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Lot 56
Bridget Riley (British, born 1931)Sequence Study, Pale Colours signed and dated 'Bridget Riley '73' (lower right) and titled 'Sequence Study, pale colours.' (lower left)pencil and gouache30.5 x 145 cm. (12 x 57 in.)Footnotes:ProvenanceWith Swan Gallery, LondonWith Rowan Gallery, London, 26 April 1977, where acquired by the family of the present ownersPrivate Collection, U.K.Bridget Riley is one of the major forces in the development of female post-war British artists, whose earliest solo shows at Gallery One in London in 1962, Richard Feigen Gallery, New York, 1965 and The Museum of Modern Art, New York, 1966 propelled her onto the international stage. With a long and illustrious career spanning over five decades, her work explores optical effect, spatial illusion, and the interaction between movement, colour and light.The first works were executed in 1961, at the forefront of the Op Art revolution, and worked solely in black and white. However, the artist soon adopted the use of a tonal grey palette, viewing it as a midway point, and from 1967 she explored a much wider colour spectrum. Her work evolved through these different phases which explored complex colour and spatial relationships using a multitude of devices and motifs, but studies on paper have always remained an integral part of Bridget Riley's practice. These have functioned as sites of discovery for the artist, fuelling her career-long investigation into colour analyses, line and form. 'For me, drawing is an enquiry, a way of finding out—the first thing that I discover is that I do not know', Riley has said. 'It is as though there is an eye at the end of my pencil, which tries, independently of my personal general-purpose eye, to penetrate a kind of obscuring veil or thickness' (Bridget Riley, 'At the End of My Pencil', London Review of Books, Vol. 31, no.19, 8 October 2009). Sequence Study, Pale Colours is a large-scale example of a work on paper by the artist and comes to sale fresh to the market, having been in the same family collection since 1977. Vertical bands of yellow, baby blue and dusky pink run horizontally across the sheet, intersected by bands of unpainted paper, and offer a striking example of Riley's experiments in graphite and gouache. These linear arrangements enabled her to organise hues in such a way 'that the eye can travel over the surface in a way parallel to the way it moves over nature ... It encounters reflections, echoes and fugitive flickers which when traced evaporate' (Bridget Riley, 'The Pleasures of Sight', in Bridget Riley, exh.cat., Tate Gallery, London 2003, p.214).Bridget Riley has been recognised with numerous awards throughout her career. In 1968, she represented Great Britain at the Venice Biennale, where she gained the distinction as the first living British artist and the first female artist to win the International Prize for Painting. Her work is collected by institutions around the world, including the Museum of Modern Art, New York; National Gallery of Art in Washington, D.C. and the Tate Gallery in London. In particular, many of Riley's works on paper have been exhibited widely in exhibitions across the world, including her seminal retrospective exhibitions in Edinburgh and London from 2019 and 2020 organised by the National Galleries of Scotland, and at the Hayward Gallery's show in 2020.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
Lot 48
Celia Paul (British, born 1959)Steve in the Studio oil on canvas152 x 126.6 cm. (59 3/4 x 49 3/4 in.)Painted in 2007Footnotes:ProvenanceWith Marlborough Gallery, LondonPrivate Collection, DenmarkCelia Paul's scrutinizing figurative practice naturally aligns her output with post-war artists such as Frank Auerbach and Lucian Freud (a former lover of Paul's). Yet Paul also finds kinship with early modern portraitists such as Gwen John – to whom Paul addressed her 2022 memoir Letters to Gwen John. Like each of these artists, Paul's practice is autobiographical. In her stripped back Bloomsbury studio overlooking the British Museum, she paints people and places dear to her, with a continuous rigour that reveals an acutely intimate portrait of the artist's existence.This personal narrative is perhaps most discernible in Paul's portraiture. Her subjects are often family, who undertake the heavy task of sitting for her time and again. Her sisters, mother and son have been frequent sitters – as has her husband Steven, the subject of the present work. Paul considers the closeness of her sitters as crucial to the success of each work, stating 'It is quite telling of portraiture that love shines through. It is one of the reasons I know I can't paint people I don't love. ' (Celia Paul, 'The Guardian', Celia Paul on life after Lucian Freud, 27 October 2019). In returning to these loved subjects over and over, always confining them to the quiet of her studio space and painting them with an unvetted directness – Paul achieves multifaceted images. They are at once meditative contemplations on human relationships and the passage of time, yet also powerful statements on the very act of portrait painting. With each of Paul's series of sitters we witness different dynamics; 'mother and daughter', 'sibling', 'parent and child', and here 'partner'. Both sitter and artist, husband and wife, have given insight into such sittings. Steven states:'I have sat for Celia many times over the past twenty years, and know how exigently she requires one's conscious presence. She detects any glazing over of my eyes, any failure of being there present in the studio. Yet though fully conscious of where I am and what I am doing, my eyes are hardly ever focused upon the studio or Celia herself, who is in my field of vision. I am not looking at what is around me, indeed though my eyes are open I am not looking at all. One is gazed at intensely without returning the regard, but always in some way aware of the gaze. There is a close connection between this scenario and the paintings Celia creates. The qualities of stillness and intensity characterise them along with the strange intimacy of an interaction when nothing is said and no glances are interchanged.' (Steven Kupfer, Celia Paul – Painting Her Life, victoria-miro.com, 2014).And Paul recalls that to achieve the conscious presence he speaks off, that Steven dotingly 'prepares himself the night before he sits. He used to think about philosophy when he sat for me, but this always made him dream. He would see all sorts of strange forms in my painting clothes, which he was staring at as he thought, and he would soon fall asleep. Now he memorises cryptic crossword clues the night before and solves them in his head as he sits... He likes the challenge of it all, and his ritual is part of the pleasure he takes in sitting' (Celia Paul, Self-Portrait, Random House, London, 2019).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
Lot 105
A Part Uniform to a Colonel the Fyfe & Forfar Yeomanry / Scottish Horse, comprising a Second World War No.1 service dress tunic with chain mail epaulettes, scarlet gorget patches, medal ribbon bars and later staybrite buttons - most lacking, a pair of blue overalls with yellow side stripes, a Second World War No.2 dress tunic, a post-war No.2 dress tunic and trousers, also two pairs of collar dogs and two sets of rank pips.
Lot 48
A Victorian Home Services Pattern Helmet Plate to the Militia Artillery, post 1891, in gilt metal, the reverse with two fixing lugs; a 19th Century Brass Badge to the Royal Artillery, with QVC over two coats of arms within a garter flanked by shamrock, rose and thistle semi wreath with gun carriage and latin motto below, now with two fixing lugs, possibly a pouch badge (2)
Lot 64
A Small Quantity of Militaria, including a post-1953 officer's No.1 dress cap to the Royal Corps of Transport, a similar stable belt, another stable belt, a No.2 service dress cap to the Royal Army Service Corps, a Second World War leather waist belt set with a white metal pouch badge to 8th Battalion P.W.O. West Yorkshire Regiment and fourteen various glengarry, cap and collar badges, a small box of various rank pips and buttons, a binoculars case, a black tin trunk stamped MINE A.T. MK.V. 1943, a folding campaign chair, a billy can, books including The Story of the Royal Army Service Corps 1939-1945, a winter service sheepskin hat, a pre-1953 scout shirt, whistle and lanyard etc
Lot 74
A Small Quantity of Militaria, including cap and collar badges, buttons, rank chevrons, Combined Cadet Force embroidered cloth shoulder titles, small pocket compasses, a post-war bakelite Type F Morse Key in original box, a folding pocket knife with Marlin spike, Luftwaffe embroidered breast eagles, British Navy red ensign in sectional linen, 260cm by 147cm, etc.
Lot 81
Jean Albert Errard, French SAS and French Resistance:- An Interesting Collection of Photographs and Ephemera, including citations for Croix de Guerre, Medale Militaire etc., numerous hand written letters, an S.N.P.P. medallion in maroon leather cloth case, two F.N.F.L. cap talleys, a pocket compass, button plate, pewter sandwich box/flask, numerous photographs, SAS publications etc.; "Amicale des Anciens Parachutistes SAS et des Anciens Commandos de la France Libre" - a Longwy Pottery Charger, numbered 021 and inscribed "A Notre Camarade S.A.S. Jean Errard; a Lizio Art Pottery Dish, incised with a parachutist below St. Marcel (the Maquis of St. Marcel were resistance fighters in the war); also an MBE Breast Badge, in case of issue to his wife Josephine Errard, for her post-war work in the British Embassy in Paris, where she worked for the welfare of British nationals and their repatriation, together with the citation.Footnote:- Jean Albert Errard, known as "Shell Head", due to the unusual shape of his head, was abandoned when he was born in 1916, and was taken in by a farming family in the Meuse region of Belgium/France, where he was treated like one of the family. He worked on the farm until he joined the sub-mariners at the age of 19. He was in Brest when the Germans invaded in June 1940 and went to England with the evacuating British Expeditionary Forces. He was one of the first to join the French Libre Forces and was sent to Dakar, Gabon and French Equatorial Africa, and took part in the Syria Campaign 1941. He returned to England in March 1942 and volunteered to serve with Captain Philippe Kieffer's group of Commandos. In August 1942 he was involved in Operation Jubilee (Raid on Dieppe) where heavy casualties were incurred, and he was one of the few to get back to the UK alive. He was awarded the Croix de Guerre with bronze star "To show evidence, on the 19th August 1942, of the highest qualities of courage and was a cog in the team which took part in three successive attempts at Bonneval after his convoy was attacked by German motorboats, and in spite of deadly artillery fire and automatic gun fire, made it to land". In November 1943, with the 4th Battalion Parachutists SAS, he parachuted into France and went on to work with the French Resistance with their sabotage programme. He was later dropped behind enemy lines before the D-Day landings, where he was responsible for "harassing" the enemy. He left the war zone of St. Marcel by escaping from the Germans with the help of the religious order of Malestroit who hid him in their convent. During Jean's time in the war, he sustained injuries from a hand grenade and met his future wife Josephine Lovegrove, whilst recuperating. Jean was a friend of General de Gaulle and the French spy Marie Clair. After the war, Jean's wife Josephine, travelled around Afghanistan after being inspired by the book "Where the Four Worlds Meet - Hindu Kush, 1959" by Fosco Maraini, which is included in this lot.
Lot 85
A First World War/Post-War Soldier Doll Tea Cosy, with bisque flange Kewpie type head, wearing a leather peaked cap and leather greatcoat with quilted gold rayon lining, 36cm; a Pair of Despatch Rider's Leather Gauntlets, lined in sheepskin (3)1 - Leather is a little shabby commenusurate with age, no damage. 2 - one glove with a damage leather cuff strap, press-stud fastenings are rusty, wool lining is perished in places.
Lot 699
Sport - Football Interest - a large collection of Notts County football programmes, home and away games, 1960's and later; an Alex Gibson testimonial Souvenir Brochure, 1969, signed by Alex Gibson and other players, with accompanying literature; Football Post Guides, 1960s and later; a collection of Typhoo Tea promotional large format team cards, etc, qty
Lot 203
A ruby and diamond pendant and earrings The pendant claw-set with an oval-cut ruby in a border of small round brilliant-cut diamonds, to a snake-link chain; together with a pair of matching earrings, post and screw-butterfly fittings, all modelled in 18ct goldDimensions:Length of pendant: 1.7cm
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115349 item(s)/page