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Spanish school, 17th century."Saint Veronica".In carved wood, gilded and polychrome.Lacks in the wood and the polychromy.Measurements: 70 x 30 x 20 cm.Sculpture worked in a half-bulk, so that the devotional carving was intended for frontal contemplation. The saint represented could be Veronica. Stylistically, it is fully in keeping with the Baroque style, which can be seen above all in the natural, dynamic draping of the cloak which covers the head and falls in gentle curls to either side of the figure. The tunic is also carefully worked, seeking naturalism in the drapery, drawing vertical grooves from the belt to the feet. The quality of the carving is reflected in the variety of qualities given to the garments, which are decorated with brocade. The face, with its harmonious features, is framed by a veil that completely hides the hair.

Female figure with dog in the style of KARL HAGENAUER (1898-1956), 20th century.Patinated wood.Measurements: 42 x 34 x 12 cm.The modelling of this sculpture is essential and synthetic without leaving aside the naturalism, typically Art Deco. Thus, in general, the details are left to one side, the meticulous rendering of the real model, although the author, a follower of Karl Hagenauer's style, pays special attention to capturing the movement of the animal's anatomy. These characteristics ascribe the piece to Art Deco, an artistic style that emerged in 1920 and whose influence continued until the mid-20th century in some countries. It sought to renew all disciplines, championing the value of the technological progress of the time and the new sciences of the day. The son of the goldsmith Carl Hagenauer, Karl studied at the Vienna School of Arts and Crafts, where he was taught by Josef Hoffmann and Oskar Strnad and imbued with the spirit of the Wiener Wekstätte. After obtaining his diploma in architecture, he did military service between 1917 and 1919, and on his return he began to work as an architect and in his father's studio. During these years he created numerous pieces in silver, brass, copper, enamel, ivory, stone and wood. In 1928, after his father's death, he took over the management of the workshop and was responsible for the expansion of the firm, extending production to cabinetmaking and opening shops in Vienna and Salzburg. Since then he has exhibited his best pieces both in Austria and abroad, was twice awarded the gold medal at the Milan Triennale and was made a member of the Austrian Werkbund and the Werkstätte. His works are now in collections all over the world, including the Victoria & Albert Museum in London, the MoMA and the Jewish Museum in New York, the Casa Lis in Salamanca and many others.

JOSEP LLIMONA BRUGUERA (Barcelona, 1864 - 1934)."Modèstia", 1891.Sculpture in polychrome stucco.Signed.With Esteva & Cia stamp on the back and reverse.Work catalogued in "Una passejada per l'obra de Josep Llimona, 150 anys", MEAM, 2015, Barcelona, p. 104.Measurements: 42 x 32 x 18 cm.The sculpture "Modèstia" is evidence of Josep Llimona's most personal characteristics: naturalistic idealism, an inclination towards the gentle side of reality and, above all, a great delicacy and beauty in his female figures, always slender and innocent, enveloped in a veil of mystery.Josep Limona is remembered as the most important Catalan sculptor of Modernisme. Trained at the Escola de la Llotja in Barcelona, he obtained a pension to go to Rome in 1880. During his stay in Italy he was influenced by Florentine Renaissance sculpture. With the works he sent from there he already won prizes (gold medal at the Universal Exhibition in Barcelona in 1888), as well as a great reputation. With his brother Joan he founded the Círculo Artístico de Sant Lluc, a Catalan artistic association of a religious nature (the two brothers were deep believers). By the mid-1990s his style was already drifting towards full modernism. He received the prize of honour at the International Exhibition of Fine Arts held in 1907 in Barcelona. From 1900 onwards he concentrated on his famous female nudes, and in 1914 he created, in collaboration with Gaudí, his impressive "Risen Christ". His artistic genius also manifested itself in large public monuments such as the equestrian statue of Saint George in Montjuic Park in Barcelona, as well as in works of funerary imagery, such as the pantheons he created for various cemeteries. In addition to exhibiting in Barcelona and other Catalan cities, he exhibited his work in Madrid, Brussels, Paris, Buenos Aires and Rosario (Argentina). He was president of the Barcelona Museum Board from 1918 to 1924, and again from 1931 until his death in 1934. Throughout his life he received numerous decorations, including those awarded by the French and Italian governments. He was also awarded the Gold Medal of the City of Barcelona in 1932, in recognition of his extraordinary work in the development of museum activity. Llimona's work can be found in the Monastery of Montserrat, the National Art Museum of Catalonia and the Reina Sofia Museum, among others.

MATEO INURRIA LAINOSA (Cordoba, 1867 - Madrid, 1924)."Lady".Figure in bronze.Signed on the base.Size: 96 x 18 x 23 cm.Mateo Inurria Lainosa was a Spanish sculptor. He was born in Cordoba, the city where he was educated and where he developed most of his activity as a sculptor, teacher, restorer and decorator. Until 1883 he attended courses at the Provincial School of Fine Arts, where he also received artistic training from notable artists of the last quarter of the 19th century: Lorenzo Coullaut Valera, Rafael García Guijo, and the Romero de Torres brothers. Between 1883 and 1885 he studied at the Special School of Painting, Sculpture and Engraving in Madrid. Due to his progress in academic learning, the Cordoba Provincial Council granted him a pension to continue his studies in Madrid until 1890, the year in which Inurria presented his work "Un náufrago" ("A Shipwrecked Man") at the National Exhibition of Fine Arts, which was so realistic that some of the members of the jury considered it to have been painted from life.Between 1891 and 1901, Inurria lived in a provincial environment, not very open to critics and the public, and began to work as a restorer and teacher. His sculpture overcame the restrictions of academicism and tended towards a sober naturalism, simple in expression and lacking in anecdotal details, in which we can already see the tendency to idealise his models that was to permeate his mature work. Inurria considered himself a self-taught artist, going so far as to state: "I had no teacher, I taught myself". He worked on religious and commemorative sculpture, and throughout his career, in Cordoba and Madrid, he received numerous monumental commissions to pay homage to local and national celebrities, which were not always completed. During this period he also lived temporarily in Rome, where he coincided with other artists of his generation such as Rafael Romero de Torres, also from Cordoba, and the artist from Burgos, Marceliano Santa María.His vocation as a teacher was of great significance to him. He firmly believed that teaching could contribute to the improvement of the individual and society, economically, industrially and artistically. He became a professor of Figure Modelling and Drawing of the Ancient at the Municipal School of Arts and Crafts in Cordoba, and in 1901 he was appointed director of the Cordoba School of Industrial Arts, with powers to programme the studies of Silversmithing, Guadamecilería, Blacksmithing, Carpentry, Stonemasonry and Ceramics in schools-workshops. He produced some works along the lines of the social denunciation that triumphed at the end of the century, such as La mina de carbón ("The Coal Mine"), and designs and decorations with a modernist influence for the library of the Círculo de la Amistad, Liceo Artístico y Literario de Córdoba, where he joined in 1900.In 1905 the sculptor Rodin arrived in Spain accompanied by his close friend Ignacio Zuloaga. Inurria had the opportunity to meet him and to be his cicerone on his visit to Cordoba. From this time onwards, Inurria regularly took part in the juries of the sculpture section of the National Exhibitions of Fine Arts in Madrid.In 1911, Inurria was appointed professor of Modelling and Casting at the School of Arts and Crafts in Madrid, initiating a new stage in which his dedication to sculpture became more intense. The fact that he lives in Madrid gives him greater contact with the cultural and artistic world, as well as greater recognition of his work. He concentrates more and more on his favourite theme: the female nude, as the materialisation of an aesthetic ideal in which formal perfection, idealised and sober naturalism, sensuality and eroticism merge. Examples of this are: "Ídolo eterno", "Deseo", "La parra" and "Forma", the last two of which are currently in the collection of the Museo Nacional Centro de Arte Reina Sofía.He won a Medal of Honour at the National Exhibition of Fine Arts in 1920, and two years later he was admitted to the San Fernando Royal Academy of Fine Arts.

ERNST SEGER (Neurode, 1868 - Berlin, 1939 )"Woman gathering up her dress". ca. 1920Art Deco sculpture, in alabaster. With marble base.Signed on the base. Size: 31 x 19 x 11 cm (figure); 6 x 18 x 11 cm (base).Alabaster sculpture, representing a female figure dancing or picking up her dress, in a scene of great plasticity and movement. With veined marble base. Signed on the base. Ernst Seger was a German sculptor and medallist. From 1884 he attended the sculpture class at the Royal School of Arts and Crafts in Breslau with Robert Härtel and worked in the studio of Christian Behrens from 1886. From the late 1880s he received his first major commissions for monuments. After working in Auguste Rodin's studio in Paris in 1893 and 1894, he ran his own studio in Berlin. In 1895 he created a monument to Kaiser Wilhelm for Glatz. Around 1900 he became popular for his Art Nouveau sculptural works, especially female nudes.

Soane (Sir John).- Britton (John) The Union of Architecture, Sculpture, and Painting...with descriptive accounts of the house and galleries of John Soane, first edition, hand-coloured aquatint frontispiece by R.Havell after P.Williams marked proof, wood-engraved title-vignette and head-pieces, 22 engraved plates, 4pp. advertisements at end, plates lightly foxed, John Sparrow's copy with his book-label and earlier bookplate of Keverstone Library Leveson Scarth, original boards, paper label to upper cover, uncut, rubbed and spotted, rebacked, [Abbey Life 7; Fowler 70], 4to, 1827.

Tony Bennett, Raku glaze ceramic sculpture of a dog "Ted", height 36cmVery good condition

Clive Fredriksson, a carved and painted wood salmon sculpture, length 57cm

LIN SPROULE: a unique 18 carat gold vari-coloured gold grass and reed sculptureLondon 2022, the central reed also stamped with the commemorative Platinum Jubilee mark With three reed stems, applied with red gold fluorescence's and a single grass stem with green gold seed head, one reed stem with a butterfly issuing from the side, the stems gently sway issuing from a natural stone base, with a small grass protruding, height 38cm.Footnotes:LIN SPROULEThis work follows on from her flower and grasses which have been exhibited at the Victoria and Albert Museum. In addition, Sproule's work is housed in various collections in England and New York.Five grasses are included in the Goldsmiths' Hall Collection and are illustrated in the publication Treasures of the 20th Century, exhibition catalogue, 2000. page 100.A unique Buttercup sculpture originally exhibited at Goldsmith's Hall, Gold, Power and Allure in London 2012 sold in these rooms in 2013.Lin Sproule trained in painting and drawing at Colchester School of Art, and jewellery at The Central School of Arts and Crafts and The Royal College of Art, where she received a First Class Honours and a Silver Medal.Sproule has worked in London and New York, where she exhibited at MOMA. She was at the Slade School of Art for three years as the guest student of Ron Bowen, where she studied life painting and drawing.Notable commissions include an 18 carat gold tiara for Norman Parkinson to photograph on occasion of H.R.H Princess Anne's 21st birthday, two large murals for John Aspinall's club in Curzon Street, London, as well as gold grasses, which are in the collection at Goldsmiths' Hall, London.For further information on this lot please visit Bonhams.com

Coming Through The Rye After Frederic Remington Large cast bronze sculpture 'Coming Through The Rye', After Frederic Remington (American, 1861-1909) Modelled as four cowboys on horseback with guns pointing to the sky, inscribed 'Frederic Remington', standing on a rectangular marble base. A life size version of this sculpture featured at the St. Louis World's Fair in 1904, the Louisiana Purchase Exposition. 74cm wide, 75cm highBronze in good overall condition, no missing parts. Marble base has small chips to the corners, a couple of small dents to the top surface and general wear with surface scratching.

A LIMITED EDITION WILDLIFE SCULPTURE OF MOUNTAIN LIONS ENTITLED 'INTRUSION' BY RANDY READING OF MILL CREEK STUDIOS, NO 24 / 4000, APPROX H 14"

A LIMITED EDITION WILDLIFE SCULPTURE OF A WOLF / OWL & EAGLE ENTITLED 'TRACES', BY PAUL R CARRICO, NUMBER 159 OF 3000, APPROX H 11"

A MODERNIST POTTERY SCULPTURE A/F - WITH DAMAGES

An abstract studio pottery sculpture comprising bowl form base and sculptural form with cutaway piece

A modern cast metal limited edition sculpture depicting a bald eagle with the American flag set in a polished marble plinth made by Mixed Media in the 'Legends' range

BACCARAT - crystal sculpture Les Biches, designed by Georges Chevalier 1925, height 14.5cm2 tiny chips on the front edge of the base otherwise good condition

BACCARAT - crystal sculpture, rearing horse, height 22cmPerfect condition

A 19th century patinated bronze sculpture of a heron, unsigned, on black slate socle base, height 20cmBeak is very slightly bent and there is a chip on the underside of the top moulded edge

Bernardo Balestrieri (1894 - 1965), patinated bronze sculpture, boy carrying a flagon, signed on base, height 40cmGood original condition

Miniature patinated bronze sculpture of Wagner, unsigned, on gilt-metal socle base, height 11.5cmGood original condition

Enzo Plazzotta (Italian, 1921-1981), large patinated bronze sculpture, The Pitcher Girl, numbered 6/9, foundry mark of Luigi Tommasi, height 113cm No damage or restoration, bought new by current vendor in approx 1972, no paperwork but believes it to be possibly from The Mercury Gallery in London along with another example by Plazzotta

Matt Cummings, a wire mesh and painted sculpture of a tiger cub, 41cm high.

After Rodin, The Kiss, a late 20th Century sculpture on a wooden base

A contemporary studio glass sculpture by Colin Reid titled R1053, in a pale citron yellow glass, the abstract form with three highly polished faces revealing an internal wave line and showing the reverse textured brick or rock effect textured body, signed, numbered and dated 2001 to the upper polished face, approximate measurements 26cm x 22cm x 22cm.

Rosemarie Benedikt - Villeroy and Boch - An Animal Park range ceramic sculpture formed as a stylised cat, decorated with images of stylised animals, height 12.5cm, together with another similar cat, both with printed marks. (2)

Lalique - A later 20th Century Papillon glass butterfly sculpture in the rosee gold colour, height 8cm, boxed, together with a Libellule Dragonfly sculpture, unboxed, both with engraved signatures. (2)

Lalique - A later 20th Century Heggie sculpture, formed as a seated cat, in a clear frosted finish, engraved signature, height 8.5cm.

Anthony Theakston (Born 1965) - A white glazed stoneware sculpture of a barn owl titled 20-20, from a limited run, modelled as an owl perched on a square block base with sideways turned head, signed to base height 36cm.

G Mariani - A contemporary bronze sculpture modelled as a male hand holding a female hand, on a square marble plinth, incised signature and dated 12.6.89, height 29cm.

A broochPortuguese goldChiselled spread eagle sculpture resting on tree trunk set with 4 small rose cut diamonds and one pear shaped sapphireTiger hallmark 800/1000 (1887-1938) and same date maker's markLength: 8,2 cm26.12 g

The Venus ItalicaAlabaster sculpture after Antonio CanovaItaly, 19th centuryHeight: 48 cm

A Luiz Ferreira bowlPortuguese silverMoulded and engraved silverPond with applied hardstone toad sculpture and water surface emerging fishEagle hallmark 833/1000 (1938-1984) and maker's mark Venâncio PereiraLength: 25,5 cm372 g

MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."Seated Woman", ca.1920-25.Terracotta sculpture.Signed at the bottom.Wooden base.Measurements: 19 x 9 x 9 x 9 cm.The serene energy, the invisible force that palpitates in nature and in the individuals most deeply rooted to it (peasants, farmers...) emerged from the figures ennobled by Manolo Hugué. The work in question was probably made in Ceret, an artistic enclave in which synergies with other sculptors, such as Aristides Maillol, were a constant feature. The slight turn of the head imprints a subtle movement that runs from the nape of the neck to the right foot of the essential balanced figure, a solid and at the same time ductile volume. Hugué was a great scholar of femininity.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew at first hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.

MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."Manola", 1932.Patinated terracotta.Signed at lower left.Work catalogued in: Montserrat Blanch, "Manolo", Barcelona, Polígrafa, 1972, p. 98, no. 152.A bronze copy of this work is in the collection of the MNAC (Museu Nacional d'Art de Catalunya), number inv.010552-000, acquired at the Spring Exhibition in Barcelona, 1932.Marble base.Size: 24 x 13 x 8 cm (figure); 5 x 10.5 x 10.5 cm (base).Airy Manola, whose volumetric simplification manages, paradoxically, to give an idea of graceful movement, attesting to a great plastic mastery.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew at first hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.

MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."Oxen in the stable, 1922.Ceiling in terracotta.Wooden frame.Model catalogued in: Montserrat Blanch, "Manolo", Barcelona, Polígrafa, 1972, p. 115, nº197.Size: 33.5 x 32.5 x 5 cm (terracotta); 42.5 x 42.5 x 6 cm (frame).In the catalogue raisonné on Manolo Hugué written by Montserrat Blanch, several works are reproduced (preparatory drawings, bas-reliefs in terracotta, but also in stone) whose subject matter are oxen (generally represented in pairs), of which the piece in question forms part. It is a production made between 1917 and 1923, a period when the sculptor was breathing new thematic and formal suggestions into terracotta. On his return to Ceret, after his Parisian period, he devoted himself to the study of cadences, rhythms, archaic-inspired essentialism... a series of strategies to escape from all stagnation and to renew the language of sculpture while continuing to dialogue with the classics. In this relief, a serene energy pulsates like an invisible force through the bodies, through the rounded profiles and alternating with geometric incisions. The front legs of the recumbent ox are bent to adapt to the angle, seeking a certain conceptual tension between the volumes and their confinement within a precise quadrangular limit. In doing so, he emulated the Greek art developed in the metopes. The spatial indication is brief and synthetic: a few schematic elements outline the idea of a stable.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew at first hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are housed in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.

APEL.LES FENOSA FLORENSA (Barcelona, 1899 - Paris, 1988)."Jeunes filles à la lessive", 1933.Patinated terracotta plaque.Work included in the catalogue of the Fundació Apel.les Fenosa: cat.no. 0145 ("Jeunes filles à la lessive". Provenance: Palmira Fenosa Coll.: Carlota Rotger, La Floresta).Size: 30 x 9 x 7 cm.Two girls enjoy their nakedness while hanging up their clothes and lying in the sun, recreating the joie de vivre of Mediterranean roots, which Apel.les Fenosa adopted for sculpture, modernising canons and language.Trained with Enric Casanovas, Fenosa travelled to Paris for the first time in 1921. There he held a solo exhibition in 1925, which was presented by Max Jacob. Returning to Barcelona in 1929, he held exhibitions at the Sala Parés in 1930, 1933 and 1936. At the end of the Civil War he moved back to Paris in 1939, where he definitively integrated into his artistic life. There he met great intellectuals of the time such as Theóphile Briand, Cocteau, Paul Éluard, Colette, Henri Michaux, Supervielle, Genet and Tzara, and even had a notorious romance with Coco Chanel. During these years his art discovered a vegetal world, populated by flaming female figures, which retain the fresh imprint of the artist's fingers. His works are daughters of the earth, from which they emerge, the fruit of imagination, with all their wild and natural character. He had repeated solo exhibitions at the Parisian galleries Zborowsky and Jacques Dubourg, as well as at the Hanover Gallery in London (1954), the Paul Rosenberg Gallery in New York (1960 and 1961), in Tokyo (1966 and 1981) and Madrid (1967 and 1976), among other cities. He also took part in major group exhibitions such as the Salons de Mai and de Jeune Sculpture in Paris, the Antwerp Biennale, the International Exhibition of the Musée Rodin, the Carrara Biennale, the Contemporary French Sculpture Exhibition of the Ecole de Paris, the Petit Bronze, etc. In 1980 the Musée Rodin devoted an anthological exhibition to him. He also worked in portraiture, painting friends and colleagues. In France he made several monuments, such as the Oradour-sur-Glane monument and the sphinx emblem of the Conseil Constitutionnel in Paris. He is currently represented in the foundation that bears his name in El Vendrell (Tarragona), the Patio Herreriano Museum in Valladolid, the National Library in Madrid, the Rodin Museum in Paris and the Palau de la Virreina in Barcelona, among others.

APEL.LES FENOSA FLORENSA (Barcelona, 1899 - Paris, 1988)."Tête, 1933.TerracottaSigned with monogram at the bottom.Wooden base.Work included in the catalogue raisonné "Apel.les Fenosa", by Raymond Cogniat (ed. Polígrafa, 1966), n.142.Size: 31 x 15 x 18 cm (sculpture); 3 x 17 x 11.5 cm (base).Trained with Enric Casanovas, Fenosa travelled to Paris for the first time in 1921. There he held a solo exhibition in 1925, which was presented by Max Jacob. Returning to Barcelona in 1929, he held exhibitions at the Sala Parés in 1930, 1933 and 1936. At the end of the Civil War he moved back to Paris in 1939, where he definitively integrated into his artistic life. There he met great intellectuals of the time such as Theóphile Briand, Cocteau, Paul Éluard, Colette, Henri Michaux, Supervielle, Genet and Tzara, and even had a notorious romance with Coco Chanel. During these years his art discovered a vegetal world, populated by flaming female figures, which retain the fresh imprint of the artist's fingers. His works are daughters of the earth, from which they emerge, the fruit of imagination, with all their wild and natural character. He had repeated solo exhibitions at the Parisian galleries Zborowsky and Jacques Dubourg, as well as at the Hanover Gallery in London (1954), the Paul Rosenberg Gallery in New York (1960 and 1961), in Tokyo (1966 and 1981) and Madrid (1967 and 1976), among other cities. He also took part in major group exhibitions such as the Salons de Mai and de Jeune Sculpture in Paris, the Antwerp Biennale, the International Exhibition of the Musée Rodin, the Carrara Biennale, the Contemporary French Sculpture Exhibition of the École de Paris, the Petit Bronze, etc. In 1980 the Musée Rodin devoted an anthological exhibition to him. He also worked in portraiture, depicting friends and colleagues. In France he made several monuments, such as the Oradour-sur-Glane monument and the sphinx emblem of the Conseil Constitutionnel in Paris. He is currently represented in the foundation that bears his name in El Vendrell (Tarragona), the Patio Herreriano Museum in Valladolid, the National Library in Madrid, the Rodin Museum in Paris and the Palau de la Virreina in Barcelona, among others.

MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."Bullfighter".Bronze on veined bronze base.Signed on the back.Size: 32 x 12 x 13 cm; 41 x 14 cm (total with base)."What we call immobility is nothing more than a limiting case of slowness in movement, an ideal limit that nature never achieves". This was written by the French philosopher Henri Bergson, and this same principle is what Manolo Hugué's sculptures materialise, as in the case of this bullfighter whose posture translates the dense tension of the instant.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew at first hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.

LUCIEN GENIN (Rouen, 1894 - Paris 1953)."Moulin de la Galette.Watercolour and charcoal on paper.Signed in the lower right corner.In good state of conservation.Size: 23 x 28 cm; 40 x 45 cm (frame).Lucien Genin studied at the School of Fine Arts in Rouen, where his teachers were Alphonse and Albert Guilloux. Later he enrolled in Decorative Arts at l'École-de-Médecine. He took evening classes in sculpture, architectural composition and mathematics. He arrived in Montmartre in 1912, after a series of small trades, Maclet finally earned his living with his painting. Lucien Genin settled permanently in Montmartre at the age of twenty-five. More than a painter of Paris, Genin is a painter of Parisians, of the devouring passion that stirs all his characters in the big city. He paints them in the alleys of Montmartre, dining at night in the Place du Tertre, singing in the Lapin Agile, cars on the boulevards, spectators and street singers; he follows them on the banks of the Marne at the first rays of the sun and in the south of France in summer. In turn, he is in Nogent-sur-Marne, Marseille and Cassis, Cannes and Villefranche-sur-Mer. He was in Douarnenez in 1929 with Pierre Colle, Giovanni Leonardi and Max Jacob. He painted the port of Rosmeur at the feast of the blue nets and exhibited his painting at the Salon d'Automne in 1930. In November 1929, André Warnod wrote about his painting: "Lucien Genin depicts Paris with a sometimes hasty ardour but with a pleasant flavour of vivid colours". During these ten years, he practised a painting that was composed, colourful, sensitive, skilful, delicate, humorous and comic. A painting by Lucien Genin won the Art Institute of Chicago prize in 1932. In 1940, he took refuge in Marseilles for a few months. In 1941, the Paris City Council bought him a gouache and in 1944 René Fauchois presented his exhibition at the Bernard gallery. In 1947 he left for Cassis for the last time and exhibited at the Bernard gallery on his return. In his last years he devoted himself to painting landscapes in his room, with his easel under the window, where Robert Doisneau visited him a few weeks before his death. Lucien Genin was immortalised in 1953 in Le Vin des rue by Robert Giraud and Robert Doisneau. A retrospective exhibition was organised for him at the Galerie Seine in 1954.

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Africa Dances signed and dated 'BEN ENWONWU/ 1970' (lower right)oil on board90 x 60cm (35 7/16 x 23 5/8in).(framed)Footnotes:ProvenanceA private collection.Ben Enwonwu's 'Africa Dances' series began as a result of Geoffrey Gorer's 1935 book of the same name. A critique of colonial rule, this publication documented both Dance and Masquerade throughout West Africa. Consequently, whilst studying in England, Enwonwu felt compelled to illustrate his opinion about his culture in Nigeria and the subsequent impact of colonialism. The 'Africa Dances' series is primarily focused on Dance and Masquerade of his Onitsha-Igbo heritage.Executed in 1970, the present lot can be viewed as a celebration of Nigerian Independence, which Nigeria had gained from the British a decade earlier in 1960. Full of energy, this 'Africa Dances' depicts a busy scene of various people moving in both directions. The curves of their bodies and their outstretched arms signify their synchronised movement. The composition also controls the viewers gaze upwards through the clothes, and arms which almost melt into a dramatic, deep blue sky. Although he considered himself primarily a Sculptor, his confidence in painting is most certainly obvious in the present lot.'I enjoy painting now better than ever before. My painting is beginning to show certain aspects of formal relationship with my sculpture and has stripped itself of the western academic veneer that I had to learn at the Slade. Slowly but unconsciously certain sculpturesque forms began to appear in my paintings.'BibliographyS. Ogbechie, Ben Enwonwu: The Making of an African Modernist, (Rochester, 2008), pp.96-190For further information on this lot please visit Bonhams.com

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Female Form ebonysculpture: 81 x 16.5 x 14cm (31 7/8 x 6 1/2 x 5 1/2in) including base: 85 x 23 x 23cm (33 7/16 x 9 1/16 x 9 1/16in).Footnotes:Enwonwu understood sculpture to be an essential component of his artistic practice. In an interview conducted on the occasion of a touring exhibition of the artist's work in America in the 1950s, he asserted, 'I am essentially a sculptor, and it is in this art that I feel I can talk to any artist, no matter what race or color. My father was an eminent sculptor and I inherited this wonderful art from him' (Ogbechie, 2008: p. 30). His father, Odigwe Emeke Enwonwu, took up work as a full-time sculptor following his retirement from the Royal Niger Company (RNC) where he has worked as an assistant to ship engineers. Although Enwonwu was only three when his father died, he felt an affinity with sculptural techniques which he ascribed to his artistic familial heritage. He inherited his father's tools and familiarised himself with the techniques of indigenous Igbo (and other Nigerian) sculpture which he continued to draw upon throughout his artistic career.The present sculpture evidences the techniques that Enwonwu acquired during his tenure teaching at Edo College in Benin City (1941-1944). Sylvester Ogbechie notes that Enwonwu 'saw the sojourn there as a spiritual homecoming' (Ogbechie, 2008: p. 57). The rich cultural traditions of the Edo Kingdom of Benin offered an indigenous African cultural heritage fit to undermine colonial European claims of cultural superiority. Enwonwu undertook an apprenticeship with Benin sculptors who taught him the lost-wax technique of bronze sculpture and how to carve ebony.In the present work, the abstract lines of the cropped female form are directed by the properties of the precious wood, demonstrating Enwonwu's masterful handling of his chosen materials. The long, sinuous lines of the figure's elongated legs are elegantly crossed to emphasise the curve of her hips. The resultant exaggerated feminine form recalls Enwonwu's glorification of the female body across his oeuvre as a symbol of nationalistic regenerative power as Nigeria strove to establish its own postcolonial identity in the mid-twentieth century. BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester: University of Rochester Press, 2008).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

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Figure with raised arm ebonysculpture: 74.7 x 24.5 x 17.5cm (29 7/16 x 9 5/8 x 6 7/8in) including base: 80.5 x 24.5 x 22.4cm (31 11/16 x 9 5/8 x 8 13/16in).Footnotes:Figure with raised arm epitomises Enwonwu's project of artistic synthesisation which he undertook to establish a distinctly Nigerian aesthetic against the backdrop of the postcolonial political landscape. He argued, '[w]hatever the neo-African culture is today, art should express it and should employ all the native and acquired means that are possible' (Ogbechie, 2008, p. 79). In the present sculpture, Enwonwu appropriates the abstract, geometric forms prevalent in European modernist traditions and fuses them with traditional Nigerian sculptural techniques and materials.BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester: University of Rochester Press, 2008).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

Irma Stern (South African, 1894-1966)Zululand signed and dated 'Irma Stern 1935' (upper left)oil on canvas82.7 x 98cm (32 9/16 x 38 9/16in).(framed)Footnotes:ProvenanceThe collection of Basil Robinson;Acquired by the current owner's family;By descent to the current owner.ExhibitedLondon, Grosvenor Gallery, Irma Stern Memorial Exhibition: Paintings of Europe and the African Continent, 1914-1965, 14 March - 15 April 1967, no. 29Cape Town, South African National Gallery, Homage to Irma Stern, 1968, no. 22.LiteratureNeville Dubow, Irma Stern (Cape Town & Johannesburg: C. Struik Publishers, 1974), p. 58 (illustrated)Irma Stern: Expressions of a Journey, exh. cat., Standard Bank Gallery, Johannesburg, 25 September-29 November 2003, p. 158 (illustrated)Brushing up on Stern: featuring works from the permanent collection of the Iziko South African National Gallery, exh. cat., Iziko South African National Gallery, Cape Town, 23 July-1 November 2015, p. 31 (illustrated)Sean O'Toole, Irma Stern: African in Europe European in Africa (Munich, London & New York: Prestel, 2020), pp. 52 & 54 (illustrated)Irma Stern Nudes, 1916-1965, exh. cat., Irma Stern Museum, Cape Town; Sanlam Art Gallery, Bellville, May-September 2021 (illustrated, front and back cover).Zululand was painted at a critical time for Irma Stern's painting of Black African peoples. In an interview conducted in 1933, she recognised that the traditional cultural and social practices of diverse Black communities in South Africa were disappearing (The Cape Argus, 5 July 1933). Soon after, on a visit to Durban in July 1935, Stern wrote to her friends Richard and Freda Feldman in Johannesburg: 'I am trying to find out which places in Zululand would still be okay [to encounter these traditional practices]. It looks to me this is my last trip trying to find things that are dying out, thanks to ourselves' (quoted in Klopper, 2017: p. 50).In the same letter to the Feldmans, Stern noted that she would soon attend 'a large native dance' that was being organised for tourists by the Durban Municipality. Ironically, taking into consideration the anthropological impetus behind her work, it seems that many of her drawings of young women in ceremonial dress were made on this occasion, rather than in the Reserve areas. Moreover, the paintings she composed in her studio after her return to Cape Town, such as The Water Carriers, were assembled from sketches and memories of this occasion. In comparison with the languorous works from Swaziland and elsewhere of the 1920s, these Zululand paintings exhibit a new vigour with their bright colour and forceful modelling. It seems that Stern could not bring herself to record the transformation of African society she was lamenting in her writing and, instead, insisted on the reality of her romanticised Black African idyll in paint. Stern's buying public continued to support her African work, especially her drawings, but voices were being raised against this 'highly idealised image' (see Feldman, 1935). To avoid this criticism, and to continue to discover 'the spirit of Africa at its happiest and most colourful' (quoted in The Cape Argus, 3 April 1926), Stern abandoned Southern Africa, at least for a time, and travelled elsewhere on the continent.The composition of Zululand, which was made at this critical juncture in Stern's career, suggests that the artist changed her conception of the work as she progressed with the work. Stern has chosen the horizontal or landscape format, which is unusual in her depiction of Black African people, to accommodate the collection of four apparently independent head-and-shoulder figures. There appears to be no narrative here nor, unlike The Water Carriers, any occasion on which these people might have been grouped together in real life. They seem, instead, to have been made as four independent studies. Moreover, in another comparison with The Water Carriers, the beadwork and other ethnographic detail is quite summarily rendered. At some point, Stern decided to integrate the composition without, however, developing a high level of finish. She introduced a background of paw-paws and other vegetation to suggest a unitary space; and she tied the figures together in this space by, on the one hand, having the hand of the figure on the right appear to rest on the right shoulder of the figure in front of her; and, on the other, by making a frond of vegetation from the background appear to overlap the left shoulder of the same central figure. These devices explain the work intellectually, but the painting derives its power by rendering the broadly treated figures large in the format of the original shallow pictorial space.Zululand is shown hanging on the back wall of the studio in a photograph of Irma Stern working on her sculpture of a Kneeling Mother and Child that was published in The Cape Times on 29 January 1936: sadly the article accompanying the photograph makes no reference to the painting and there is no critical commentary on the work at this time. In fact, it is unclear whether the work was exhibited during Stern's lifetime, unless it was under the title of Group of Zulu Women which was shown in exhibitions in Cape Town, Johannesburg, and London in 1936 and 1937. It was, however, shown posthumously with the current title at the Irma Stern Memorial Exhibition at the Grosvenor Gallery, London, in March and April 1967. This exhibition included loaned works and works from the artist's estate that were intended for sale by her executors. Those that were not sold were to be consigned for auction at Ashbey's and Lezard's the following year. Zululand (included as work number 29) is priced in an annotated copy of the catalogue at 550 guineas and, since it is not listed as from any other collection, may be presumed to have been sent for sale by the Irma Stern Trust. No purchaser is recorded but the painting is next shown in the Homage to Irma Stern exhibition at the South African National Gallery (1968) – although not included in the subsequent Rand Easter Show iteration of the exhibition – and recorded as in the collection of Basil Robinson. Robinson was the owner of Ashbey's, Stern's original gallery in Cape Town but by that time the city's leading auction house. Robinson appears to have retained the work in his own possession for a while because it is not listed in the catalogue of Ashbey's auction of Irma Stern's estate in April 1968. However, in due course Robinson seems to have sold the painting to the present owner's family.We are grateful to Michael Godby for the compilation of the above footnote. We would also like to extend our thanks to Kathy Wheeler and Mike Bosazza of the Irma Stern Trust for their assistance in our research of the work.BibliographyRichard Feldman, 'Idylls of the Black: An Appreciation of the Work of Irma Stern', The South African Opinion, 17 May 1935 Sandra Klopper, Irma Stern: Are You Still Alive? Stern's Life and Art Seen Through her Letters to Richard and Freda Feldman, 1934-1966 (Cape Town: Orisha Publishing, 2017).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

Ezrom Kgobokanyo Sebata Legae (South African, 1938-1999)Lamenting Woman, 1966bronzesculpture: 41 x 13 x 14.5cm (16 1/8 x 5 1/8 x 5 11.16in) including base: 49 x 16.5 x 16.8cm (19 5/16 x 6 1/2 x 6 5/8in).Footnotes:ProvenanceA private collection.For further information on this lot please visit Bonhams.com

Lucas Seage (South African, born 1957)Politics & Religion signed 'LUCAS' (lower centre left)hedge cutter, bible, wood and nails on cork panel53 x 80.5 x 9cm (20 11/16 x 31 1/2in x 3 9/16).Footnotes:ProvenanceThe collection of Prof. Emer Holdstock;By direct descent to the current owner;A private collection.Born in Johannesburg in 1956, Lucas Seage was at the forefront of avant-garde artistic production in South Africa in the 1970s and 1980s. He displayed a talent for drawing from a young age and from 1978 to 1980 studied painting, sculpture and basic art history at the Johannesburg Art Foundation under the influential artists and teachers Bill Ainslie, Ricky Burnett, and Jenny Stadler. In 1981, Seage won first prize for sculpture at The Haenggi Foundation National Art Competition. The prize allowed him to take up a two-year Konrad Adenauer Foundation bursary at the Düsseldorf Academy in Germany where he was taught by Joseph Beuys and Klaus Rinker.Seage's sculptural practice draws upon the technique of assemblage as he arranges found objects into carefully constructed compositions. He was particularly inspired by the Dada and Surrealist art movements which he encountered during his studies in South Africa and Germany. While Dadaism gave the artist a sense of freedom within the creative process, Surrealism taught him to 'rely on his intuition' and 'to make use of chance and inspiration'. These principles are applied to the socio-political critique of the treatment of Black communities in South Africa which permeates Seage's work. In Politics and Religion, Seage mounts the blade of a hedge cutter and an open bible to a cork panel. The juxtaposition of the seemingly disparate items may be interpreted as a means to cast organised religion in the shadow of violence (as inferred from the partially dismantled tool). The surreal arrangement of the items is framed by an inscription incised on a wooden panel beneath reading 'WE[?] REPLY BY THIS NAME', casting the assemblage in an uneasy ambiguity familiar to Surrealist art historical precedents. However, while Surrealism responded to the horrors of modern warfare, Seage's oeuvre addresses the violence of the apartheid regime enforced in South Africa during his lifetimeFor further information on this lot please visit Bonhams.com

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Fulani Girl inscribed 'ENWO 9OU.2 NWU(6)' (lower reverse)ebonysculpture: 91 x 10 x 10.5cm (35 13/16 x 3 15/16 x 4 1/8in)including base: 120 x 15.4 x 23cm (47 1/4 x 6 1/16 x 9 1/16in).Footnotes:ProvenanceAcquired directly from the artist, circa 1980s;Thence by direct descent to the current owner;A private collection.ExhibitedLagos, Residence of the British High Commissioner and Lady Ewans, 3 Queen's Drive, Professor Ben Enwonwu: Salon Exhibition of paintings and sculptures from the 1985 London Exhibition of the Royal Society of British Artists, October 1987, no. 107.The elegantly arched body of the semi-abstracted figure of Fulani Girl echoes Enwonwu's sustained treatment of the female form in his sculptural practice. The stylisation of the figure is reminiscent of one his best-known sculptures, Anyanwu (1954) which depicts the rising up of the Igbo earth goddess Anu. Originally commissioned to adorn the façade of the new National Museum in Lagos in 1954, another version of the piece is permanently installed at the headquarters of the United Nations in New York. Reflecting on the motivations behind Anyanwu in 1957, Enwonwu explained, '[m]y aim was to symbolise our rising nation', asserting the political nature of his artistic practice. However, although driven by socio-political motivations, the artist also has a deep understanding and appreciation for the formal elements of artistic production. He goes on to explain of Anyanwu that '[t]his sculpture is spiritual in conception, rhythmical in movement, and three dimensional in its architectural setting – these qualities are characteristic of the sculpture of my ancestors'. The interplay between the flat planes of the figure's face in the present work and the curved form of her body similarly evidences the rhythmical quality of Enwonwu's sculptural practice as the fluid lines of the sculpture seem to transfigure when viewed from different angles.The Fulani, or Fula, people are one of the largest ethnic groups in West Africa. Enwonwu created several works featuring Fulani subjects in the 1950s which were exhibited in both his 1950 tour of the United States and his 1950 and 1952 London exhibitions. The present work was exhibited at the residence of the British High Commissioner and Lady Ewans in Lagos in October 1987, demonstrating the enduring influence of the Fulani people on his artmaking practices.For further information on this lot please visit Bonhams.com

Abdoulaye Diarrassouba 'Aboudia' (Ivorian, born 1983)Untitled oil pastel, mixed media and collage on canvas99 x 118.2cm (39 x 46 9/16in).(unframed)Footnotes:ProvenanceAcquired from the Jack Bell Gallery, London, 2013;A private collection.In recent years, the exuberant artworks created by Abdoulaye Diarrassouba (more commonly known as Aboudia) have taken the art world by storm. The Ivorian artist trained at the School of Applied Arts in Bingerville and at the Institut des Arts in Abidjan. However, it is from the street and youth culture of Abidjan that he primarily draws his inspiration. Synthesising these local influences with imagery drawn from traditional West African sculpture and voodoo iconography, Aboudia names his distinctive stylistic approach Nouchi - a term more typically used to describe the language spoken in the urban centres of the Côte d'Ivoire which fuses Ivorian vocabulary with French. He describes himself as a passionate painter, using his work to respond directly to happenings within his urban milieu. The visceral emotion present in Aboudia's canvases has contributed to his international success.A singular depiction of Aboudia's signature ghoulish face dominates the left third of the present canvas. The word 'ART', scrawled in capital letters above the burgundy and black figure, evidences the influence of graffiti on the artist's distinctive aesthetic. The work can be dissected into multiple windowpanes depicting stick figures participating in events of everyday life; driving cars, sitting underneath the shade of an umbrella, or riding a horse. Articulated through Aboudia's energetic application of oil stick stop layers of collaged material, the work provides a lens into life in the capital city of the Côte d'Ivoire. Stating 'my paintings are the Africa of today', the Ivorian artist reclaims control of the representation of the continent as he draws upon the visual language of his urban environment.Today working between Abidjan and Brooklyn, Aboudia has cultivated a dedicated following through his distinctive painterly practice. Since his market debut with Bonhams in 2013, sales of Aboudia's work have grown exponentially, totalling just over £6 million in the last year. His work is held in important international collections, including those of Charles Saatchi and Jean Pigozzi. His international reach is reflected in his timely inclusion in the presentation of work at the Côte d'Ivoire pavilion at the 50th Venice Biennale (on view until November 2022).For further information on this lot please visit Bonhams.com

Wim Botha (South African, active 1974)Prism 18, 2015 signed and numbered '2/3' (bronze verso)bronze with wooden pedestal, edition of 3 + 2APbronze: 71 x 35.5 x 33cm (27 15/16 x 14 x 13in)including base: 173 x 35.5 x 33cm (68 1/8 x 14 x 13in).Footnotes:ProvenanceStevenson, Cape Town;A private collection (acquired from the above in 2016).Prism 18 (2015) belongs to an ongoing series of semi-abstracted busts created by South African artist, Wim Botha. Botha, who lives and works in Cape Town, has gained a reputation for reconfiguring art historical tropes through his use of unconventional materials including stacked books and government documents. The present work is formed from a polystyrene block which has been roughly shaped using a chainsaw and wire cutter before being cast in bronze. The face of the figure never fully emerges from the carved block. The features remain unarticulated and are further obscured by the intersecting cuts that crisscross the surface of the blackened bronze. The violent treatment of the bust is carried through to the wooden plinth which features a jagged incision to its right side. The angular lines and blackened quality of the bronze sculpture destabilise the meanings traditionally granted to a portrait. Rather than identifying a subject, the bust stands as an index of process, prompting us to reconsider the role of artmaking in the formation of identity and power.Botha's confrontational practice has granted him a number of prestigious awards including the Helgaard Steyn Prize for sculpture in 2013, the Standard Bank Young Artist Award in 2005, and the first Tollman Award in 2003.For further information on this lot please visit Bonhams.com

λ MARTIN JENNINGS (BRITISH B. 1952)SIR JOHN BETJEMAN Bronze with a green patina Signed, numbered 14/20 and stamped with Pangolin Editions (to base)41 x 15cm (16 x 5¾ in.)A larger than life version of the present work can be found at St Pancras station in London. It was unveiled on 12th November 2007 to commemorate the opening of the Eurostar terminal. The location memorialises the connection between St Pancras station and Betjeman, a lifelong advocate of Victorian architecture and a founding member of the Victorian Society in 1957. Dreweatts Managing Director, Jonathan Pratt, sat down with Martin Jennings to talk about his career, gleaning fascinating insights into the creative process behind some of the nations most iconic works. Speaking about the process behind creating the statue of Sir John Betjeman, Jennings said: "The reading research is very important, and that is true of authors, writers, poets. You read their works, as much as you read about them, because you learn as much about what it is that people have responded to in that author. So to make a statue of Sir John Betjeman in St Pancras Station, I read all of his poetry a couple of times over, not only because I selected some quotations to carve inscriptions set into the station platform, but also because the poetry informed the mood of the statue. Part of my intention was to make a triangular relationship between sculpture, poetry and architecture, so that the figure is directly related to the building. You follow his gaze up to the roof above you. The poetry that I inscribed below him, which was taken from a poem called 'Cornish Cliffs', describes the awe with which Betjeman himself looked up at the cliffs in Cornwall, and I think stemmed from the same emotional base as the kind of awe that we all have for great buildings. Public sculpture should inform the space that it occupies, as much as the space should inform the sculpture."Condition Report: In good original condition. Condition Report Disclaimer

λ DOROTHEA SHARP (BRITISH 1874-1955)FEEDING TIMEOil on canvasSigne (lower left)99 x 81cm (38¾ x 31¾ in.)Painted circa. 1910. Provenance:Sale, Sotheby's, London, Modern British and Irish Paintings, Drawings and Sculpture,18 June 1997, lot 34Private collection, BerkshireDorothea Sharp's reputation has become synonymous with images of children playing freely in nature, beautiful rippling waters and memories of days spent frolicking at the beach. Dorothea Sharp was born in Kent in 1871. At the age of 21 she began her art education at Richmond art school and went on to study at the Regent Street Polytechnic. On arrival in Paris, Sharp was struck by the work of Claude Monet and this was to have a lasting effect. Sharp was a member of the Society of Women Artists and served as vice-president for four years. Sharp regularly exhibited at the Royal Society of British Artists and The Royal Academy during the first half of 20th century, holding her first one-woman show at Connell Gallery in 1933. Sharps' highly impressionist style captured idyllic scenes across Europe but also closer to home where she captured the British coast in St. Ives and Bosham.   Condition Report: The canvas has been relined. Inspection under UV reveals very light scattered retouching along the upper edge and to a very small area in the centre of the work just above the farthest away goose's head. Overall the work is in good original condition. Condition Report Disclaimer

λ REMI PESCE (FRENCH B. 1930)POISSON Bronze with a brown patinaSigned and numbered 2/829 x 39cm (11¼ x 15¼ in.)Condition Report: There is a scratch on the top of the fish's body. The sculpture is loose on its mount. Overall in good original condition. Condition Report Disclaimer

λ AUSTIN WRIGHT (BRITISH 1911-1997)JUGGLER AND TRICKAluminium, in two partsHeight: 115cm (45¼ in.)Executed in 1965.Provenance:Private Collection, Sussex (acquired early 1970s)Acquired from the above by the present ownerExhibited:Menston, Ilkley, Goosewell Gallery, Austin Wright, 1968, nos. 14 & 15Literature:James Hamilton, The Sculpture of Austin Wright, London, 1991, p. 104, cat. no. S244 (illustration of 'Juggler' p. 51)Once described as 'the most gifted sculptor working in Britain today' (Charles Sewter in The Manchester Guardian, 1955), Austin Wright's career developed away from the great artistic centres of London, Paris or New York. Working instead in his adopted Yorkshire, his reputation, much like the man himself, was somewhat unassuming. Shying away from the spotlight and eschewing the bright lights of Cork Street, his place in twentieth century British sculpture has often been overlooked and reassessment of his contribution is arguably overdue. Born in 1911 in Chester, Wright spent his childhood in Wales. He never received any formal artistic training and it was not until his mid-forties, that he was able to give up a career in teaching to pursue his art full time. Early success and critical recognition were forthcoming. In 1955, he exhibited alongside Eduardo Paolozzi, Kenneth Armitage and Elisabeth Frink at an exhibition entitled 'Modern Art in Yorkshire' and was subsequently invited to contribute to 'Younger British Sculptors', an exhibition that toured Sweden in 1956 and also featured William Turnbull, Geoffrey Clarke, Reg Butler and Lynn Chadwick.Whilst his work has echoes of Moore and Hepworth, Wright pursued his own artistic path and his mature style is uniquely his own. Drawing inspiration from plant forms and the landscape around him, his work is rooted in the natural world. Initially experimenting with a variety of mediums, including concrete, lead, wood and bronze, in the early 1960s, Wright began working in aluminium. He was impressed by the malleability and ductility of the metal which meant that he could produce finer, more delicate forms whilst retaining the strength to be produced on a large scale. The two works in this sale (lots 191 and 192) are both prime examples of his work of this period.His work is held in a number private and public collections including the Tate Gallery, Arts Council, National Museum of Wales, Cardiff, the Fitzwilliam Museum, Cambridge and the universities of Leeds and York. Significant retrospective exhibitions of his work have been shown at Wakefield (1960), Newcastle (1974), Yorkshire Sculpture Park (1984), Hull (1984) and York Art Gallery (2011).Condition Report: Recently professionally restored and cleaned to a high standard. Sculptures are on their original bases. Please contact the department for the restorer's treatment report. Condition Report Disclaimer

λ AUSTIN WRIGHT (BRITISH 1911-1997)FLOWERAluminium73 x 94cm (28½ x 37 in.)Executed in 1964.Provenance:Private Collection, Sussex (acquired in the late 1960s)Acquired from the above by the present ownerExhibited:London, Rowan Gallery, Austin Wright, 1964, no. 11Literature:James Hamilton, The Sculpture of Austin Wright, London, 1991, p. 103, cat. no. S234 Once described as 'the most gifted sculptor working in Britain today' (Charles Sewter in The Manchester Guardian, 1955), Austin Wright's career developed away from the great artistic centres of London, Paris or New York. Working instead in his adopted Yorkshire, his reputation, much like the man himself, was somewhat unassuming. Shying away from the spotlight and eschewing the bright lights of Cork Street, his place in twentieth century British sculpture has often been overlooked and reassessment of his contribution is arguably overdue. Born in 1911 in Chester, Wright spent his childhood in Wales. He never received any formal artistic training and it was not until his mid-forties, that he was able to give up a career in teaching to pursue his art full time. Early success and critical recognition were forthcoming. In 1955, he exhibited alongside Eduardo Paolozzi, Kenneth Armitage and Elisabeth Frink at an exhibition entitled 'Modern Art in Yorkshire' and was subsequently invited to contribute to 'Younger British Sculptors', an exhibition that toured Sweden in 1956 and also featured William Turnbull, Geoffrey Clarke, Reg Butler and Lynn Chadwick.Whilst his work has echoes of Moore and Hepworth, Wright pursued his own artistic path and his mature style is uniquely his own. Drawing inspiration from plant forms and the landscape around him, his work is rooted in the natural world. Initially experimenting with a variety of mediums, including concrete, lead, wood and bronze, in the early 1960s, Wright began working in aluminium. He was impressed by the malleability and ductility of the metal which meant that he could produce finer, more delicate forms whilst retaining the strength to be produced on a large scale. The two works in this sale (lots 191 and 192) are both prime examples of his work of this period.His work is held in a number private and public collections including the Tate Gallery, Arts Council, National Museum of Wales, Cardiff, the Fitzwilliam Museum, Cambridge and the universities of Leeds and York. Significant retrospective exhibitions of his work have been shown at Wakefield (1960), Newcastle (1974), Yorkshire Sculpture Park (1984), Hull (1984) and York Art Gallery (2011). Condition Report: Recently professionally restored and cleaned to a high standard. Damaged base replaced. Please contact the department for the restorer's treatment report. Condition Report Disclaimer

SPENCER FREDERICK GORE (BRITISH 1878-1914)A GARDEN SQUARE IN CAMDEN TOWN Oil on canvas 51.5 x 62cm (20¼ x 24¼ in.)Painted in 1910.Provenance:Acquired directly from the artist by John Quinn, New York, 1911His sale, American Art Association, New York, 10 February 1927, lot 228Acquired from the above by S. LustgartenSale, Christie's, London, Modern British and Irish Paintings, Watercolours, Drawings and Sculpture, 23 November 1993, lot 57Sale, Christie's, London, 20th Century British Art, 5 March 1999, lot 26 Literature:Forbes Watson (intro.), The John Quinn Collection of Paintings, Watercolours, Drawings and Sculpture, New York, 1927, p.17It is my privilege to have observed at close quarters the development of Spencer Frederick Gore, from what I may perhaps call the coming of age of his talent in 1906, to its close in 1914 ... In his painting was made manifest colour, and not merely colours ... He attained to exquisiteness in touch. Expression descended like snowflakes on his canvases, varied, adequate, and economical. He painted with the reticence and the measure of the great gentleman that he was. (W.R. Sickert, Paintings by the Late Spencer F. Gore, London, Carfax Gallery, February 1916.)  Spencer Gore met Walter Sickert in 1904 while traveling in Normandy with fellow artist Albert Rutherston. Sickert was living in Dieppe at the time but moved back to London the following year and took a studio in Fitzroy Street not far from Gore. The two became great friends and an inspiration to each other. In 1909 they both took rooms in Mornington Crescent. Sickert resided at no. 6 and Gore rented a front room at no. 31 from a local vicar. It is believed that the present work depicts Mornington Crescent Gardens. The changing seasons and everyday activities within the gardens became a regular source for subject matter. People sitting, reading quietly, or playing tennis on the grass court, a game close to Gore's heart as his father had been the first Wimbledon Lawn Tennis champion in 1877. Writing in the New Age Magazine on 9 April 1914, after Gore's sudden death from catching pneumonia, Sickert reminisces that 'There was a few years ago a month of June which Gore verily seems to have used as if he had known that it was to be for him the last of its particularly fresh and sumptuous kind. He used it to look down on the garden of Mornington Crescent. The trained trees rise and droop in fringes, like fountains, over the little well of greenness and shade where parties of young people are playing at tennis. The backcloth is formed by the tops of the brown houses of the Hampstead Road, and the liver-coloured tiles of the Tube Station'. (W.R. Sickert, The New Age, 9th April 1914, The Perfect Modern, p.718)  Condition Report: The canvas has been relined. There is so evidence of retouching visible under ultraviolet light apart from one spot at the centre of the upper edge. In overall good condition. Condition Report Disclaimer

λ EMILY YOUNG (BRITISH B. 1951)TORSO (FALL)Bronze Height (excluding base): 128cm (50 1/8in.)Conceived in 2005, this work is an artist's proof. Provenance:The Fine Art Society, LondonAcquired from the above by the present owner in 2007Condition Report: The sculpture would benefit from a clean and re-wax. Please contact the department for details and advice pictures@dreweatts.com. There is old tape and glue residue attached to the back of the right thigh. This would need to be removed professionally. Condition Report Disclaimer

λ JACOB EPSTEIN (AMERICAN/BRITISH 1880-1959)FOURTH PORTRAIT OF DOLORES BronzeHeight (including base): 46cm (18in.)Conceived in 1923. Provenance:Ruskin Galleries Ltd., Stratford-on-AvonJohn R. Brown, Private Collection, Stratford-on-AvonThence by descent to the present owner Literature:Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, no. 135, p. 135 (illustration of another cast)Condition Report: Light surface dirt throughout. Head free-standing on floating wooden stand attached to marble base. In good original condition.Height of sculpture excluding base is 24.5cm Some rubbing and loss to the edges of the marble base. Glue residue to the right side corner of the base. Condition Report Disclaimer

Two mats Jonasson glass sculpture of an iceberg containing a polar bear and a cub an Elephant A/F, together with a signed Mdina paperweight in the form of a mushroomLocation: 11:1

A CARVED TREEN SCULPTURE OF PACIFIC TRIBAL BOAT PROW, bearing a brass plaque inscribed 'Cook Islands', on a plinth base, 36 cm high

An Apple stoneware sculpture by Pete Flux for the Apple Boutique, tapering cylindrical stem with broad, flaring uneven rim, glazed chestnut brown, blue and cream , incised Apple, impressed Pete Flux, 15.5cm. high Provenance John Lyndon

Amanda Brisbane Butterfly sand-cast glass sculpture signed 50cm. high