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Lot 435
M RELTON ? "They Bear the Weight of Sky and Cloud Upon the Fountain of their Veins" (Kathleen Raine), a limited edition multi block colour woodcut on handmade Japanese paper, depicting a tree, No'd. 31/150, titled, indistinctly signed and dated 1989 in the margin, also initialled "MR" within the print CONDITION REPORTS Approx measurements to inner edge of frame 83 cm x 86 cm. Actual printed image size approx 72 cm x 76.5 cm max. See further images for detail.
Lot 100
Unknown artist a portrait of Cardinal Thomas Wolsey (1471-1530) based on a work of circa 1520 20th Century print on canvas 50cm x 60cm unframed,Unknown English artist a portrait of Anne Boleyn (1501-1536) based on a work of circa 1533-1536 20th Century print on canvas 50cm x 60cm framed, J H Lynch (20th Century) an exotic beauty print 50cm x 70cm framed; D Bragolin a tearful girl print 50cm x 70cm unframed, Two framed poster prints of works by Claude Monet (1840-1926) : Venise Palazzo de Mula, 49cm x 55.5cm; La Debacle sur la Seine 82cm x 60cm; a further Monet print of Waterloo Bridge 32cm x 23cm together with a framed coloured print on card of thatched cottages beside a flooded dyke 85cm x 34cm, Tyrus Wong (20th Century) Shangri-La print on board 74cm x 29cm framed, Highland cattle in the glen print 20cm x 30cm painted frame another print and a map, (14)
Lot 37
Fabric print of a red rose on black background mounted on card 35.5cm x 44.5cm; print after John MacPherson Dwarf Bedding Dahlias of the famous ’Unwin’ strain 17cm x 25cm framed & glazed; cartoon of sumo wrestlers by Rega ‘I know you’ve got it undone but don’t you dare let go of it!’, Resin print on board, detail after Canaletto (1697-1768), 47cm x 38cm framed; resin print on canvas after Sir John Everett Millais (1829-1896) ‘Bubbles’ the famous image used to promote Pears soap; and a resin print on canvas after John Constable (1776-1837) ‘The Haywain’ 24cm x 19cm, all works a/f (6)
Lot 38
A collection of six various framed prints to include: b & w photographic print of a cathedral 25cm x 20cm; a coloured religious tract ‘Peace I Leave with You’ 35cm x 25cm; an autumnal lake scene in oval gilt slip 24cm x 16cm; a North African market scene 14.5cm x 20cm; ducks flying at sunset, Peter Scott 1952 35cm x 24cm; cliff & beach scene, roundel, 30cm diameter (6)
Lot 94
Pictures, to include a 19th Century continental rural scene, geese on a pond oil on card 54cm x 26cm painted frame; red deer stag oil on canvas 35cm x 51cm unframed; Walter Boodle sepia print cattle watering at the ferry crossing 36cm x 24cm unglazed, wood frame, B George (late 19th Century) the old stone bridge oil on canvas (a/f) signed 46.5cm x 35cm framed and a mirror, (5)
Lot 37
Nasser Assar (Iran, 1928-2011)Mystical Sunset oil on canvas, framedsigned 'N.ASSAR' and dated '66' (lower right), executed in 1966 147 x 89cm (57 7/8 x 35 1/16in).Footnotes:Provenance:Property from the estate of a distinguished Iranian academic, CaliforniaShimmering, delicately rendered and enigmatic, Nasser Assar's 'Mystical Sunset' is one of the largest and most powerful canvases by an artist whose works were squarely inspired by a combination of Eastern painterly traditions and Western Abstraction. Reflecting a tender and meditative appreciation of nature, Assar's rosy bucolic Sunset recalls the placid and sympathetic depictions of the sunset over Mount Fuji by the revered Japanese print-maker HokusaiBorn in Tehran in 1928, Nasser Assar is one of the most seminal protagonists of the Iranian modernist movement. His works mark both a compositional departure from the academic formalism of the turn of the century, and a clear thematic circumvention of the dominant neo-traditionalist orthodoxy of his time. His migration to Paris in the 1950s coincided with a critical juncture in the progression of European modernism. Still in its infancy, the French post-war art scene eventually gave rise to the establishment of Tachism and Lyrical Abstraction, movements which heavily influenced the work of Assar. However, whilst operating alongside luminaries such as Tapies, Fautrier, De Stael and Wou Ki, Assar still developed a unique and distinctive style of abstract expressionism which was neither derivative nor imitative of his European counterparts.Assar's canvases are wrought with a strong sense of conceptual duality derived from the inner-collation of calligraphy and landscape. Taken compositionally, Assar's depiction are built up of pseudo calligraphic oriental letterforms set in an ethereal, polytonal landscape. Yet within the composition itself, letterforms and natural forms are inseparable, having seamlessly permeated their surroundings. This unrestricted oscillation between world and environment, aside from being technically progressive, itself serves as an aesthetic device for the expression of a far more profound artistic impulse whose genesis is found in the Zen calligraphy whose influence is so evident in Assar's work.In the Zen Buddhist tradition, performing calligraphy, or hitsuzendo, is a meditative practice seminal towards the attainment of spiritual unity with the divine. In light of the universality of his practice, the language in which the calligraphy is composed becomes irrelevant, and Assar's choice to diverge from his native Persian, far from being an act of disregard, is merely an aesthetic affirmation of his belief in the transcendental and universal characteristics of divine truth. Concurring with the Sufi tradition, this entails an understanding of the world which treats worlds, languages and systems of communication merely as names and symbols for illusory, transient, material objects, which cast a deceptive veil of sense experience over the unified, absolute, and singular underlying spiritual reality. It this underlying reality which Assar attempts to penetrate, by demonstrating that the material landscape of our world is purely an artefact of our linguistic habits, and not a source of absolute truth. This is all achieved within an aesthetic which is both technically proficient and visually diverse, and whose freedom of hand evolves a spontaneity which is at once expressive and unrestrained.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 234
Barry Kay (Australian, 1932-1985) 'Theatrical costume design', signed, charcoal and watercolour, 56 x 38cm; Thomas Roche (British, 20th century) Dienstag, 1977, oil and abstract collage, 66 x 54cm, "Signed", 1976, oil and collage on board, 68 x 56cm; The Days Demands 1976, oil and collage on board, 63 x 53.5cm, and an abstract print after Morris Louis (5)
Lot 118
Sandra BLOW (1925-2006)Sandras Print B & BColour printInscribed as titled versoPaper size 32.5 x 28.5cmProvenance: Barnes Thomas County Auctioneers, 'Auction of Fine Art to include the Residual Content of Bullan's Court, St. Ives, Cornwall - The Studio of Sandra Blow RA', 24 June 2019Condition report: Paper clip damage in one corner. See image.UK postage: £30+VAT.
Lot 133
Sandra BLOW (1925-2006)Colour print with collage (unfinished) Affixed to large board61cm x 61cm (94.5cm x 94.5cm overall)Provenance: Barnes Thomas County Auctioneers, 'Auction of Fine Art to include the Residual Content of Bullan's Court, St. Ives, Cornwall - The Studio of Sandra Blow RA', 24 June 2019Condition report: UK postage: £60+VAT.
Lot 263A
A Pair of Uncommon Glazed Firth's Medallions, Ventnor and Carisbrooke Castle, Isle of Wight, each 5 1/2 x 4 inches; an oval photographic print on enamel of a gentleman (slight damage to lower edge). Maximum dimensions 70mm x 60mm. Signed on the reverse J de Parada, 1872. Bordeaux. Parada was a painter of miniatures, turned photographer. Also a mounted print approx 6x4 inches by F. Bedford. 'The Stone Pulpit, St Saviour's Church, Dartmouth'. (some foxing to mount.) (BW).
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