vietnamese dignitaries and intellectuals to advocate for better treatment of the colonized Vietnamese people. His ties to his homeland are also evident in his subject matter. His paintings featured women and flowers, which he depicted in ways influenced by Vietnamese traditions and aesthetics.Sight; height: 28 1/2 in x width: 39 1/4 in. Framed; height: 35 1/2 in x width: 46 in.

Ward Bennett (American, 1917-2003). Mid-century modern red velvet tufted sofa with a steel base. The base with six adjustable feet. Works by Bennett are held in the collections of Cooper-Hewitt, the National Design Museum, the Brooklyn Museum, and the Museum of Modern Art.Height: 26 1/2 in x width: 73 in x depth: 33 1/2 in.

Ward Bennett (American, 1917-2003). Mid-century modern glass top circular coffee table with chrome plated base with three legs. The base with three adjustable feet. Works by Bennett are held in the collections of Cooper-Hewitt, the National Design Museum, the Brooklyn Museum, and the Museum of Modern Art.Height: 21 in x diameter: 48 in.

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

An Adolph Gottlieb large framed Modern Art of Fort Worth rare abstract art poster. Image size 62cm x 76cn

Pictures and Prints (15) and group of FDCs including: Roses, a Beautiful Floral Colour Watercolour framed by Jerry Parslew Kings Lynn Norfolk, glazed, The Laughing Cavalier by Frans Hals painting as a textured print in a gold colour frame, glazed and ready to hang. 35cm x 42cm, Artist initial EL. 37cm x 47cm, "Cherries" Limited edition printed etching, 1 of 12 signed by artist Simon Poppy 1995. Simon attended St Martins School of Art and Goldsmiths University London. His art practice is in etching, painting and lithography; exploring space and light in nature and architecture, 47cm x 47cm, Beautiful Floral Colour Watercolour framed by Jerry Parslew Kings Lynn Norfolk, glazed, Attractive colour pastel portrait of a lady in a pink shawl, nicely framed in wooden frame and ready to hang, modern. Artist initial PC 09. 45cm x 53cm, Antique Etching by William Monk depicting the grand entrance and gates of a stately home, 1901 Monk. On thick card 15" x 11 3/4". Some foxing and toning, small tear at the top, Pencil and watercolour study of an overturned wicker basket and apples. Framed and glazed. Signed by the artist, 41cm x 50.5cm etc. Also First Day of Issue Covers. 1993 The Definitive Portrait (1), 1997 (8) and 1998 (8) from the collection of Baroness Betty Boothroyd typed addresses to "The Rt Hon Betty Boothroyd MP Speaker of the House of Commons, London, SW1A 0AA" (17) Proceeds to the Maternity Bereavement Suite Charity at QE Hospital Kings Lynn. Buyer Collects.

Hockney, David - 'Secret Knowledge', published by Thames & Hudson, London, 2001, first edition, yellow cloth boards with dust jacket, large 4to, also twelve other modern art and antiques reference works. (13)

An early 1970s Transcriptors Hydraulic Reference turntable, with Shure M75-6S cartridge and stylus. NB - This 1970s design from David Gammon won multiple awards and has been displayed at several museums of modern art, and was a notable prop in Stanley Kubrick’s A Clockwork Orange. Provenance - Purchased as new and well loved.

Pablo Picasso (1881 - 1973), Picasso's Girl before a Mirror, poster for the Museum of Modern Art. H.89 W.63cm.

Jan Sluijters (1881-1957), 'Laantje' / A colourful forest lane, oil on canvas, 47x40 cm, Literature:-Jacqueline de Raad, Digital catalogue raisonné, ‘Oeuvrecatalogus van de schilder Jan Sluijters’, RKD Studies 1998, where erroneously dated 1909. Provenance:-With Kunsthandel G.J. Nieuwenhuizen Segaar, The Hague., signed and dated 'Jan. Sluijters 10' (upper left), After receiving a thorough and classical art education, Jan Sluijters manages to win the prestigious Prix de Rome in 1904. That same year he travels by means of his just received Prix-allowance through Italy and Spain, yet without really getting artistically inspired: it was all the same boring past, while Sluijters longs for the more exciting present. It is only in Paris that he finally finds the answer to his artistic aspirations. Here he becomes captivated by the Post-Impressionists and Fauvists and gets greatly inspired by the work of various modern painters, among whom fellow Dutchman Kees van Dongen. The modern Parisian nightlife, the bright electric and coloured light, the swirling dancers on the café floor must have been mesmerizing for Sluijters. He wants to capture it all in his paintings and at the same time give his spectators the idea of not only watching the scene, but of being part of it as well. With loose brush strokes and bright colours, Sluijters paints lively and exciting café scenes, such as Café Olympia and Bal Tabarin. However, the conservative Prix de Rome jury is not amused and accuses Sluijters of “celebrating the false ingenuity of the latest French trend” and of ‘‘trying too desperately with new colour schemes in his search for raw passion”. With the denouncement of his work comes the announcement that his allowance will be cut short. Back in Amsterdam in 1906, Sluijters receives some negative reviews, being considered to be too avant-garde. For Sluijters the criticism is the very proof that his choice to embrace modernism and to experiment with new styles is the right one. In a letter to a friend he writes “Alas […] a couple more of these refusals and I will become a famous man.” By then he already knows that negative attention is also publicity, what-so-ever. Despite the criticism Sluijters continues to exhibit his work along with that of his contemporaries, like Piet Mondriaan and Leo Gestel, and by doing so contributes greatly to a shift in the rather traditional artistic climate in the Netherlands. For many thinkers and artists, the beginning of the twentieth century also heralded the beginning of a search for new spiritual meaning and for some this meant that real life, as depicted in all its materialistic glory, was too decadent and too superficial. Spiritual depth, according to them, was not to be found in immoral city life, but should be sought after and could only be found in nature and nature alone. Always open to new ideas and looking for new subject matter, Sluijters would often trade Amsterdam for rural Renkum in Gelderland or Heeze in Brabant. For months on end he would paint non-stop in the woods where he, by his own account, found his way back to nature. The ruling thought of the day was that, for putting ‘soul’ into one’s work, the artist should use his senses first and then translate them onto canvas. Colour was used to express the felt sensations, not to depict reality. With all the new techniques and ideas picked up in Paris, intertwined with his new philosophical approach of depicting his surroundings in a more spiritual way, we see Sluijters produce numerous vibrant works in the years 1907-1908. They are beaming and bursting of colourful dots and strokes of bright, unmixed colours, always with the emphasis on the representation of light. However, the peak of this phase is reached in 1910, when Sluijters lives in Laren. Not the depiction of a realistic world is his main concern, but the use of form and colour to express the sensory perception of the world. Or in Sluijters own words: “Als ik bijvoorbeeld de zon zou willen schilderen op het landschap, zou ik dit landschap eerst wel mijn rug willen toekeren, om daarna, wanneer ik de sensatie, welke het glanzen der zon op het landschap in mij opwekte, voel, te gaan componeren in gelen en blauwen en groenen, waaruit ’t landschap tevoorschijn zou komen.” Still trying to gain a modern foothold in traditional Holland, Sluijters, together with his brothers in arms, Jan Toorop, Conrad Kickert, Leo Gestel, Kees Spoor and Piet Mondriaan, establishes ‘The Moderne Kunstkring’ in 1910. The following year the group organizes an exposition. Again Sluijters’ work is badly received in the press and four paintings are even refused by the mayor of Amsterdam to be part of the exhibition: two by Leo Gestel and two by Jan Sluijters, apparently because of their immorality (read: nude female figures). Another art critic attacks Sluijters as follows: “Het valt te betreuren dat deze man, met onmiskenbaar groot talent, niet aflaat met op de meest onbesuisde manier zijn onderwerpen te kiezen en zijn indrukken en passies onbekookt en fel op het doek te werpen”. (“It is to be regretted indeed that this undoubtfully well-talented man would choose his subjects carelessly and then would hurl his impressions and passions onto a canvas raw and fiercely!”) Well, we do not regret it at all, especially not when we look at the present lot ‘Laantje’, that Sluijters made in 1910. Sluijters used to call his colours ‘Gevoelskleuren’ and what a feeling of sheer joy he must have had when walking down this very forest lane! For here is a Summer’s day you will never forget; with unbridled strokes of exploding colours that seem to whirl and twirl over the canvas, Sluijters has created an ever-ongoing dance of light, leaves, sky, wood and sand, in one happy celebration of nature on a glorious day. If there has ever been painted an anti-depressive on canvas it is this very painting. Sources:-Frouke van Dijke a.o., ‘Kleur ontketend: Moderne kunst in de lage landen, 1885-1914’, The Hague 2015.-Jacqueline de Raad, ‘Jan Sluijters, 1881-1957’, Laren 2011.-Carel Blotkamp, ‘Meesters van het licht: luministische schilderkunst in Nederland en Duitsland’, Rotterdam 1996.-Anita Hopmans, ‘Jan Sluijters 1881-1957 : aquarellen en tekeningen, Zwolle 1991.‘Kunst in de Hoofdstad: De tentoonstelling van den Modernen Kunstkring’, In: De Maasbode, 14 October 1911.-‘Geweigerde schilderijen’, In: De Tijd: godsdienstig-staatkundig dagblad, 07 October 1911.

MAX PECHSTEIN (1881-1955)Bildnis Charlotte Cuhrt signed and dated 'Pechstein 1910' (lower left)oil on canvas175.8 x 85.4cm (69 3/16 x 33 5/8in). shapedPainted in 1910Footnotes:ProvenanceMax Cuhrt Collection, Berlin (commissioned from the artist in 1910).Private collection, Germany (by descent from the above).Private collection, Europe (acquired from the above in 2008).Anon. sale, Ketterer, Munich, 11-13 June 2015, lot 221.Private collection, Switzerland (acquired at the above sale). ExhibitedBerlin, Galerie Maximilian Macht, Neue Secession, III. Ausstellung, February - April 1911, no. 33 (titled 'Bildnis L.C.').Vienna, Österreichische Galerie Belvedere, 2009-2014 (on loan).LiteratureJ. Sievers, 'Die Neue Sezession in Berlin', in Der Cicerone, no. 3, 1911, p. 178. A. Soika, Max Pechstein, Das Werkverzeichnis der Ölgemälde, Vol. I, 1905-1918, Munich, 2011, no. 1910/62 (illustrated p. 275).A. Soika, 'Max Pechstein's Rahmen', in Unzertrennlich, Rahmen und Bilder der Brücke-Künstler, exh. cat., Berlin, 2020, pp. 430-431 (illustrated p. 431).Uniting his dynamic Expressionistic style with the luxurious design and architecture of pre-war Berlin, Max Pechstein's Bildnis Charlotte Cuhrt stands as a testament to familial love, creative collaboration, and a city at the precipice of artistic revolution. In 1910, Berlin was in a state of flux. Having recently become the capital of the newly unified Germany in 1871, the city held an aura of optimism and ambition, as booming innovations in science, medicine and technology brought with it a rapidly growing population and economy. New buildings in a grandiose, Neoclassical style sprung up in Berlin's affluent neighbourhoods, while participants of the city's vibrant nightlife enjoyed opportunities to revel, re-identify, and exchange ideas with Berlin's coterie of avant-garde thinkers. This burgeoning Weltstadt ('World City') – thriving before the decades of war and catastrophe that would soon take hold – was therefore a metropolis of contradictions, one in which the young Max Pechstein found his footing as a stalwart of Expressionism and its subgroups.Having recently completed his studies at the Royal Art Academy in Dresden, Pechstein met the artist Erich Heckel in 1906, who was captivated by the vitality and chromatic intensity of Pechstein's works. Heckel invited Pechstein to join Die Brücke ('The Bridge'), a newly established collective of young German artists seeking to establish links between the primordial and primitive on one hand and the conceptual and radical on the other. Together with his energetic peers – among them Karl Schmidt-Rottluff, Ernst Ludwig Kirchner and Emil Nolde – Pechstein's creative experiments came to define Expressionism, a fluid term denoting the depiction of intense emotion through non-naturalistic forms and highly saturated colours. In this, Die Brücke were directly influenced by the Fauves ('Wild Beasts'), a movement catalysed by the shocking experiments in colour and form by Henri Matisse, André Derain and other members. Pechstein was first exposed to Fauve art in 1908 at the Salon des Indépendants in Paris, thence forming a friendship with Kees van Dongen, whose mastery as a colourist further liberated Pechstein and Die Brücke's emphases on chromatic supremacy.In 1906, the young Pechstein – then enjoying the first blushes of artistic success – also drew the attention of the architect Bruno Schneidereit, who saw his works at the Third German Decorative Arts Exhibition in Dresden. Following this meeting was a series of fruitful collaborations between Pechstein and Schneidereit, within which Pechstein would create designs to accompany Schneidereit's plans for opulent apartment buildings in Berlin's wealthy neighbourhoods. Pechstein in turn completed a series of portraits of the architect: Männerbildnis – Bruno Schneidereit (The Courtauld Gallery, London) echoes the vigorous handling and bold palette of Bildnis Charlotte Cuhrt. Through his friendship with Schneidereit, Pechstein was introduced to Max Cuhrt, a magistrate secretary who with Schneidereit became one of Pechstein's foremost patrons. With Pechstein's new studio space in a Schneidereit-designed building in Charlottenburg, and the financial backing of these two benefactors, Pechstein was given the means through which to fully delineate his highly influential style.Bildnis Charlotte Cuhrt, an exquisite full-length portrait depicting Max Cuhrt's daughter, was commissioned at the height of Pechstein's involvement with Die Brücke. A symphony of vibrant, seductive colour fields and dynamic brushwork, the portrait truly exemplifies Pechstein's proficiency as a colourist, one who deftly juxtaposes complementary and opposing tones to conjure up emotive tension. Looking out earnestly with the slightest hint of a smile, Charlotte Cuhrt radiates with the optimism and naïveté of youth. The crimson of her dress bleeds out into the rich carpet, whose striking yellows and greens – favoured tones of the Fauves and the Expressionists – are mirrored in her blonde hair, as well as the chair and the wardrobe beyond. The arch-like structure of the picture was formatted so that the portrait could be affixed to a Schneidereit-designed piece of furniture in the family's Berlin apartment. Standing alone, however, this shape imparts a certain spiritual intensity, framing Charlotte within a domestic altar. The portrait thereby stands a statement of utmost devotion to familial love and the beauty of youthful innocence.In his designs for the Cuhrt family's apartment, Schneidereit's aim was to create a spectacular Gesamtkunstwerk, or total sensory artwork. A foundational concept appearing across many Modernist movements – from Art Nouveau to Arts and Crafts – this design goal was espoused by the Wiener Werkstätte ('Vienna Workshop'), who encouraged collaborations between furniture and interior designers with fine artists and architects. Aesthetic harmony between all facets of a building – its accessories, furnishings, textiles, wallpaper and architectural plans – took hold in palaces, villas and government buildings across twentieth century Europe. In the present work, Schneidereit's architectural endeavours are illustrated in the grand, Neoclassical wardrobe behind Charlotte, as the exterior of the home becomes inseparable from its interior. Furthermore, this element generates an off-centre caesura, as the portrait's asymmetrical composition highlights not just the sitter but the design elements of the home with a strictly Modern sensitivity. The blank yet vivid green wall holds as much dramatic force as the carpet, wardrobe and protagonist.The summer of 1910 was a particularly productive period for Pechstein, especially concerning his depiction of human bodies and psychological states. Sunning by the lakes of Moritzburg near Dresden with his friends Heckel and Kirchner, Pechstein completed a range of nudes and portraits of the people he met there, relishing the fact that they were not professional models who were constrained by habitual studio poses. In harmony with their surroundings, the three Die Brücke artists traded techniques and philosophies that culminated in some of their most raw and intense masterworks. In Pechstein's 1910 painting, Mädchen auf grünem Sofa mit Katze (Museum Ludwig, Germany), Pechstein captures the sitter Marzella Sprentzel's gentle innocence as she lounges, her gaze a... 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.For further information on this lot please visit Bonhams.com

PAUL KLEE (1879-1940)Gartenbild signed 'Klee' (lower right) and further inscribed and dated '1920/199 Gartenbild' (on the artist's mount)oil, gouache and pen and ink on paper mounted on card10.9 x 34.9cm (4 5/16 x 13 3/4in). (image size) 16.3 x 38.3cm (6 7/16 x 15 1/16in). (sheet size)Painted in 1920Footnotes:ProvenanceLily Klee Collection, Bern (inherited from the artist in 1940, until 1946).Klee-Gesellschaft, Bern.Karl Nierendorf Collection, Cologne, Berlin and New York (acquired from the above in 1947).Karl Nierendorf Estate, New York. Solomon R. Guggenheim Museum, New York (acquired from the above in 1948).Galerie Beyeler, Basel, no. 7027 (acquired from the above).Gallery Stephen Hahn, New York (acquired from the above in 1972).Nantenshi Gallery, Tokyo (acquired by 1977).Fischer Fine Art Ltd., London.Private collection, Japan.Private collection, Japan; their sale, Sotheby's, London, 25 March 2021, lot 145. Private collection, UK (acquired at the above sale).ExhibitedTokyo, Nantenshi Gallery, Paul Klee, 30 May – 14 June 1980.Kamakura, The Museum of Modern Art, Paul Klee and his Travels, 9 February - 31 March 2002, no. 110 (later travelled to Morioka, Tsu and Matsumoto).LiteratureW. Kersten & O. Okuda (eds.), Paul Klee, Im Zeichen der Teilung, exh. cat., Dusseldorf, 1995 (illustrated p. 343).The Paul Klee Foundation (eds.), Paul Klee, Catalogue raisonné, Vol. III, 1919–1922, London, 1999, no. 2546 (illustrated p. 244).C. Rümelin, 'Klees Umgang mit seinem eigenen Oeuvre', in Paul Klee, Jahre der Meisterschaft 1917-1933, exh. cat., Munich, 2001.I thought I had come into the clear in art when for the first time I was able to apply an abstract style to nature.-Paul Klee, 1919Enchantment, nature, the sublime: each are fundamental elements of Paul Klee's alchemical formula. Throughout his storied artistic career, Klee fabricated multitudinous dreamlike, abstract worlds bespeaking his imaginative and expansive world view. In so doing, he defied categorisation, guiding rather than subscribing to the artistic movements within his orbit, among them Cubism, Surrealism, Abstraction and Expressionism. Talented across a wide range of techniques, and an accomplished musician and writer, Klee was a legendary fixture among the faculty of the Bauhaus School, which he was invited to join the year he completed the present work. In Gartenbild, Klee invites the viewer into an abstract arcadia, intimately enclosed within its horizontal composition and twisting fecund forms. Wavering, expressive lines of ink depict undulating hills and lush vegetation that seem to breathe and bloom with a kind of terrestrial passion. The viewer's eye journeys through the winding adventure of this artistic narrative, as the snow-capped mountains beyond – a nod to Ernst Ludwig Kirchner's epic landscapes – grace the scene with a legendary force. Upon this, Klee's loaded brushstrokes of deep, blushing pinks and bright yellows evoke a warm summer's day, with the delicate light greens of the foliage generating a serene, organic tonality. Klee's mastery as a colourist resounds in the coordination of his vibrant palette, tied together in the symphonic harmony of his rhythmic brushstrokes and curling lines. Indeed, like Wassily Kandinsky, music was as important a lodestone to Klee as colour, light and abstraction. In 1917, he wrote, 'polyphonic painting is superior to music in that, here, the time element becomes a spatial element. The notion of simultaneity stands out even more richly' (Klee quoted in M. Baumgartner, A. Hoberg & C. Hopfengart (eds.), Klee & Kandinsky – Neighbours, Friends, Rivals, exh. cat., Munich, 2015). In addition, Gartenbild's unique superimposition of playfulness and enchantment upon symmetry and balance evidences Klee's liberated approach to design thinking, which influenced countless students of the Bauhaus School.The spiritual symbolism and historical significance of the hortus conclusus, or walled garden trope, further elucidates Klee's core artistic principles. Walled gardens in Medieval and Renaissance art, literature and architecture were often associated with ideas of spiritual transcendence, forming sacred spaces through which to commune with the divine. In the centre of such devices, a body of water or 'fountain of life' was often portrayed, hinted at in Klee's delicately rendered pool of blue toward the lower centre. Fittingly, gardening is a transient art, more ephemeral than painting or music, as its masterpieces grow, evolve and disappear. Studies of plants at different stages of growth are a fixture of Klee's comprehensive notebooks, in addition to his paintings and drawings. In Gartenbild, Klee explores these themes with a flourish of self-reflection, as the triple-leafed plants riff on Klee's own name, which translates in English to 'clover'. Klee's abstract approach to the hortus conclusus tradition culminates in a rushing allegory of his own personal cosmology, a testament to his lifelong fascination with growth, cultivation and metamorphosis.Indeed, the present work harks back to Klee's 1914 wanderings in Tunisia with August Macke and Louis Moilliet, which the artist recalled as truly liberating his approaches to nature and colour. In its tranquil, protective atmosphere, it generates a romantic zone far removed from the external realities of war. Holding close significance to the artist, Gartenbild remained in Klee's personal collection, thence passing to his wife Lily Klee upon his death. Soon after, it graced the illustrious collection of the Solomon R. Guggenheim Museum, New York, where it remained until 1972.For further information on this lot please visit Bonhams.com

CHAÏM SOUTINE (1893-1943)La femme en rouge au fond bleu signed 'Soutine' (lower right)oil on canvas75.4 x 55cm (29 11/16 x 21 5/8in).Painted circa 1928Footnotes:ProvenanceJos Hessel Collection, Paris.Jacques Laroche Collection, Paris.Georges Keller Collection, New York and Davos (acquired by 1943).Carroll Carstairs Gallery, New York (acquired by 1949).Mr & Mrs Walter Ross Collection, New York (acquired from the above by 1957); their collection sale, Parke-Bernet Galleries, New York, 21 October 1964, lot 38.McRoberts & Tunnard Gallery, London (acquired at the above sale).Perls Galleries, New York (acquired by 1967).Alex Maguy, Paris (acquired by 1972, until 1973).Private collection, Japan; their sale, Sotheby's, New York, 5 November 1981, lot 233.Perls Galleries, New York (acquired at the above sale).The Roland Collection (acquired from the above in 1985); their sale, Dorotheum, Vienna, 24 November 2020, lot 12.Acquired at the above sale by the present owner.ExhibitedNew York, Bignou Gallery, A Selection of Paintings of the Twentieth Century, 8 February - 20 March 1943, no. 16 (titled 'The Red Dress').New York, Bignou Gallery, Exhibition of Paintings by Soutine, 22 March - 16 April 1943, no. 15 (titled 'The Red Dress').Montreal, Montreal Museum of Fine Arts, Manet to Matisse, An Exhibition of 19th and 20th Century French Paintings, 27 May - 26 June 1949, no. 39 (titled 'Femme en rouge' and dated 1932).New York, Perls Galleries, 24 Major Acquisitions, 27 February - 6 April 1968, no. 21 (titled 'Jeune femme au fond bleu').New York, Perls Galleries, Chaïm Soutine (1893-1943), 11 November - 13 December 1969, no. 18.Paris, Alex Maguy, Présence de la peinture, 2 June - 12 July 1972.Tel Aviv, Tel Aviv Museum of Art, 1996.LiteratureConnoisseur, vol. 172, no. 693, November 1969 (illustrated p. ccxvii).P. Courthion, Soutine, peintre du déchirant, Lausanne, 1972, fig. B (illustrated p. 258; titled 'La femme du cordonnier II' and dated 1926-1927).A. Soutine, Journal de l'amateur d'art, 1973 (illustrated p. 14).Exh. cat., The Evelyn Sharp Collection, New York, 1978, p. 90.M. Tuchman, E. Dunow & K. Perls, Chaïm Soutine (1893-1943), Catalogue Raisonné, Vol. II, Cologne, 2001, no. 123 (illustrated p. 692).IFAR Journal. vol. 10, no. 3/4, 2008/2009, p. 57 (illustrated on the inside back cover).In La femme en rouge sur fond bleu, Chaïm Soutine portrays a woman with unparalleled emotion and intimacy. Despite the artist's choice to leave the sitter anonymous, he renders her familiar to anyone as he translates raw emotions onto the canvas. The present work is the quintessence of Soutine's portraits: it blends the most important colours in Soutine's work (red and blue) and brings together the artist's modern and traditional artistic influences in a consummate psychological portrait.Chaïm Soutine was born in 1893 in Smilovitchi, a small town of the Russian Empire mainly populated by observant Jews. At the age of thirteen, he secretly drew a portrait of the village rabbi, transgressing the ban on depicting the human face, and was beaten by the rabbi's son for it. He spent two weeks in hospital, and the Soutine family obtained twenty-five roubles in compensation which enabled him to leave the Smilovitchi ghetto and the painful childhood memories he had there. Soutine used the money to take drawing classes in Minsk, before enrolling at the Vilnius School of Fine Arts. He then arrived in Paris in 1912 and moved to La Ruche (The Beehive), a hub of artist studios whose name came from its cylindrical shape where low studio rent and free models attracted many artists who had recently emigrated to Paris with little money. Among others, Marc Chagall, Ossip Zadkine, Alexander Archipenko, Constantin Brâncuși, and Diego Rivera, would come and stay at La Ruche, which soon became the epicentre of the École de Paris, a term that paradoxically came to designate the scene formed at the beginning of the 20th century and until the Second World War by artists from all over the world, who converged in the French capital. Soutine had no resources and worked as a labourer in a Renault factory and at the Grand Palais to make ends meet. In 1914, an incurable stomach ulcer prevented him from being mobilised, despite his desire to do so. In 1915, Soutine met Amedeo Modigliani and the two artists formed a solid friendship that would withstand all odds. In 1916, Modigliani introduced him to his dealer Léopold Zborowski, who would go on to also represent Soutine. Zborowski financed Soutine's career and trips to the South of France, in Céret, Cagnes and Vence, but without commercial success.Modigliani's death in 1920 was a terrible setback for Soutine. His physical and mental health deteriorated drastically and he chose to live apart from the artistic community. For almost two years, he painted intensely and kept a very close circle of friends and relationships; mainly Zborowski and Paulette Jourdain, Zborowski's assistant and former model of Modigliani. Jourdain became an important friend, confidante, and model for Soutine. It is almost certain that she is the sitter for La femme en rouge sur fond bleu.Jourdain, who also sat for André Dunoyer de Segonzac, Ossip Zadkine, and Moïse Kisling, was the model for one of Modigliani's very last portraits in 1919. It is highly likely that Soutine was inspired by the Portrait de Paulette Jourdain, which bears many similarities with La femme en rouge sur fond bleu, such as the same fontal position, stately manner, and clasped hands.In 1922, the American collector Albert Barnes noticed the artist's work and bought almost a hundred paintings from Soutine, who became rich and famous overnight. He was now an established painter and had a daily salary of 25 francs from Zborowski, with a car and a driver, and became a fashionable and eccentric Parisian. And yet, despite his newfound introduction to bourgeois society, Soutine became preoccupied with the still-life genre, surrounding himself with dead carcasses in his studio to paint his celebrated series of Bœufs écorchés (Slaughtered oxen, circa 1925). He would visit slaughterhouses to buy dead carcasses of oxen to hang in his studio to paint. Soon the flies swarmed, and the neighbours complained about the smell. Paulette Jourdain recalls that when the police turned up, Soutine hid, terrified. But Jourdain defended the painter, arguing that his work was not done and that he needed to keep them for a while longer. She would sit for portraits for Soutine next to these dead carcasses in the studio while he painted her and would endure the smell and the flies for hours. Indeed, there are strong connections between Soutine's masterpiece of the Carcasse de bœuf (1925) and the present work: they share the same vivid palette, with the main subject painted in red hues and standing out against a blue background with impassioned brushstrokes that unbalance the perspective and stability of the scene. Both subjects occupy the centre of similar-sized canvases, while the colour and treatment of the flesh and blood of the flayed ox recalls that of the sitter's skin and dress. In the words of Cynthia Zarin, 'like Caravaggio, who painted some of the most disturbing and beautiful pictures in the world, and whom these portraits call to mind, Soutine was interested in the agencies of the flesh. In the snarl of paint on the canvas, you can feel his hand on the brush' (C. Zarin, 'The Time Travelling Portraits of Chaïm Soutine' in The New Yorker, 21 March 2018, n.p.). Moreover, like the Bœufs écorch&... 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

EGON SCHIELE (1890-1918)Sitzende Frau signed and dated 'Egon Schiele 1917' (lower right)black pencil on paper46.1 x 29.6cm (18 1/8 x 11 5/8in).Executed in 1917Footnotes:ProvenancePrivate collection, Vienna and London (possibly acquired directly from the artist).Liesl Bunzl Collection, Vienna and London (by descent from the above).Thence by descent to the present owners.LiteratureJ. Kallir, Egon Schiele: The Complete Works, 1998, no. 1999 (illustrated p. 582).'He had always been a demon draftsman [...] and his line, by 1917, had acquired an unprecedented degree of precision [...] Schiele's drawing technique – the armature upon which all his painted forms rested – had acquired an almost classical purity [...] Schiele's hand had never been surer, more capable of grasping, in a single breath-taking sweep, the complete contour of a figure. This extreme dexterity invited mannerism; when his subject was not particularly exciting, drawing was just too easy for him. And yet, when he was inspired, his execution was flawless; he had found, in the best of his late work, the perfect line' (J. Kallir, Egon Schiele, Life and Work, New York, 2003, pp. 223 & 230).Expressionism was characterised by a deep exploration of identity, of individual inward analysis and questioning, and an unwavering scrutinization of a rapidly modernising world. In Austria, Egon Schiele was by far the movement's foremost exponent, swiftly leading him to become Austria's leading artist of the time before his untimely death on 31st October 1918, at the age of just 28. This astronomical rise to critical acclaim within his short lifetime goes some way to illustrate the utmost quality of his ability and the deep resonance his work found in contemporary society, though it was not without its trials. Generally unappreciated for many years after his death, we look back at Egon Schiele as one of the twentieth century's most prolific, confrontational, and challenging artists.As the youngest student enrolled at the Viennese Akademie der Bildenden Künste in 1906, it was not long before Schiele broke away to carve his own path through the streets of the capital, documenting his rampant adolescent sexual energy, together with the unceasing hypocrisies of 'civilised' Viennese society to which he belonged. Thus began one of art canon's finest examinations into the vulnerability of the human figure through an unabashed examination of the vagrants and prostitutes of Vienna, and of the artist himself.Schiele's works from the 1910-1911 period are known for their unforgiving frankness and provocative imagery as the artist focused intensely on questions concerning identity and the individual, sexuality, spirituality and death. This is often presented through the gazing youthful eyes of Vienna's street urchins, the explicit representation of prostitutes, or through the stark, emaciated nude figure of Schiele himself, contorted into varying positions and selves: 'Schiele the effeminate, the elegant, the dandy; Schiele the fearful, the anguished, the uncertain; Schiele the stoic, the angry; Schiele beautiful and Schiele hideous' (J. Kallir, Egon Schiele: The Complete Works, New York, 1998, p. 68).This period defined his public character as the rebellious maverick who sought to question, probe and shock, intending to expose people for how they really were, and the works somewhat echo the grotesque faces by Leonardo Da Vinci in their gruesome exaggeration. This shock factor certainly helped garner awareness for Schiele at the time but also had a profound effect on his rediscovery later in the twentieth century as longstanding rigid social structures were questioned and confronted more vigorously.This brazen approach to human depiction did however eventually result in the artist's brief incarceration following a string of incidents in rural Austria-Hungary in 1911-1912. Accused of kidnap, rape, and public immorality, he was ultimately only charged with the latter on account of his open display of erotic drawings in his studio home and served a month of jail time. This imprisonment, albeit brief, had a profound effect on the young artist and it was a major catalyst for his renewed approach, it 'checked the wayward slide of his adolescent impulses, shocking him back to reality so that he could complete the process of socialization and take his place in the adult world [...]. He had learned the hard way that his special artistic mission did not, after all, grant him immunity from society's strictures. If he wanted to protect the former, he would, in the future, have to obey the latter' (Kallir, op. cit., p. 127). Nevertheless, controversy can be of huge benefit to the up-and-coming artist, infamously the melancholic Expressionist Edvard Munch became a sensation overnight following national outcry over his works at the Verein Berliner Künstler in November 1892 – an event that ultimately birthed the German avant-garde. Ultimately, Schiele was alert to the profound commercial benefit of this scandal, with his name murmured across the lips of the art-conscious elite.'I want to start anew [...]. It seems to me that until now I have just been preparing the tools' (Schiele quoted in a letter to Anton Peschka in C. Nebehay, Egon Schiele, 1890-1918: Leben, Briefe, Gedichte, Salzburg & Vienna, 1979, p. 209).As Schiele matured emotionally, so he did artistically and by 1917-1918 his output had developed considerably, the period marked with a renewed creative vitality. His works, whilst still focused on the human disposition, comprised a more confident line displaying greater precision and fluidity as he sculpted his sitters with a series of simple loose black lines. Female sitters challengingly confront the viewer with a boldness and unflinching gaze illuminated through their simplified pictoral construction. The faceless doll-like figures of the 1914-1915 period are gone, replaced with a defiant realism. Schiele now appears to shift towards a voyeuristic separation from the model, allowing them ownership of the space, though the raw sensuality of his sitters is by no means diminished by his maturation of style. On the contrary, they themselves are presented with a new confidence and owned eroticism, unseen in previous years, the sexually explicit exchanged for a more tantalisingly suggestive experience.As Jane Kallir commented: 'Schiele's women are, by 1917-18, thoroughly modern. Like most modern women, they own their sexuality. The nude and semi-nude models take pride in their seductive bodies and are empowered by their allure [...]. Nor are they projections of the artist's ego. They combine the mystery and the specificity of complete, independent human beings' (J. Kallir, Egon Schiele's Women, Munich, 2012, p. 266).Indeed, of the present works, Sitzende Frau and Sitzende Frau mit Hut both illustrate this prowess openly, but also via minor subtleties. Found in the catalogue raisonné amongst a series of very similar works of a woman in the chronological stages of undress - some identified as Adele Harms - Sitzende Frau pulls us directly into a modelling session in Schiele's Heitzinger Hauptstraße studio. The model has begun to seductively remove her stocking from a cocked knee, her intimate undergarments hanging suggestively from her shoulders and her hair loosely bound, on the precipice of cascading freely – each element rendered with a minimal line, but successfully conveying the tangibility of a finished painting. Unlike the earlier models, she lacks a vulnerability, instead emanating a proud and defiant confidence, as well as perhaps a more illicit relationship with the artist. Sitzende Frau mit Hut alludes to a separate, more personal relationship, as she gazes directly outwards with a far more intimate and suggestive view. Ev... For further information on this lot please visit Bonhams.com

Signed by Walker and Heaney Walker (Dorothy) Modern Art in Ireland, lg. 4to D. (Liliput Press Ltd.) 1997, Signed Limited Edn., No. 95 (100), illus. red cloth and matching slip case. Good copy. (1)

λ ALAN DAVIE (SCOTTISH 1920-2014)CONCEPT OF SELF WITH NO LIMITS NO. 1 Oil on canvas Signed, titled, inscribed and dated 2003 (verso)152.5 x 122cm (60 x 48 in.)Provenance:Edinburgh College of Art, Charity Auction, 2003 Portland Gallery, London Sale, Christie's, 20th Century British & Irish Art Day Sale, 24 May 2012, lot 245Sale, Lyon & Turnbull, MODERN MADE: Modern Art, Design & Studio Ceramics, 14 November 2019, lot 275  Condition Report: Light surface dirt throughout. A small area of very slight paint shrinkage and associated craquelure to the left edge through the word 'Nearly'. The canvas is slack and slightly undulating in the lower left corner. Otherwise in good original condition. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer

A small lot of interest to include an Art Nouveau copper and brass box, a modern Chinese necklace with stone circular disc pendant, vintage costume jewellery and a doll's bull fighter outfit. Location:R1:4

Buckman (David). Artists in Britain Since 1945, 2 volumes, new edition, Bristol: Art Dictionaries, 2006, colour illustrations, original cloth in dust jackets & slipcase, covers lightly rubbed to head & foot, large 4to, together with:Éditions Gallimard, publisher, Henri Matisse, Roman, by Aragon, 2 volumes, 1971, numerous colour & monochrome illustrations, original cloth in dust jackets & slipcase, volume 1 front cover slightly dented with a small tear, covers lightly rubbed to head & foot, 4to, plusLanchner (Carolyn), Paul Klee, 1st edition, New York: The Museum of Modern Art, 1987, numerous colour & monochrome illustrations, some minor marginal toning, original cloth in dust jacket, covers lightly toned & rubbed to head & foot, large 4to, and other modern art reference & related, mostly original cloth in dust jackets, some paperback editions, G/VG, 8vo/folio QTY: (6 shelves)

Nilsoson (Sven). The Primitive Inhabitants of Scandinavia, 3rd edition, London: Longmans, Green, And Co., 1868, 16 monochrome plates, some light toning & minor spotting, original blue cloth, spine slightly faded & rubbed to head & foot, 8vo, together with:Dunhill (Alfred), The Pipe Book, 1st edition, London: A. & C. Black, 1924, 28 colour plates plus 230 monochrome in-text illustrations, later endpapers, some light spotting & toning, rebound retaining original blue cloth boards & spine, spine lightly faded, 8vo, plusRansome (Hilda M.), The Sacred Bee in Ancient Times and Folklore, Bridgwater: BBNO, 1986, monochrome illustrations, original cloth in dust jacket, 8vo, and other mostly modern history, pre-history & related art reference, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo/4toQTY: (6 shelves)

Dali (Salvador). Dali: The Wines of Gala, 1st U.S. edition, New York: Harry N. Abrams, 1978, numerous colour illustrations, original cloth in dust jacket, covers lightly rubbed, large 8vo, together with:Descharnes (Robert & Gilles Néret), Salvador Dali, The Paintings, 2 volumes, 1st edition, Köln: 1994, numerous colour & monochrome illustrations, original cloth in dust jackets & slipcase, folio, plusKlepac (Lou), The Life and Work of Russell Drysdale, 1st edition, London: Bay Books, 1983, numerous colour & monochrome illustrations, original cloth in dust jacket, spine lightly rubbed to head & foot, folio, andSilber (Evelyn & David Finn), Gaudier-Brzeska, Life And Art, with a Catalogue Raisonné of the Sculpture, 1st edition, London: Thames And Hudson, 1996, numerous colour & monochrome illustrations, original cloth in dust jacket, large 8vo, plusRussoli (Franco), Modigliani, Drawings And Sketches, 1st edition, New York: Harry N. Abrams, 1969, numerous colour & monochrome illustrations, some light spotting & marginal toniing, original cloth in dust jacket, large 4to, and other modern art reference, many original cloth in dust jackets, some paperbacks, G/VG, 8vo/folioQTY: (6 shelves)

Howarth (Thomas). Charles Rennie Mackintosh and the Modern Movement, 1st edition, London: Routledge and Kegan Paul, 1952, 96 monochrome plates to the rear, some minor toning, original cloth in dust jacket, some minor spotting, wear & loss to the covers, 8vo, together with:Condell (Caitlin & Emily Orr, editors), E. Knight Kauffer, The Artist in Advertising, 1st edition, New York: Rizzoli, 2020, colour illustrations, original cloth in dust jacket, 'as new' in original plastic wrap, large 8vo, plusArthur (Liz), Robert Stewart Design 1946-95, 1st U.K. edition, London: A. & C. Black, 2003, numerous colour illustrations, original cloth in dust jacket, large 8vo, and other art & design reference, including Studio magazine, mostly original cloth, some in dust jackets, G/VG, 8vo/4toQTY: (3 shelves)

◆ FINE AND RARE CERAMIC 'SYDNEY COVE MEDALLION' BY JOSIAH WEDGWOOD THE ORIGINAL ISSUE, 1789 modelled from dark brown unglazed earthenware, with crisply moulded decoration depicting a female figure, emblematic of Hope, wearing classical robes and standing on rocks before an anchor, extending her right hand to Peace, Art and Labour; the figures stand on the shores of a bay, in the distance a ship sails; the female figure of Peace holds an olive branch in her right hand with a horn of plenty at her feet; Art is modelled as a female, with a palette in her right hand; Labour is depicted as a bearded figure, wearing a loin cloth and holding a sledge hammer over his shoulder; 'ETRURIA / 1789' is inscribed below the scene in raised letters; the reverse impressed 'MADE BY / IOSIAH WEDGWOOD / OF CLAY / FROM / SYDNEY COVE'Dimensions:5.7cm diameter, 0.2cm depth, 5.6cm internal diameter of the encircling ringProvenance:From a private UK collectionNote: THE FIRST FLEET AND THE SYDNEY COVE MEDALLIONAn object of great importance in ceramic history and the history of travel and exploration, the Sydney Cove Medallion is an original artefact from the voyage of the First Fleet under Captain Arthur Phillip, which marked the beginning of European settlement in Australia.Phillip landed at Botany Bay in January 1788 with orders to establish a penal colony, which he did some twelve miles north at Sydney Cove, now Sydney Harbour. The settlement he founded is the direct ancestor of the modern Australian state and has been viewed favourably by historians as a model of just and pragmatic governance.Exhibiting a fineness of detail made possible by the unique qualities of the Sydney Cove clay, the medallion is a superb embodiment of the ingenuity of one of 18th century Britain’s leading industrialists.The medallion was made at Wedgwood's Etruria factory in 1789. It was designed by Henry Webber and modelled by Wedgwood’s principal modeler, William Hackwood. It is moulded in bas-relief with a classical scene depicting Hope, encouraging Peace, Art and Labour, to work for the prosperity of the new young settlement. The original medallions range in colour from pale biscuit to a dark brown, almost black colour, as represented by the example being offered. In 1770 Captain James Cook discovered the Australian continent and claimed part of it for Britain. With the loss of British colonies in North America, the British were keen to expand their territories in other parts of the world and the government decided to found a settlement in Australia. In 1788 Captain Arthur Phillip became First Governor of the state of New South Wales, where he had been commissioned by George III to create a penal colony, as a way of dealing with the overcrowding in British prisons and prison ships. Eleven ships, carrying over a 1000 people, including 850 convicts and 200 officers, put down anchor at Sydney Cove on 26th Jan 1788. This is now known as ‘The First Fleet’. In November of that same year Captain Phillip wrote to Sir Joseph Banks, who was president of the Royal Society and had accompanied Captain Cook on his 1768 expedition, to inform him that he had found minerals and white clay in the area. He sent samples of these to Banks at the end of 1788. Banks directed the minerals to the relevant scientists, and he sent the clay directly to his friend and fellow Royal Society and Lunar Society member, Josiah Wedgwood, for him to investigate its potential for ceramic production. Wedgwood worked with the clay and was very pleased with its qualities. Two batches of medallions were produced from the clay sent back to Sir Joseph Banks. From the first batch of medallions Wedgwood sent an example to Banks and on 12th March 1790 Wedgwood wrote to him: “I have the pleasure of acquainting you, that the clay from Sydney Cove, which you did me the honour of submitting to my examination, is an excellent material for pottery, and may certainly be made the basis of a valuable manufacture for our infant colony there. Of the species of ware which may be produced from it, you will have some idea from the medallions I have sent for your inspection.” [1] Medallions from the first batch were to be sent to Sydney Cove, for the attention of Governor Phillip, on the ‘Second Fleet’ and they were to be distributed at his discretion. By November 1789, a second batch of medallions had been completed. Wedgwood’s friend, the physician and poet Erasmus Darwin, was the recipient of one. He wrote to Wedgwood:“I have received great pleasure from your excellent medallion of Hope. The figures are all finely beautiful and speak for themselves.” [2] In Nov 1789, an account of ‘The Voyage of Governor Phillip to Botany Bay’ was printed by the publisher John Stockdale. On the title page there is an engraving of the Sydney Cove Medallion and a description of it: “The elegant Vignette in the title-page was engraved from a medallion which the ingenious Mr Wedgewood caused to be modelled from a small piece of clay brought from Sydney Cove. The clay proves to be of a fine texture, and will be found very useful for the manufactory of earthenware. The design is allegorical; it represents Hope encouraging Art and Labour, under the influence of Peace, to pursue the employments necessary to give security and happiness to an infant settlement.” [3] It is unknown how many medallions of the original issue were produced. The whereabouts of 12 are currently known. [4] As the medallions would have taken considerable time and skill to make Richard Smith suggests in his Sydney Cove Medallion essay that:“Wedgwood would have made no more than was necessary for the publicity value. One for Erasmus Darwin; a few for Sir Joseph Banks as President of the Royal Society for his own distribution; perhaps fifteen or twenty for Governor Phillip’s distribution. The total production may have been somewhere around two dozen, probably no more.” Despite having carried out thousands of ceramic experiments over many years, it appears that Wedgwood was proud of creating the Sydney Cove medallion, producing a special issue to commemorate the settlement at Sydney Cove. These medallions record the start of a new chapter of colonial history as well as symbolising Wedgwood’s skill and technical innovation, which was at its height at this time. The medallions are fine and fragile in nature. Surviving examples are rare and are seldom seen on the market. [1] Robin Reilly, Wedgwood, published by Stockton Press, 1989, volume 1, p. 127[2] L.Richard Smith, The Sydney Cove Medallion, The Wedgwood Press, Sydney, Third Edition, 1987, p.6[3] From the Account of the Vignette in The Voyage of Governor Phillip to Botany Bay, printed for John Stockdale, Piccadilly, London, 1789, p.vi[4] The whereabouts of twelve original issue medallions is known at the time of writing. In addition to the medallion being offered for sale, three are in UK museums: one in the British Museum; one in the Lady Lever Art Gallery; one at the Potteries Museum and Art Gallery, Stoke-on-Trent. Others are in Australian museums and institutions: five in the Mitchell State Library, New South Wales; one in the National Museum of Australia, Canberra; one with the Sydney Living Museums Corporation; one in the Silent World Foundation. In 2014 a medallion was offered for sale by an Australian antiques dealer and is now in private ownership.

NetsukeKintarō als DarumaJapanUm 19003,5 cm x 3,5 cmSigniert „Ryoun“Ein auf den ersten Blick eher wirr aussehendes Gebilde, das in fast mangahaftem Stil gehalten, aus einer Figur in einer Robe, dem Kopf eines Oni, einer großen Doppelaxt, einer Katze und einem Fisch zusammengesetzt ist, entpuppt sich als Darstellung des jugendlichen Helden Kintarō, der hier allerdings unerklärlicherweise in der Gestalt des Zen-Patriarchen Daruma (Bodhidharma) dargestellt ist (in der japanischen Volkskultur des 19. Jahrhunderts kommen allerdings mannigfaltige seltsame Darumadarstellungen vor). Kintarō war ein Waisenkind aus dem zehnten Jahrhundert, das von der Berghexe Yama-Uba aufgezogen worden war, sich mit den Tieren des Waldes anfreundete und Kämpfe mit Fabelwesen wie Onis oder Tengu ausfocht. Er war mit einer roten Schürze, auf der Kin (金, Gold) stand, bekleidet und trug eine riesige Doppelaxt. Kintarō spielt bis heute eine bedeutende Rolle in der japanischen Jugendkultur.Die comichafte Darstellung und Wahl des Motivs lässt auf eine Arbeit für einen jugendlichen Auftraggeber schließen, jedenfalls handelt es sich um kein Exportstück für westliche Sammler. Ein Netsuke von Ryoun, das ein Kind mit großer Monstermaske darstellt, befindet sich unter Nummer 1985.028.050 in der Sammlung der Queensland Art Gallery, Gallery of Modern Art.

ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012)."Llambrec Material, 1975.Complete series of 12 lithographs on offset paper, issue XXV.La Polígrafa publisher, Barcelona.Signed.Measurements: 48 x 35,5 x 6 cm.The book "Llambrec material" consists of poems by Shuzo Takiguchi illustrated with twelve lithographs by Tàpies, presented in a cloth binding printed with a reproduction of the artist's work.The edition consists of the following copies: 26 copies marked A to Z, printed on laid paper and accompanied by a suite on Arches paper of 18 lithographs, all signed, and an original gouache by the artist; 25 copies numbered I to XXV, printed on Rives paper and accompanied by a suite on the same paper of 18 lithographs, all signed; 75 copies numbered from 1 to 75 on Guarro paper, accompanied by a suite on the same paper of 12 lithographs, all signed; 125 copies numbered from 76 to 200 on laid paper; 300 copies numbered from 201 to 500 of the current edition, unsigned, on offset paper. In addition, 15 H.C. copies have been printed on laid paper for authors and collaborators.Antoni Tàpies has held exhibitions all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. His awards include the Prince of Asturias, the Praemium Imperiale of the Japan Art Association, the National Culture Prize, the French Grand Prix de Peinture, etc., and anthologies have been dedicated to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. He is represented in the main national and international museums, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012)."Une vase de terre crue et le T du nom de Tàpies", 1988.Etching and aquatint engraving, copy 31/85.Signed and justified in pencil.Work published in "Antoni Tàpies. Obra gráfica / graphic work Vol. 4: 1987-1994", Ed. Gustau Gili, Barcelona.Size: 50 x 65 cm.Co-founder of "Dau al Set" in 1948, Tàpies began to exhibit at the Salones de Octubre in Barcelona, as well as at the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Galerías Layetanas, he travels to Paris in 1950, with a grant from the Institut Français. In 1953 he had a solo exhibition at Martha Jackson's gallery in New York. From then on, he exhibited his work, both in group and solo shows, all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the 1970s, anthologies have been devoted to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. Self-taught, Tàpies created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style full of symbolism, giving great importance to the material substratum of the work. It is worth noting the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous prizes and distinctions, including the Praemium Imperiale of Japan, the National Prize for Culture, the Grand Prix for Painting in France, the Wolf Foundation for the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Prize for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). Antoni Tàpies is represented in major museums all over the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

MANUEL MOLI (La Portella, Lleida, 1936 - Terrassa, 2016)."Machine with spheres".Oil on canvas.Signed in the lower right corner. Titled on the back.With label on the back of the Godula Buchholz Gallery.Measurements: 73 x 60 cm; 74 x 61 cm (frame).Painter, draughtsman and engraver. His painting reflects the influence of predecessors of surrealism as Brueghel and Goya, characterised by a tenebrous fantasy that acts in conjunction with his figures, fabulous beings and scenic stagings; representations that are the receptacle of an inordinate imagination but at the same time trapped in itself. As for the plastic arts, self-taught, he presented his first exhibitions of ink drawings in 1959 and 1965 at the Centro Excursionista de Terrassa and later in various galleries in Arenys de Mar, Barcelona, Mataró, Sitges and also, of course, at the Friends of the Arts and Musical Youth of Terrassa, until 1973, when he exhibited at the Adrià Gallery in Barcelona, a reference space for the art of the seventies in Catalonia due to its support for the awakening of a new artistic sensitivity in our country. With his incorporation into the world of the great galleries, Molí went from working exclusively in drawing to producing oil paintings that were exhibited for decades in Catalan and Spanish cities as well as in various cities all over the world, including, for example, Asunción, Basel, Stockholm, Munich, New York, Nuremberg... both in individual and group exhibitions, and which can be seen in museums of modern and contemporary art in Barcelona, Stockholm, Madrid, Mataró, Nuremberg, Seville and Tarragona.

JOSÉ MARÍA MIJARES (Havana, Cuba, 1921 - Miami, USA, 2004).Untitled, circa 1959.Oil on wood.Attached certificate issued by María Cabrera Mijares, widow of the artist.Damage to the frame.Needs cleaning.Signed in the lower right corner.Measurements: 80 x 100 cm; 85 x 105 cm (frame).The year 1959 is the time when Mijares began his work as a teacher at the San Alejandro School of Fine Arts. Mijares's artistic production oscillated between a more figurative trend and an abstract one in which he developed concepts typical of kineticism and neoplasticism. However, these compositions acquired the idiosyncrasy of the artist, who endowed them with exceptional colour. The work reflects an aesthetic language that reflects various avant-garde movements and the translation of the history of art. From a new perspective in which the aesthetic transgression at the hands of José María Mijares means the creation of an image with its own language and personality. Through the use of colour, the work offers the spectator a new vitalist aesthetic that merges with a technique close to geometric abstraction that extends over the whole piece in an apparently random way. However, compositionally the artist has managed to create a completely harmonious image where the mastery of colour and technique achieve an expressive, vitalist and dynamic image that captures and creates a dialogue with the viewer.Mijares studied at the Escuela Nacional de Bellas Artes San Alejandro in Havana, where he taught. He was a member of the group Diez Pintores Concretos. Between 1968 and 1973 he was a member of the Grupo Gala in Miami, where he settled at the age of 47. He edited the magazine Alacrán Azul in Miami. He held his first exhibition at the Liceo in Havana (1947). In the 1980s he exhibited in Coral Gables, Florida, where he reiterated his presence. In 1994 the Cuban Museum of Art and Culture in Miami dedicated a retrospective to him. The Alfredo Martínez Gallery in Coral Gables also organised an ontological exhibition in 1996. As for group exhibitions, he participated in the Venice Biennale in 1952. He is represented at the Cintas Foundation in New York, the Lowe Art Museum, Florida, the Museum of Modern Art of Latin America in Washington, and the Museum of Modern Art in New York. Mijares' well-deserved recognition came above all for his ability to harmonise his universal vocation with the search for an autochthonous Cuban language. In this composition, he starts from a colourist post-Cubism through which he practically delves into abstraction, but without losing the referential thread. A preened female figure is still recognisable, as in his "habaneras", but she has been stripped of her personal features, her body being transformed into a set of gears that animate a beautiful and elegant automaton.

RICHARD SERRA (San Francisco, California, 1939)."Level I", 2008.Etching, copy 14/38.Gemini G.E.L. Los Angeles, California, Publisher. With stamp on verso.Signed, dated and justified on verso.Provenance: Carreras Múgica Gallery, Bilbao. Private collection, Barcelona.Measurements: 97 x 161 cm; 110 x 174 cm (frame).Since 1994, when he began his work "The Matter of Time", a set of monumental steel structures exhibited at the Guggenheim Museum in Bilbao, abstraction has always been the leitmotiv of Richard Serra's work. Earlier, in the 1960s, he had already worked with the simplification of forms and abstract reduction by throwing molten lead against the wall of a studio or exhibition space (a clear example of process art). This "performance" was followed by major works such as the "Titled Arc", a gently curving 3.5 metre high steel wall installed in Federal Plaza in New York, a work that once again reflected the intense and profound character of the San Francisco artist. Despite his fame as a sculptor, Serra has always successfully championed other artistic disciplines: video, drawing or, as on this occasion, installation, have taken the sculptor to the top of the international scene, and he is even considered one of the most important artists on the American scene today. The etching now on offer is distinguished by the bichrome used, as it combines a large black surface, which creates a sensation of depth, with a white stripe that alludes to emptiness and existentialism.Richard Serra is considered one of the most distinguished and well-known artists in the United States. Born in San Francisco to a Spanish father (Mallorcan) and a Ukrainian mother, Serra studied literature at the University of California at San Francisco. He studied literature at the University of California at Berkeley and Santa Barbara (1957-1961). During his early years, he worked in a steel mill, an activity that influenced his artistic language. He then studied art at Yale University (1961-1964). Specialising in large-scale sculpture, his fame and the size of his works grew over the years. Gallery owners such as Leo Castelli and collectors such as Emily and Joseph Pulitzer became interested in an art that, due to its volume, leapt from the galleries to the street, an aspect that introduced him to Land Art alongside great artists such as Oppenheim and Javacheff. Throughout his career he has received many awards and grants, including France's prestigious Légion d'honneur, which he was awarded in 2015, the Order of Arts and Letters of Barcelona and the 2010 Prince of Asturias Award for the Arts. His work is currently in the permanent collections of institutions such as the Guggenheim Museum in Bilbao, the Museo Reina Sofía in Madrid, the MACBA in Barcelona, and the Museum of Modern Art (MoMA) in New York.

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Untitled (still life with glasses in Cadaqués)", Suite Cadaqués B-1, ca. 1967.Oil on canvas.Signed on the back.Work referenced in the online catalogue raisonné of the Associació Joan Ponç, cat. no. 1490.With Joan Prats Gallery label on the back.Measurements: 116 x 81 cm.In this canvas Joan Ponç offers us a still life with glasses painted during his time in Cadaqués, a town in Empordà where he spent some years of his life and where he coincided with such illustrious neighbours as Salvador Dalí, Modest Cuixart and Antoni Tàpies.A painter and draughtsman, he trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946 at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year of the dissolution of Dau al Set, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972). He is currently represented at the Museo de Arte Contemporáneo de la Universidad de São Paulo, the Museo Patio Herreriano in Valladolid, the MACBA in Barcelona, the Centro-Museo Vasco de Arte Contemporáneo in Vitoria, the Museo de L'Empordà and the Museo Nacional Centro de Arte Reina Sofía.

MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Harlequin with a Cockerel".Oil on panel.Signed in the lower right corner.Size: 36 x 27 cm; 56 x 48 cm (frame).José Viola Gamón adopted the name by which he is known, Manuel Viola, after the Civil War. A member of the El Paso group, his painting is characterised by an informalist and colourist treatment, in line with the avant-garde developed in Spain from the 1950s onwards. He began studying Philosophy and Arts in Barcelona, but was forced to abandon them because of the war. His first drawings date from these years. After the war he went into exile in France, where he wrote for the surrealist poetry magazine "La main à plume". There he began to exhibit his work in the exhibitions of the so-called Spanish School of Paris. He returned to Spain in 1949, and in 1958 his truly personal style began to emerge, and at the same time he joined the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes de Madrid, in 1971 at the Museo de Arte Contemporáneo de Madrid, in 1972 at the Lonja de Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.

William Kentridge (born 1955)Walking Man, 2000 signed and numbered 8/25 in pencillinocut257.8 x 88.7cm (101 1/2 x 34 15/16in).unframedprinted by Artist Proof Studio, published by David Krut, JohannesburgFootnotes:ProvenanceDavid Krut Fine Art, Johannesburg;Acquired from the above by the current owner in 2002.LiteratureJudith B. Hecker and William Kentridge, William Kentridge – Trace – Prints from the Museum of Modern Art (Verona: Trifolio SRL, 2010) p.25Milena Kalinovska and Eric Denker, William Kentridge, Oleg Kudryashov: Against the Grain (Washington, DC: The Kreeger Museum, Washington, 2009) p.15William Kentridge, William Kentridge: Prints, (Johannesburg: David Krut Publishing, 2006) p. 96Kate McCrickard, William Kentridge: WK, (London: Tate Publishing, 2012), p.38Lilian Tone, Kate McCrickard and William Kentridge, William Kentridge: Fortuna, (London: Thames and Hudson, 2013), p.270Walking Man is a fascinating work that explores the possibilities of scale, celebrates South Africa's long tradition of linocutting, and subtly combines the political and the poetical, calling to mind yet not explicitly, anti-apartheid marchers and uprooted communities. Working together with master printer Osiah Masekoameng at the Artist Proof Studio, Johannesburg, on the largest press in South Africa, William Kentridge challenged his technical expertise of the medium with this work, morphing not only a walking man into a tree, but the usually small-scale medium of linocut into a monumental presence of crisp lines, stark contrasts, and captivating patterns. If the latter recall the woodcut prints of Northern Renaissance and German Expressionism artists, the print's impact also lies in the poetical transformation of the man, reminiscent of a tale from Roman poet Ovid's Metamorphoses. The industrial landscape across which the figure strides could well be the outskirts of Johannesburg, where the artist was born and continues to live today. South Africa might even be the second character of this print, whose presence is suggested more than obvious, and certainly seems to inform the multiple readings of this important print, encapsulating 'themes of loss, transformation, personal and cultural memory, oppression and conflict'. Interestingly, William Kentridge says of the linocut medium:In South Africa, linocut is the primary form of printmaking, because linoleum is a very cheap material and the tools to make it are very easy ...And there's also a root to linocutting from the various missionaries who brought the technique to South Africa and a link to the German Expressionists whose style obviously comes back to African masks. And so there's a kind of circularity. It occurred to me that if etching and engraving have to do with the split in northern Europe between the Reformation and other ways of being, then linocutting corresponds to anti-colonialism, certainly in South Africa, to something that comes out of that struggle.Impressions of this print are in the collections of the Metropolitan Museum and the MoMA in New York; the Virginia Museum of Fine Arts, and the Art Gallery of New South Wales in Sydney. An impression of Walking Man was also included in the landmark exhibition Impressions from South Africa: 1965 to Now at MoMA in 2011.BibliographyImpressions from South Africa: 1965 to now (New York: Museum of Modern Art, 2011) https://www.moma.org/interactives/exhibitions/2011/impressions_from_south_africa/works/walking-man/ Judith B. Hecker and William Kentridge, William Kentridge – Trace – Prints from the Museum of Modern Art (Verona: Trifolio SRL, 2010)William Kentridge: Walking Man (Sydney: Art Gallery of New South Wales)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.For further information on this lot please visit Bonhams.com

William Kentridge (born 1955)Casspirs Full of Love, 1989 signed and inscribed IX/X in pencil, a proof aside from the edition of 30drypoint167 x 98cm (65 3/4 x 38 9/16in).printed by Jack Shirreff at the 107 Workshop, Wiltshire, 2000, published by David Krut Fine Art, LondonFootnotes:LiteratureNeal Benezra, Staci Boris and Dan Cameron, William Kentridge (Chicago: Museum of Contemporary Art and New York: Harry N. Abrams Publishers, 2001) p. 80Dan Cameron, Carolyn Christov-Bakargiev, J.M. Coetzee, William Kentridge (London and New York: Phaidon Press Limited, 1999) p.50Carolyn Christov-Bakargiev, William Kentridge (Brussels: Société des Expositions du Palais des Beaux-Arts de Bruxelles, 1998), pg. 29Judith B. Hecker and William Kentridge, William Kentridge – Trace – Prints from the Museum of Modern Art (Verona: Trifolio SRL, 2010) p.19Milena Kalinovska and Eric Denker, William Kentridge, Oleg Kudryashov: Against the Grain (Washington, DC: The Kreeger Museum, Washington, 2009) p.16William Kentridge, William Kentridge: Prints (Johannesburg: David Krut Publishing, 2006) pp. 36-37Margaret K. Koerner, William Kentridge: Smoke, Ashes, Fable (Brussels: Mercatorfonds, 2017) p.31Casspirs Full of Love as a group of works is a testament to William Kentridge's multi-disciplinary and multi-layered practice. The various incarnations of the subject, made between 1988 and 1989, include a drawing, an encaustic, a screenprinted banner and the present drypoint, itself printed in two phases, between 1989 and 2000. The satirical title of the work, inscribed prominently to the right in looping cursive handwriting, refers to a personal message overheard by Kentridge on a popular radio program, from a mother to her son in the white South African defence force: this message comes to you from your mom with Casspirs full of love. Casspirs were armoured riot-control vehicles deployed by the South African defence force under the National Party regime of apartheid (1948-94), for the forceful patrol of black townships during the state of emergency declared in 1985 and renewed until 1990, leading to arbitrary racial arrests and persecution. The tense juxtaposition of love and death, affection and violence, also expressed textually: what comfort now? at left, Not A Step at lower centre, highlight the contradictions inherent to the apartheid state. The work also resonates with scenes from William Kentridge's 1989 film Johannesburg, 2nd Greatest City after Paris (see Lot 1 on previous page), while the heads were inspired by drawings the artist made in 1988 in Florence, based on Giotto's early 14th century frescoes in Santa Croce, that he later cut up and rearranged, and were also influenced by a Tony Cragg bronze sculpture of carved beetroot heads he saw in Florence that same year. As William Kentridge said: The print became a combination of Giotto, Cragg and 1980s South African radio. It has come to be known as one of Kentridge's most overtly political projects, and its importance is reflected in the fact that impressions of the print appear in significant international collections such as those of the Metropolitan Museum and the MOMA in New York, the Johannesburg Art Gallery, and the Tate in London.Printmaking has always been primary to Kentridge's practice as an artist, and the highly charged, textural surface and intensity of contrasts in the inking and composition of Casspirs Full of Love demonstrate his masterful exploration of the etching and drypoint mediums. The impression presented here provides the final version of the image as printed by master printer Jack Shirreff at 107 Workshop, Wiltshire, England in 2000. BibliographyWilliam Kentridge, William Kentridge: Prints (Johannesburg: David Krut Publishing, 2006) p. 36Roger Malbert, 'William Kentridge: Printmaker' in A Universal Archive: William Kentridge as Printmaker (London: Hayward Publishing, 2012) p. 13Elizabeth Manchester, William Kentridge: Casspirs Full of Love (London: Tate, 2002)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

William Kentridge (born 1955)Man with Megaphone, 1998 signed and numbered 31/70 in penciletching and aquatint in colours35 x 50cm (13 3/4 x 19 11/16in).printed by Malcolm Christian, The Caversham Press, with their blindstamp, published by the artist and Kunstverein, MunichFootnotes:LiteratureDan Cameron, Carolyn Christov-Bakargiev, J.M. Coetzee, William Kentridge (London and New York: Phaidon Press Limited, 1999) p.97Judith B. Hecker and William Kentridge, William Kentridge – Trace – Prints from the Museum of Modern Art (Verona: Trifolio SRL, 2010) p.50William Kentridge, William Kentridge: Prints (Johannesburg: David Krut Publishing, 2006) p. 70Kate McCrickard, William Kentridge: WK (London: Tate Publishing, 2012), p.96This 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

William Kentridge (born 1955)Man with Megaphone Cluster, 1998 signed and numbered 31/70 in penciletching and aquatint in colours35 x 50cm (13 3/4 x 19 11/16in).printed by Malcolm Christian, The Caversham Press, with their blindstamp, published by the artist and Kunstverein, MunichFootnotes:LiteratureDan Cameron, Carolyn Christov-Bakargiev, J.M. Coetzee, Kentridge (London and New York: Phaidon Press Limited, 1999) p.97Judith B. Hecker and William Kentridge, William Kentridge – Trace – Prints from the Museum of Modern Art (Verona: Trifolio SRL, 2010) p.50William Kentridge, William Kentridge: Prints (Johannesburg: David Krut Publishing, 2006) p. 71This 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

Jack Penny Front Room, 2022 Pastels and Paint on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Penny's work looks to engage with the rawness of the human experience. His disfigured or elongated figures come about through his theme of escapism, which reoccurs in his work through different subject matter such as commuters, last orders and train riders. At first glance, Penny's approach is apparently figurative, but as one lingers and moves through the figures, the landscape, the colours in his work, one begins to identify that what he attempts to capture is a strong sense of rawness and humanities constant struggle of breaking from and finding comfort between the struggles of the mind and the body. Penny's 'Commuters' series is a key example of this in capturing the essence of the last generation and the choices that the next generation are confronted with - a constant search to relinquish anxiety, a simple moment of stillness, of escape, from our daily rituals In his evocative figurative paintings, British artist Jack Penny depicts contemporary urban life from the perspective of a rural-dwelling outsider. Penny's largely improvised and haphazard compositions question the sustainability of modern society, established systems, and the nine-to-five hustle of the blue-collar and white-collar workers as they go about their daily lives. Penny's creative practice is motivated by a search for authenticity. He is driven by capturing a real sense of humanity within his work. Viewing himself as a 21st century documentarian of city life Penny paints uniform and seemingly anonymous figures clustered together, as if they were searching for validation in numbers. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Emma Davis Stop It I Like It, 2022 Painted Papers on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)   About   I live in Oxford and have a two storey Victorian paintshop studio in my garden. I'm a lover of colour, old books- (for their old cloth covers and interesting fly sheets) and vintage bits and bobs. I've moved away from purely painting to using painted papers and book covers in my work recently. I love the immediacy of painting the papers and then having a whole spectrum of colours to work with. Sometimes the most successful pieces come from offcuts that I pair up with a sharply cut semi circle and a touch of neon. I have two kids, a dog and a husband and a full sized replica ET in my life. I studied back in the early nineties, I was represented CCA galleries between 1997-2001 and worked as a freelance card designer for two Oxford companies for over 20 years. I designed in the day and painted by night!   Education   Liverpool John Moores University University of Wolverhampton Fine Art BA   Select Exhibitions/Awards   Discerning Eye 2018 Post war, modern and contemporary paintings - John Davies Gallery November 2021 Gallery Representation   John Davies Gallery, Moreton in Marsh Wills Art Warehouse, London Irving Contemporary, Oxford   Statement about AOAP Submitted Artwork   I have a vaste stack of painted papers and old books that I use to make my collage pieces. I particularly love using touches of neon pink and other intensely coloured pieces against the contrast of yellowing book pages. Circles and semi circles feature heavily, I'm drawn to their shapes and the textures .Colour and form collide to create little structures, the painted papers add depth. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Emma Davis Seaham Seaglass, 2022 Painted Papers on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)   About   I live in Oxford and have a two storey Victorian paintshop studio in my garden. I'm a lover of colour, old books- (for their old cloth covers and interesting fly sheets) and vintage bits and bobs. I've moved away from purely painting to using painted papers and book covers in my work recently. I love the immediacy of painting the papers and then having a whole spectrum of colours to work with. Sometimes the most successful pieces come from offcuts that I pair up with a sharply cut semi circle and a touch of neon. I have two kids, a dog and a husband and a full sized replica ET in my life. I studied back in the early nineties, I was represented CCA galleries between 1997-2001 and worked as a freelance card designer for two Oxford companies for over 20 years. I designed in the day and painted by night!   Education   Liverpool John Moores University University of Wolverhampton Fine Art BA   Select Exhibitions/Awards   Discerning Eye 2018 Post war, modern and contemporary paintings - John Davies Gallery November 2021 Gallery Representation   John Davies Gallery, Moreton in Marsh Wills Art Warehouse, London Irving Contemporary, Oxford   Statement about AOAP Submitted Artwork   I have a vaste stack of painted papers and old books that I use to make my collage pieces. I particularly love using touches of neon pink and other intensely coloured pieces against the contrast of yellowing book pages. Circles and semi circles feature heavily, I'm drawn to their shapes and the textures .Colour and form collide to create little structures, the painted papers add depth. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Emma Davis Beachcombing, 2022 Painted Papers on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)   About   I live in Oxford and have a two storey Victorian paintshop studio in my garden. I'm a lover of colour, old books- (for their old cloth covers and interesting fly sheets) and vintage bits and bobs. I've moved away from purely painting to using painted papers and book covers in my work recently. I love the immediacy of painting the papers and then having a whole spectrum of colours to work with. Sometimes the most successful pieces come from offcuts that I pair up with a sharply cut semi circle and a touch of neon. I have two kids, a dog and a husband and a full sized replica ET in my life. I studied back in the early nineties, I was represented CCA galleries between 1997-2001 and worked as a freelance card designer for two Oxford companies for over 20 years. I designed in the day and painted by night!   Education   Liverpool John Moores University University of Wolverhampton Fine Art BA   Select Exhibitions/Awards   Discerning Eye 2018 Post war, modern and contemporary paintings - John Davies Gallery November 2021 Gallery Representation   John Davies Gallery, Moreton in Marsh Wills Art Warehouse, London Irving Contemporary, Oxford   Statement about AOAP Submitted Artwork   I have a vaste stack of painted papers and old books that I use to make my collage pieces. I particularly love using touches of neon pink and other intensely coloured pieces against the contrast of yellowing book pages. Circles and semi circles feature heavily, I'm drawn to their shapes and the textures .Colour and form collide to create little structures, the painted papers add depth. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Archie Franks Waitrose Flat Peaches, 2022 Pen on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Born in 1986 Archie Franks lives and works in London. He graduated from the Royal Academy Schools in 2012 and has been awarded the Sainsbury Scholarship in Painting 2013 which enabled him to work fully funded in Rome at the British School at Rome for a year, and a Jerwood Painting Fellowship 2016 which consisted of financial support, a mentor scheme and a U.K wide touring show starting at Jerwood Space in London. He has exhibited in numerous group and solo shows both in the U.K and in Europe, including 'Bloomberg New Contemporaries' for promising new graduates in 2013 as well as having contributed articles to publications 'Garageland' and 'Arty'. His work has been positively reviewed in 'Time Out', 'Critic's choice in the Financial Times', 'Art Monthly' 'This is Tomorrow' and 'Fad magazine' amongst others.   Education   Royal Academy Schools 2009-12 City and Guilds of London Art School 2006-9   Select Exhibitions/Awards   'Wells art contemporary' Wells 2022 'We are such stuff as dreams are made on' The cello factory (with Aleph contemporary), London 2021 'The stifled cry' Aleph contemporary (online) 2021 'MK Calling' MK gallery Milton Keynes 2020 'Wells art contemporary' Wells 2019 'Creekside open 2019-selected by Sacha Craddock' APT Gallery London 2019 'Creekside open 2019-selected by Brian Griffiths' APT Gallery London 2019 'Night Plinths' Narrative Projects London 2018 'Disintegration' (solo) Salon London 2017 'Dumb' Mercer Chance London 2017 'Jerwood Painting Fellowship show' Jerwood Space, London (touring to Arts University Bournemouth, Cardiff Bay Arts 2016 and Norwich University 2017) 2016 'Europa' Transition gallery, London 2016 'Carnival Glass' Block 336, London 2015 'Bloomberg New Contemporaries' Spike Island Bristol and ICA London 2013 Gallery Representation   Aleph Contemporary   Statement about AOAP Submitted Artwork   I use imagery from popular culture, leisure and consumer culture and my own everyday and history and mix it in with grand eras of art history. Two paintings in particular have been staple points of reference for some time; Caravaggio's 'Still life with basket of fruit' and Fragonard's 'Le petite parc'. I love the way the basket in Caravaggio's painting appears to fall out of the painting and invade your space, modern day advertising seems to do something similar. An advert for Costa or Mcdonalds uses the same tactics Caravaggio did in 1599. I love the atmosphere in Fragonard's 'Le petite parc painting, and I've tried to incorporate that particular feeling into some of my landscapes and fairground paintings. A gothic atmosphere permeates the work and although the emphasis from painting to painting alters slightly, memory, decadence, and a dream like unreality are core recurring themes. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Archie Franks Ghost Train, 2022 Pen on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Born in 1986 Archie Franks lives and works in London. He graduated from the Royal Academy Schools in 2012 and has been awarded the Sainsbury Scholarship in Painting 2013 which enabled him to work fully funded in Rome at the British School at Rome for a year, and a Jerwood Painting Fellowship 2016 which consisted of financial support, a mentor scheme and a U.K wide touring show starting at Jerwood Space in London. He has exhibited in numerous group and solo shows both in the U.K and in Europe, including 'Bloomberg New Contemporaries' for promising new graduates in 2013 as well as having contributed articles to publications 'Garageland' and 'Arty'. His work has been positively reviewed in 'Time Out', 'Critic's choice in the Financial Times', 'Art Monthly' 'This is Tomorrow' and 'Fad magazine' amongst others.   Education   Royal Academy Schools 2009-12 City and Guilds of London Art School 2006-9   Select Exhibitions/Awards   'Wells art contemporary' Wells 2022 'We are such stuff as dreams are made on' The cello factory (with Aleph contemporary), London 2021 'The stifled cry' Aleph contemporary (online) 2021 'MK Calling' MK gallery Milton Keynes 2020 'Wells art contemporary' Wells 2019 'Creekside open 2019-selected by Sacha Craddock' APT Gallery London 2019 'Creekside open 2019-selected by Brian Griffiths' APT Gallery London 2019 'Night Plinths' Narrative Projects London 2018 'Disintegration' (solo) Salon London 2017 'Dumb' Mercer Chance London 2017 'Jerwood Painting Fellowship show' Jerwood Space, London (touring to Arts University Bournemouth, Cardiff Bay Arts 2016 and Norwich University 2017) 2016 'Europa' Transition gallery, London 2016 'Carnival Glass' Block 336, London 2015 'Bloomberg New Contemporaries' Spike Island Bristol and ICA London 2013 Gallery Representation   Aleph Contemporary   Statement about AOAP Submitted Artwork   I use imagery from popular culture, leisure and consumer culture and my own everyday and history and mix it in with grand eras of art history. Two paintings in particular have been staple points of reference for some time; Caravaggio's 'Still life with basket of fruit' and Fragonard's 'Le petite parc'. I love the way the basket in Caravaggio's painting appears to fall out of the painting and invade your space, modern day advertising seems to do something similar. An advert for Costa or Mcdonalds uses the same tactics Caravaggio did in 1599. I love the atmosphere in Fragonard's 'Le petite parc painting, and I've tried to incorporate that particular feeling into some of my landscapes and fairground paintings. A gothic atmosphere permeates the work and although the emphasis from painting to painting alters slightly, memory, decadence, and a dream like unreality are core recurring themes. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Archie Franks Village Cricket Featuring Cows, 2022 Oil Pastel and Watercolour on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Born in 1986 Archie Franks lives and works in London. He graduated from the Royal Academy Schools in 2012 and has been awarded the Sainsbury Scholarship in Painting 2013 which enabled him to work fully funded in Rome at the British School at Rome for a year, and a Jerwood Painting Fellowship 2016 which consisted of financial support, a mentor scheme and a U.K wide touring show starting at Jerwood Space in London. He has exhibited in numerous group and solo shows both in the U.K and in Europe, including 'Bloomberg New Contemporaries' for promising new graduates in 2013 as well as having contributed articles to publications 'Garageland' and 'Arty'. His work has been positively reviewed in 'Time Out', 'Critic's choice in the Financial Times', 'Art Monthly' 'This is Tomorrow' and 'Fad magazine' amongst others.   Education   Royal Academy Schools 2009-12 City and Guilds of London Art School 2006-9   Select Exhibitions/Awards   'Wells art contemporary' Wells 2022 'We are such stuff as dreams are made on' The cello factory (with Aleph contemporary), London 2021 'The stifled cry' Aleph contemporary (online) 2021 'MK Calling' MK gallery Milton Keynes 2020 'Wells art contemporary' Wells 2019 'Creekside open 2019-selected by Sacha Craddock' APT Gallery London 2019 'Creekside open 2019-selected by Brian Griffiths' APT Gallery London 2019 'Night Plinths' Narrative Projects London 2018 'Disintegration' (solo) Salon London 2017 'Dumb' Mercer Chance London 2017 'Jerwood Painting Fellowship show' Jerwood Space, London (touring to Arts University Bournemouth, Cardiff Bay Arts 2016 and Norwich University 2017) 2016 'Europa' Transition gallery, London 2016 'Carnival Glass' Block 336, London 2015 'Bloomberg New Contemporaries' Spike Island Bristol and ICA London 2013 Gallery Representation   Aleph Contemporary   Statement about AOAP Submitted Artwork   I use imagery from popular culture, leisure and consumer culture and my own everyday and history and mix it in with grand eras of art history. Two paintings in particular have been staple points of reference for some time; Caravaggio's 'Still life with basket of fruit' and Fragonard's 'Le petite parc'. I love the way the basket in Caravaggio's painting appears to fall out of the painting and invade your space, modern day advertising seems to do something similar. An advert for Costa or Mcdonalds uses the same tactics Caravaggio did in 1599. I love the atmosphere in Fragonard's 'Le petite parc painting, and I've tried to incorporate that particular feeling into some of my landscapes and fairground paintings. A gothic atmosphere permeates the work and although the emphasis from painting to painting alters slightly, memory, decadence, and a dream like unreality are core recurring themes. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Archie Franks M&S Pie, 2022 Oil Pastel and Watercolour on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Born in 1986 Archie Franks lives and works in London. He graduated from the Royal Academy Schools in 2012 and has been awarded the Sainsbury Scholarship in Painting 2013 which enabled him to work fully funded in Rome at the British School at Rome for a year, and a Jerwood Painting Fellowship 2016 which consisted of financial support, a mentor scheme and a U.K wide touring show starting at Jerwood Space in London. He has exhibited in numerous group and solo shows both in the U.K and in Europe, including 'Bloomberg New Contemporaries' for promising new graduates in 2013 as well as having contributed articles to publications 'Garageland' and 'Arty'. His work has been positively reviewed in 'Time Out', 'Critic's choice in the Financial Times', 'Art Monthly' 'This is Tomorrow' and 'Fad magazine' amongst others.   Education   Royal Academy Schools 2009-12 City and Guilds of London Art School 2006-9   Select Exhibitions/Awards   'Wells art contemporary' Wells 2022 'We are such stuff as dreams are made on' The cello factory (with Aleph contemporary), London 2021 'The stifled cry' Aleph contemporary (online) 2021 'MK Calling' MK gallery Milton Keynes 2020 'Wells art contemporary' Wells 2019 'Creekside open 2019-selected by Sacha Craddock' APT Gallery London 2019 'Creekside open 2019-selected by Brian Griffiths' APT Gallery London 2019 'Night Plinths' Narrative Projects London 2018 'Disintegration' (solo) Salon London 2017 'Dumb' Mercer Chance London 2017 'Jerwood Painting Fellowship show' Jerwood Space, London (touring to Arts University Bournemouth, Cardiff Bay Arts 2016 and Norwich University 2017) 2016 'Europa' Transition gallery, London 2016 'Carnival Glass' Block 336, London 2015 'Bloomberg New Contemporaries' Spike Island Bristol and ICA London 2013 Gallery Representation   Aleph Contemporary   Statement about AOAP Submitted Artwork   I use imagery from popular culture, leisure and consumer culture and my own everyday and history and mix it in with grand eras of art history. Two paintings in particular have been staple points of reference for some time; Caravaggio's 'Still life with basket of fruit' and Fragonard's 'Le petite parc'. I love the way the basket in Caravaggio's painting appears to fall out of the painting and invade your space, modern day advertising seems to do something similar. An advert for Costa or Mcdonalds uses the same tactics Caravaggio did in 1599. I love the atmosphere in Fragonard's 'Le petite parc painting, and I've tried to incorporate that particular feeling into some of my landscapes and fairground paintings. A gothic atmosphere permeates the work and although the emphasis from painting to painting alters slightly, memory, decadence, and a dream like unreality are core recurring themes. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Ceal Warnants Teenage Kicks (Khaki), 2022 Unique Digital Print on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   b. 1984, Guildford, Surrey. Lives and works in London. The work draws parallels between the youth of 'then' and 'now'. The angst is the same but the pressures are different. Basing work on illustrations from the past helps to lend it an authenticity but also highlights the differences between two timeframes. Innocence is the truth of childhood whatever the era and it is fascinating.   Education   2002 - 2006 BA (Hons) Winchester School of Art (Printmaking) 2006 - 2008 MA RCA (Printmaking)   Select Exhibitions/Awards   2022 'JEALOUS NEEDS YOU' - JEALOUS GALLERY 'CHOOSE LOVE X THE PRINT CLUB' - ROYAL ALBERT HALL 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY OF ARTS 'ART ON A POSTCARD - INTERNATIONAL WOMEN'S DAY' 2021 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY OF ARTS 'CHOOSE LOVE' SOHO REVUE GALLERY, LONDON WITH THE PRINT CLUB 'ART CAR BOOT FAIR' WITH JEALOUS GALLERY 'ART ON A POSTCARD - INTERNATIONAL WOMEN'S DAY' 2020 "HOUSE OF VANS COMMUNITY MARKET" - HOUSE OF VANS, LONDON 'ROYAL ACADEMY SUMMER (WINTER) EXHIBITION 2020' - ROYAL ACADEMY OF ARTS, LONDON. 'WOMENKIND NORTH" - WITH LAE CONSULTANCY, PRESTON. 'ART ON A POSTCARD - INTERNATIONAL WOMEN'S DAY' - ALL BRIGHT, MAYFAIR, LONDON. 2019 'NOTICE THE SMALL THINGS" - JEALOUS GALLERY, LONDON. 'BLISTERS - WAY BACK WHEN' - PRINT CLUB, LONDON. 2018 'THE CUT' - HICKS GALLERY, LONDON 'POP ART FEMMES' - GINA CROSS GALLERY X ARTSY X GUCCI, LONDON 'CHOOSE LOVE' - THE PRINT CLUB @ SOMERSET HOUSE, LONDON 'WEIL ICH EIN MÄDCHEN BIN' - ODAPARK, CENTRUM VOOR HEDENDAAGSE KUNST, NETHERLANDS. 'ROYAL ACADEMY SUMMER EXHIBITION 2018' - ROYAL ACADEMY OF ARTS, LONDON. COLLABORATION WITH "COCO FENNELL" FOR SS18 COLLECTION #COCOXCEAL 2017 COLLABORATION WITH "THE BIG ISSUE" #WEARABIGISSUE 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY OF ARTS, LONDON. 'GIRLS, GIRLS, GIRLS' - JEALOUS NORTH, LONDON. 2016 'KIDDING' (W/KRISTIAN JONES), JEALOUS GALLERY, LONDON. '20 BEST OF ART ON A POSTCARD' - JEALOUS GALLERY, LONDON. 2015 'FRACTURED FAIRYTALES' (3 PERSON SHOW WITH JESSICA HARRISON & JOE WEBB) - JEALOUS GALLERY, LONDON. 2014 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY OF ARTS, LONDON. 'TIME OF THE MONTH' - JEALOUS GALLERY, LONDON. 2013 'ENGLISH EDITION' - CULTURE GALLERY, CAPE TOWN, SOUTH AFRICA. 'CONTES DE NOËL' - LESS IS MORE PROJECTS, PARIS, FRANCE. 2012 'ASSEMBLY' - HARTINGTON ROAD, LONDON. 'JEALOUS @ HEAL'S, HEAL'S', TOTTENHAM COURT ROAD. 2011 'EXAM.' - TRANSITION GALLERY, LONDON. 2010 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY, LONDON. 'LA COLLECTION DE MONSIEUR X, OU LES AVANTAGES D'ÊTRE UN COLLECTIONNEUR' - ATELIER RICHELIEU, 60, RUE DE RICHELIEU, PARIS. 2009 'MANDERLEY' - JOHN JONES PROJECT SPACE, FINSBURY. 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY, LONDON. 'TATE'S LONG WEEKEND', BOXBOT STAGE - TATE MODERN, SOUTHWARK. 'NEW PRINTS FROM THE ROYAL COLLEGE OF ART SELECTED BY CHRIS ORR RA' - ROYAL ACADEMY OF ARTS, IN THE SIR HUGH CASSON ROOM FOR FRIENDS OF THE ROYAL ACADEMY, LONDON. 2008 '10' - AN EXHIBITION TO CELEBRATE THE 10 YEARS OF CHRIS ORR'S PROFESSORSHIP IN CONJUNCTION WITH THE WORK OF NOTABLE ARTISTS INCLUDING TRACEY EMIN AND MICHAEL CRAIG-MARTIN - ROYAL COLLEGE OF ART GALLERIES, KENSINGTON, LONDON. 'MAKE BELIEVE' - SHOW WITH BOO RITSON, RUTH CLAXTON ET AL. PART OF 'CONCRETE AND GLASS' MUSIC AND ART FESTIVAL NICHOLLS & CLARKE BUILDING, 3-10 SHOREDITCH HIGH STREET. 'BEAUTIFULLY CRAFTED' - NATIONAL GLASS CENTRE, SUNDERLAND. 'SHOW RCA 2008' - HENRY MOORE GALLERY, ROYAL COLLEGE OF ART, KENSINGTON, LONDON. 2007 'IF YOU COULD DO ANYTHING TOMORROW - WHAT WOULD IT BE?' - EXPOSURE GALLERY, LITTLE PORTLAND STREET, LONDON. 'OVER AND OVER AGAIN' - CURATED BY SASHA CRADDOCK - SADLER'S WELLS, ROSEBERY AVENUE, LONDON. COLLECTIONS CHAPMAN BROTHER'S FAMILY ARCHIVE ROYAL COLLEGE OF ART ARCHIVE WSA LIBRARY ARTIST'S BOOK COLLECTION PRIVATE COLLECTIONS WORLDWIDE COLLABORATIONS 2018 COCO FENNELL 2017 THE BIG ISSUE #WEARABIGISSUE SCHOLARSHIPS AND AWARDS 2008 TIM MARA PRIZE - WINNER 2008 PRINTMAKING COUNCIL AWARD - WINNER 2008 SOUTH SQUARE TRUST SCHOLARSHIP - WINNER   Gallery Representation   Jealous Gallery, Gas Gallery, Chappell Contemporary   Statement about AOAP Submitted Artwork   "Teenage Kicks (Khaki)" is a clash of old and new and the dual meaning of "Kicks". "Are teenage dreams so hard to beat? Everytime she walks down the street Another girl in the neighbourhood Wish she was mine, she looks so good" The Undertones - "Teenage Kicks" Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Rose Electra Harris From The Morning I, 2022 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Rose Electra Harris (b.1991) is a London-based printmaker and painter. Having completed a degree in printmaking at the University of Brighton in 2015, she now works from her studio in south London. Rose uses her work to explore interior space, using the obscure and everyday objects to which she's drawn to create her still lifes. Fascinated by colour, line, shape, texture and pattern, Rose places these objects - some from memory, some imagined, some collected over time - in her roomscapes, playing around with them until she finds the perfect composition, always in search of balance and harmony.Rose reimagines the colourful dialogue that exists between space and furnishings, as interested in the negative space between objects as she is in the objects themselves. She isn't concerned with portraying objects exactly as they are, but more how they make her feel, making use of a singularly distorted, ever so slightly off-kilter, perspective to do so. To her, a room is an oasis and the things within it are what bring it to life.   Education   Turps Banana Correspondence Course, 2021-2022 Brighton Faculty of the Arts, Fine Art : Printmaking BA Hons 2012-2015 City and Guilds London Art School, Foundation Course, 2012   Select Exhibitions/Awards   Solo Exhibitions 2021 I Dream in Colour, Greatorex Studios, London 2019 Moving Rooms, Partnership Editions, Islington Square, London 2018 Sicillian Setaccio, William Yeoward, London The Modern Society, London The Difference Between Things, Blue Shop Cottage, London Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Rose Electra Harris From The Morning II, 2022 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Rose Electra Harris (b.1991) is a London-based printmaker and painter. Having completed a degree in printmaking at the University of Brighton in 2015, she now works from her studio in south London. Rose uses her work to explore interior space, using the obscure and everyday objects to which she's drawn to create her still lifes. Fascinated by colour, line, shape, texture and pattern, Rose places these objects - some from memory, some imagined, some collected over time - in her roomscapes, playing around with them until she finds the perfect composition, always in search of balance and harmony.Rose reimagines the colourful dialogue that exists between space and furnishings, as interested in the negative space between objects as she is in the objects themselves. She isn't concerned with portraying objects exactly as they are, but more how they make her feel, making use of a singularly distorted, ever so slightly off-kilter, perspective to do so. To her, a room is an oasis and the things within it are what bring it to life.   Education   Turps Banana Correspondence Course, 2021-2022 Brighton Faculty of the Arts, Fine Art : Printmaking BA Hons 2012-2015 City and Guilds London Art School, Foundation Course, 2012   Select Exhibitions/Awards   Solo Exhibitions 2021 I Dream in Colour, Greatorex Studios, London 2019 Moving Rooms, Partnership Editions, Islington Square, London 2018 Sicillian Setaccio, William Yeoward, London The Modern Society, London The Difference Between Things, Blue Shop Cottage, London Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Max Renneisen Nave Nave Mahana I, 2022 Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Max Renneisen (born 1977) is a German painter based in Berlin. It is vital to his paintings and drawings to build on the legacy of the Old Masters and to explore the painterly possibilities of the imitation of nature in the light of modern imagery.⁠   Education   Humboldt-University of Berlin   Statement about AOAP Submitted Artwork   Paradise Lost is a continuing group of paintings and drawings, which renews the classical subject of the nude in nature. While the figures derive from modern photographic material found primarily in magazines, the surrounding landscapes are mere constructions inspired by Old Masters paintings. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Max Renneisen Nave Nave Mahana II, 2022 Oil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Max Renneisen (born 1977) is a German painter based in Berlin. It is vital to his paintings and drawings to build on the legacy of the Old Masters and to explore the painterly possibilities of the imitation of nature in the light of modern imagery.⁠   Education   Humboldt-University of Berlin   Statement about AOAP Submitted Artwork   Paradise Lost is a continuing group of paintings and drawings, which renews the classical subject of the nude in nature. While the figures derive from modern photographic material found primarily in magazines, the surrounding landscapes are mere constructions inspired by Old Masters paintings. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Max Renneisen Nave Nave Mahana III, 2022 Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Max Renneisen (born 1977) is a German painter based in Berlin. It is vital to his paintings and drawings to build on the legacy of the Old Masters and to explore the painterly possibilities of the imitation of nature in the light of modern imagery.⁠   Education   Humboldt-University of Berlin   Statement about AOAP Submitted Artwork   Paradise Lost is a continuing group of paintings and drawings, which renews the classical subject of the nude in nature. While the figures derive from modern photographic material found primarily in magazines, the surrounding landscapes are mere constructions inspired by Old Masters paintings. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Daniel MacCarthy Little Boy Lost, 2022 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About The intersection of the man-made with the natural world form the basis of my work. Negative capability; the capacity to accept mystery and doubt rather than the demand for certainty, provides a useful insight into my approach to painting. In allegorical motifs or more oblique atmospheres, the work seeks to capture a place where uncomfortable realities seep in; a search for belonging, a presentiment of loss, anxiety and entropy. Hope too is evident; nature, redemptive if indifferent, is cherished for all its tangled complexity.   Education   TURPS Studio Programme - 2019 - 2020 Royal Drawing School - Post-Grad Diploma - 2009 - 2011 Sussex University - BA - Modern History - 2005 - 2008   Select Exhibitions/Awards   Solo 04/2022 The Peace of Wild Things, The Sidney Nolan Trust, Wales 09/21 Things are in the Saddle - Galera San Soda, Milan, Italy Group 09/2022 - ALL THE LIVES WE EVER LIVED, Canopy COLLECTIONS at Cromwell Place 08/2022 - BEEP painting Biennial, Elysium Gallery, Swansea 05/2022 - Paintings made recently in Wales, curated by LLE, Bay Art Cardiff 03/2022 - The Front Room show, D Contemporary, Mayfair 03/2022 - Royal Watercolour Soc. open, Bankside Gallery, London 02/2022 - Dream baby Dream, Curated by painttalk, Fitzrovia Gallery 11/2021 - A Generous Space, Curated by Matt Buroughs, Hastings Contemporary   Gallery Representation   Canopy Collections Otomys Gallery (Australia)   Statement about AOAP Submitted Artwork   These works are all watercolour or ink on paper. Studies like this are how I often get ideas for larger paintings. The characters can be seen as a cast of imagined figures who in occupying my inner landscapes act as a kind of conduit for my thoughts and emotions. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Daniel MacCarthy The Night Gardener, 2022 Watercolour on Gloss Paper Signed verso 14 x 10cm (5½ x 3¾ in.) About The intersection of the man-made with the natural world form the basis of my work. Negative capability; the capacity to accept mystery and doubt rather than the demand for certainty, provides a useful insight into my approach to painting. In allegorical motifs or more oblique atmospheres, the work seeks to capture a place where uncomfortable realities seep in; a search for belonging, a presentiment of loss, anxiety and entropy. Hope too is evident; nature, redemptive if indifferent, is cherished for all its tangled complexity.   Education   TURPS Studio Programme - 2019 - 2020 Royal Drawing School - Post-Grad Diploma - 2009 - 2011 Sussex University - BA - Modern History - 2005 - 2008   Select Exhibitions/Awards   Solo 04/2022 The Peace of Wild Things, The Sidney Nolan Trust, Wales 09/21 Things are in the Saddle - Galera San Soda, Milan, Italy Group 09/2022 - ALL THE LIVES WE EVER LIVED, Canopy COLLECTIONS at Cromwell Place 08/2022 - BEEP painting Biennial, Elysium Gallery, Swansea 05/2022 - Paintings made recently in Wales, curated by LLE, Bay Art Cardiff 03/2022 - The Front Room show, D Contemporary, Mayfair 03/2022 - Royal Watercolour Soc. open, Bankside Gallery, London 02/2022 - Dream baby Dream, Curated by painttalk, Fitzrovia Gallery 11/2021 - A Generous Space, Curated by Matt Buroughs, Hastings Contemporary   Gallery Representation   Canopy Collections Otomys Gallery (Australia)   Statement about AOAP Submitted Artwork   These works are all watercolour or ink on paper. Studies like this are how I often get ideas for larger paintings. The characters can be seen as a cast of imagined figures who in occupying my inner landscapes act as a kind of conduit for my thoughts and emotions. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Daniel MacCarthy Lakeside, 2022 Watercolour and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About The intersection of the man-made with the natural world form the basis of my work. Negative capability; the capacity to accept mystery and doubt rather than the demand for certainty, provides a useful insight into my approach to painting. In allegorical motifs or more oblique atmospheres, the work seeks to capture a place where uncomfortable realities seep in; a search for belonging, a presentiment of loss, anxiety and entropy. Hope too is evident; nature, redemptive if indifferent, is cherished for all its tangled complexity.   Education   TURPS Studio Programme - 2019 - 2020 Royal Drawing School - Post-Grad Diploma - 2009 - 2011 Sussex University - BA - Modern History - 2005 - 2008   Select Exhibitions/Awards   Solo 04/2022 The Peace of Wild Things, The Sidney Nolan Trust, Wales 09/21 Things are in the Saddle - Galera San Soda, Milan, Italy Group 09/2022 - ALL THE LIVES WE EVER LIVED, Canopy COLLECTIONS at Cromwell Place 08/2022 - BEEP painting Biennial, Elysium Gallery, Swansea 05/2022 - Paintings made recently in Wales, curated by LLE, Bay Art Cardiff 03/2022 - The Front Room show, D Contemporary, Mayfair 03/2022 - Royal Watercolour Soc. open, Bankside Gallery, London 02/2022 - Dream baby Dream, Curated by painttalk, Fitzrovia Gallery 11/2021 - A Generous Space, Curated by Matt Buroughs, Hastings Contemporary   Gallery Representation   Canopy Collections Otomys Gallery (Australia)   Statement about AOAP Submitted Artwork   These works are all watercolour or ink on paper. Studies like this are how I often get ideas for larger paintings. The characters can be seen as a cast of imagined figures who in occupying my inner landscapes act as a kind of conduit for my thoughts and emotions. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising