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Lot 145
Reproduction coloured print, framed and glazed, map 'Planisferio', 'Cantino 1502'. 43 x 94cm approx. Together with Buddhi, a Sri Lankan batik botanical study. 85 x 62cm approx. Framed and glazed. And Chinese school,portraits of Immortal figures to include; Qin Shibao and Yichi Jingde, watercolours, a pair. Framed and glazed. 96 x 64cm approx. (4)(B.P. 21% + VAT)
Lot 308
Frederick Parr (1887-1970), A fishing harbour scene, Watercolour on paper, Signed lower left, 25.5cm x 36cm, Framed and glazed With a similar watercolour on paper by the same hand, 26cm x 37cm, framed and glazed, a further indistinctly signed watercolour on paper depicting fishing boats, 22.5cm x 32.5cm, framed and glazed, and a print after Walter Langley (4)
Lot 34
MATTEO BASILÉ (Rome, 1974)."Trans- Avanguardía Series", 2004-2005.Mixed media print on aluminium.Work referenced on the artist's website.Signed on the back.Sizes: 150 x 100 cm; 154,5 x 104,5 cm (frame).Matteo Basilé began his career in the early 1990s, establishing himself as one of the first artists in Europe to fuse art and technology. Reconciling opposing ideas such as beauty and the grotesque, the real and the surreal, natural and artificial. Exploring the nature of humanity, the artist developed his own narrative, which crystallised in artistic serias such as transavanguarde (2006), los santos vienen (2007), este orientado (2009), thishumanity (2010), aterrizaje (2012), invisible (2014), pietra santa (2016), viaje al centro de la tierra (2017), stardust (2018), memento (2019), and mnemosyne (2021). Basilé's research can be seen as an interface between East and West (in fact, he lived and worked for almost 8 years in Southeast Asia), a dialectic that works in collision between tradition and modernity, between the professional and sacrifice. Only based on multicultural and timeless (timeless and multicultural) signs or values, because it instead includes visually a more global language where the connubial between dream, fantasy and real, is no longer the predominant real character. His anti-eroes stand out as meticulous, realistic portraits, recalling classical history yet always incorporating the spirit of the present time. Basilé's poetics is an iconographic universe, the result of a combination of technological mannerism and surrealism.Matteo Basilé's (Rome 1974) solo exhibitions include: Matteo Basilé-Utopia, Vittoria Colonna Museum of Modern Art, Pescara, 2006; No Man's Land, Guidi & Schoen, Genoa, 2006; Alchemical Primordiality, Galleria Pack, Milan, 2005; Lord of the Flies, Galerie Beukers, Rotterdam, 2004. He has also participated in numerous group exhibitions, including On the edge of vision - New idioms in contemporary Indian and Italian art, Victoria Memorial Hall, Kolkata / National Gallery of Modern Art, New Delhi / National Gallery of Modern Art, Mumbai; Arterritory. Art, Territory, Memory, Centrale Montemartini, Rome, 2006; Nature and Metamorphosis, Urban Planning Exhibition Centre, Shanghai / Creative Art Centre, Beijing, 2006; Sound & Vision, City Museum / Palazzo della Penna, Perugia; Evil. Exercises in Cruel Painting, Palazzina di Caccia di Stupinigi, Turin, 2005; Italian Six, Barbara Davis Gallery, Houston, 2003. Basilé was the winner of the New York Price, Columbia University, 2002/2003.
Lot 112
PABLO PICASSO (Malaga, 1881 - Mougins, France, 1973)."Nu et sculptures", "Suite Vollard", 1933.Etching.Signed in pencil. 37`8 x 29´7 cm (print); 44´5 x 33´6 cm (paper).In common agreement with historians and specialists, The Vollard Suite is considered the supreme work of 20th century engraving. The Vollard Suite is the fruit of intensely creative moments in which Picasso, in the manner of a graphic diary, developed his obsessions on themes of love, desire and existential fears. The definitive edition of the series began to be printed in 1939, before Vollard's death in July of the same year. Once the print run was completed, the prints went, along with other unpublished series, to the French art dealer's warehouses. The Vollard Suite prints were shown for the first time in 1979 at the exhibition held at the Musée d'Art Moderne de la Villa in Paris, from where they became part of the holdings of the Musée Picasso in Paris. Throughout the Vollard Suite the main protagonist is Marie-Thérèse Walter, Picasso's great love of the 1930s. From 1932 onwards his interest in her as a model increased, she appears so frequently in his paintings, drawings, prints and sculptures, in her various moods and forms, that she can be considered the great heroine of Picasso's fictional world. Caught between the anger of his wife Olga and his passion for Marie-Thérèse, Picasso came to consider it the worst moment of his life. In many prints from the 1930s, all the female characters are portraits of the young woman.Marie-Thérèse was for Picasso the antithesis of death, the fullness of life, the ardour of youthful love, the woman-child and the embodiment of his pictorial ideal already proclaimed in the neoclassical female figures of the 1920s.The Vollard Suite is a clear testimony to Picasso's skill as a draughtsman. The one hundred prints cover a wide variety of subjects in Picasso's universe. The series is a considerable part of Picasso's graphic production from 1930 to 1937, and many of the works not included in it have similar themes. Each of the prints becomes comprehensible when analysed in the context of the series as a whole: it is the themes and motifs that preoccupied Picasso that impart unity and coherence to the prints. The major themes are: the passion of love personified in the model, her relationship with artists past and present, and the extent to which creative activity can be considered divine. The two preferred incarnations of the artist are as a classical sculptor and as a Minotaur, opposing personalities that form a typological dichotomy comparable to Nietzsche's Apollonian-Dionysian antithesis. In the prints, an Apollonian linear style is sometimes fused with dark, baroque strokes of Dionysian impetus.
Lot 80
ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005)."Tête au Fond Blanc", 1972.Mixed media on marbled paper on canvas.Signed in the lower right corner.Enclosed certificates of authenticity issued by the artist and by Nathalie Clavé.Measurements: 54 x 76 cm; 80,5 x 103,5 cm (frame).Work catalogued in the Antoni Clavé Archives with the number 72 TMCMT 7.In this work Antoni Clavé proposes an autonomous scenography in itself, which transcends painting, confusing the eye, to construct a dialogue between reality and what is painted by means of the union of colour, stain and stroke with a real object, clearly recognisable as such, which, however, is only present in the form of a trace: a crochet handkerchief. The play of illusions is reinforced by the treatment of this handkerchief print; Clavé respects its outlines, the smallest detail of its design, works it in white and highlights it over black stains that emphasise its three-dimensionality much more effectively than if it had been painted directly on the neutral tone, of a disturbing flesh colour, which occupies the background of the work.Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop a work marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He was already enjoying great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In 1952 he made the sets for the film "Hans Christian Andersen", by Charles Vidor, and was nominated for an Oscar. In 1954 he gave up decorating to devote himself to painting. In the 1960s he painted a tribute to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. Of particular relevance is the theme of the knight with his hand on his chest, a reference that would be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage, and inventing new ones such as "papier froissé", the result of a chance use of aerosol on crumpled paper. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to him that made him one of the most prestigious artists of his generation. In the 1980s he dedicated a series of works to Picasso under the title "To Don Pablo". His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennial in 1954 and at the Tokyo International Biennial in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.
Lot 1895
An Egypt medal, the reverse dated '1882', with bar 'Tel-el-Kebir' to '1568. Corpl W. Rainey 4th Dn Gds', and a Khedive's Egypt Star 1882, together with an oval print of a cavalryman and two textile oval military crests, within a glazed oval frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
![* Chris Plowman [1952-2009]-Chart,:- colour print,signed, inscribed and numbered 18/35, sheet size 74 x 57cm, unframed.](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/7c759c42-8c20-40cc-8bcf-ae2800ca7cfc/468x382.jpg)
![* Paul Stephenson [b.1976], after Warhol-Little Electric Chair - Cadmium Yellow,:-silkcreen print on linenstamped 'UNDENIED'](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/75b46660-0402-40e5-b0ea-ae2800ca7d8f/468x382.jpg)
Lot 133
* Paul Stephenson [b.1976], after Warhol-Little Electric Chair - Cadmium Yellow,:-silkcreen print on linenstamped 'UNDENIED' to reverse56 x 71cm, unframed.*Notes Inspired by Warhol's [1964] Electric Chair the present lot references a press photograph of the death chamber at Sing Sing Prison in New York. Here Julius and Ethel Rosenberg were executed for passing details about the atomic bomb to Russia during World War Two. The original work was created at Warhol's studio in New York and forms part of his Death and Disaster series. Warhol is said to have quipped: "You'd be surprised how many people want to hang an electric chair on their living-room wall. Specially if the background colour matches the drapes"
![* Mark Emerak [1901-1983]-Eskimo Western Arctic, 1970 , Camping At Night,:-print numbered in pencil 15/50 with Holman blindst](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/f3676217-0533-49a0-9f3f-ae2800ca721d/468x382.jpg)
![* Fay Godwin [1931-2005]-Sheep grazing an upland path,:-gelatin print, signed in the mount21 x 27.5cm.](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/7f405d92-2478-42fe-9d80-ae2800ca71b0/468x382.jpg)
![* John Phillips [20/21st Century]-Demons Are A Boys Best Friend,:-artist proof lithograph, signed, inscribed and dated '89Pad](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/55738009-39ea-4568-97b1-ae2800ca5650/468x382.jpg)
![* Karel Lek [b.1929]-Seated figure with glass,:-signed bottom right, pen and ink, 25 x 21cm,together with one other drawing t](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/d4d4ba78-79d5-429b-a360-ae2800ca6a34/468x382.jpg)
Lot 94
* Karel Lek [b.1929]-Seated figure with glass,:-signed bottom right, pen and ink, 25 x 21cm,together with one other drawing titled Jewish Artist at Work, 11.5 x 11.5cm, a woodcut print titled Lovers, signed and numbered 2/16, a monotype print titled Clown, and a small painting of a coastal scene by Hendrick Lek. [5]
![After Andy Warhol [1928-1987]-Portrait of Maurice,:-Scottish National Gallery poster, 199861 x 80cm, together with a folio of](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/cd138355-94b8-4d16-86f7-ae2800cad187/468x382.jpg)
![* Rebecca Lardner [b.1971]-Town beach,:-print on canvas, numbered 106/19537 x 28cm, in a floating frame,together with two Reb](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/4203aced-ee1a-4155-944b-ae2800ca736d/468x382.jpg)
Lot 114
* Rebecca Lardner [b.1971]-Town beach,:-print on canvas, numbered 106/19537 x 28cm, in a floating frame,together with two Rebecca Lardner pen and ink, signed and inscribed greeting cards, framed as one. [2]* Notes Please refer to websites for further images of this lot - www.the-saleroom.com & www.easyliveAuction.com
![* Hendersen Cisz [b.1960]-View of Venice,:-print, signed and inscribednumbered 35/195, 37 x 84cm.](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/45ff8638-4189-4fb7-914c-ae2800ca75bb/468x382.jpg)
Lot 503
Utagawa Toyokuni II (1786-1864): An Ukiyo-e Woodblock Printed Triptych, in inks and colours on mulberry bark paper, depicting bijin feeding pigeons, signed in the block, framed and glazed: A Woodblock Print after Toyokuni III, being the right-hand sheet of a triptych; Another after Kuniyoshi; and two further prints, all framed and glazed Condition Report: Slight wear and scuffs. Not removed from frames so no information about the presence or absence of margins is available and sold as seenCondition Report Disclaimer
Lot 448
A Worcester sepia-printed teabowl, circa 1758-60, printed with a version of the 'Tea Party' and 'The Wheeling Chair' verso, 7.5cm diameterProvenance: Little Wolford Manor, WarwickshireCf. lot 95, Phillips, The Norman Stretton Collection, for a cup and saucer with this print configuration. The source for both prints would appear to be drawing books published in November 1756 for John Bowles & Son at the Black Horse in Cornhill. Condition Report: No damage detected.Condition Report Disclaimer
Lot 269
*CHRISTINE KEELER,Ray Bellisario (1936-2018): 'Freedom - Mini car', silver gelatin print, hand-printed from the original negative depicting Christine Keeler sitting in her Mini car on the day she was released from Holloway prison in June 1964, having served four and half months of a nine month sentence for perjury, with 'The Estate of Christine Keeler' archive stamp,image size 40 x 49cmProvenance: Copyright purchased by the vendor in 2013, and following this an edition of 10 prints of this image were produced, all signed by Christine Keeler.*Artist's Resale Right may apply to this lot.
Lot 267
*CHRISTINE KEELER,Ray Bellisario (1936-2018): 'Freedom - First Day Out Of Prison, Lying In A Field' (Full Length) Signed By Christine Keeler, 1964 photograph printed later, no.10/10, the silver gelatin print, hand-printed from the original negative, depicting Christine Keeler in a field on the day she was released from Holloway prison in June 1964, having served four and half months of a nine month sentence for perjury, signed by both the photographer and Keeler in black ink to the lower border,40 x 50cmProvenance: Copyright purchased by the vendor in 2013, and following this an edition of 10 prints of this image were produced, all signed by Christine Keeler.*Artist's Resale Right may apply to this lot.
Lot 102
Slash from Guns 'n' Roses autograph, Keith Richards relaxing (The Hayward Archive print), vintage 1957 Buddy Holly's debut LP 'The chirping crickets' featuring 'That'll be the day' and 'Oh boy!' (His only album released during his life time), Beatles official Abbey Road writing paper, John Lennon 9th April replica Liverpool echo 'John Lennon is dead' newspaper, with magazine about the day, Cliff Richard 1980's calendars, photos, brochures, and concert tickets, and a Culture Club 1985 calendar.
Lot 87
Photographer Andre De Dienes (1913-1985) photograph of Marilyn Monroe on Tobay beach in 1949, 15x11 inches, copyright stamped on verso, from the collection of Kim Goodwin, a Marilyn canvas print, vintage Marilyn calendar, a signed lithograph out of 500 of Roseberry Topping in Yorkshire, a large elephant print at Amboseli in Kenya, a signed painting of sailing boats, and additional vintage calendars to include Michael Douglas, Robert Redford, Kevin Costner, Harrison Ford and others.
Lot 117
Deadpool: X Marks The Spot re-print album, No.3; Cable & Deadpool, No's. 1-6; Fury: My War Gone By, No's. 1-4; The Order, No's. 1-6; The Defenders, Vol. 2 No's 1-12; Defenders Mini-Series, No's. 1-5; Hulk Smash, No's. 1 and 2 (each signed by the artist John McCrae, with certificate); and three other Hulk comics.
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314753 item(s)/page