MASAZANE/SHOSHINA Bronze Okimono (Table Ornament) Figure of a Shojo (Drunken Spirit) Taisho (1912-1926) or Showa (1926-1989) era, 20th century Cast in three sections, the shojo seated, leaning to the left, drunk, holding an empty sake cup (removable) with both hands, the sake cup engraved with a crane in flight, a small removable minogame (bushy-tailed turtle) crawling over his right shoulder, signed Ryu [...]; signed on the base with a long inscription Zotei suidobuin ichido, Showa san'nen kugatsu tsuitachi (Presented by all the members of the Waterworks Department, 1 September 1928), signed Shoshin/Masazane saku; with a wood tomobako storage box titled outside the lid Chudosei Shojo okimono (Cast Bronze Table Ornament of Shojo), signed inside the lid Shoshin/Masazane saku with a seal. 16.5cm x 20cm (6½in x 7 7/8in). (4).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
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Ephemera, a collection of vintage books, maps, cigarette cards etc. to include 1955 first edition T.E.Lawrence The Mint, 1893 Hood's Humorous Poems, 1916 Shakespeare Tercentenary hardbacked programme, 2 copies of The Kindred Spirit a History of Gin and the House of Booth (some foxing to covers), 1912 The Royal Visit To India 1911-1912 hard backed book, 1900 dated Samuel Mart & Co. alcohol price list (poor), a selection of cigarette card albums (mixed condition gen gd)
Y A Japanese Inlaid Lacquer Panel, of rectangular form within a faux bamboo frame, the roiro panel inlaid in ivory, abalone shell and bone with the seated figures of Chokwaro and Tekkai Sennin, the spirit of the latter seen flying above them, details well rendered and enhanced with dark staining, two signature seals to one corner, 89cms by 59cms, Meiji Period. Ivory certificate : ZZHFF5KQ Condition Report: some lossesCondition Report Disclaimer
Six cased slot car models to include Ninco Ferrari F50, ProSlot Porsche 911 GT 3 Supercup (cracked case), Spirit Hobby Ferrari 512M (Amarillo) (cracked case), SCX Tuning Car 3, Carrera Maserati MC 12 and Sloter Minimodels 9500 312 PB Cola Lunga Ickx. Models appear gd - some parts detached, cases show storage wear
A Casio G-Shock MR-G limited edition MRG-B2000SH-5A MRG Shougeki-Maru Samurai Helmet Masao Kobayashi watch, featuring a Japanese digital and quartz movement with multi-function dial, Bluetooth app function, multi timezones, in a recrystallized Titanium Case measuring 47mm with engraving and textured dial all on a bronzed articulated strap with folding clasp and lock function.Model: MRG-B2000SH-5ASerial: A93540No box, no papers.App download available onlineTaking inspiration from a KABUTO (helmet) specially created for the MR-G series, the MRG-B2000SH evokes the noble spirit and aesthetic sensibility of a samurai commander. Representing the helmet’s maedate (crest), each bezel features the image of a dragon hand carved by a metalsmith highly skilled in the technique of chasing. The case and band, cast with specially-produced metal dies, simulate the rugged look of rusted steel, with finishes of brown and blue aged IP for a time-worn appearance. Casio has teamed up with specialists in traditional arts to unite proud Japanese craftsmanship and advanced technology.Watch in connection to the Mr G app is showing that the watch is normal across all functions with a high level of the battery. Self-check: OKSurface scratches and general wear consistent with age. https://gshock.casio.com/intl/products/mr-g/mrg-b2000sh/
An early 20th century brass collapsible spirit cup, housed in an advertising ware pocket watch style outer case.The cup was likely once silver plated, and is marked ‘CT&S No.54707 to the base.The case is a piece of advertising ware, with the engraved details for McConnell’s Old Irish Whiskey, Belfast.Approximately 5cm across.Condition: hinge at fault.The hinge has broken (and appears to have been once already), with the lid now detached.Almost all of the silver plating to the cup has now gone.No dents to the outer case.
A GEORGE V NOVELTY SILVER SCENT FLASK by William Henry Stokes & Arthur George Ireland, Chester 1917, in the form of a miniature spirit flask, with screw cap; together with a George V match book holder, by E J Trevitt & Sons, Chester 1929, rectangular with canted corners, with all-over engine-turned decoration, the front cover with a vacant rectangular cartouche; an Edwardian sealing wax holder, by John & William F Deakin, Chester 1902, in the form of a miniature chamber stick, with gadrooned rim and bead loop handle; and an Edwardian novelty goblet, by Edward Foligne Braham, Birmingham 1906, of miniature proportions. (4) Match book holder 6.1cm by 4.5cm, 2.4 troy ounces grossGood condition overall, wear and tear commensurate with age, the chamber stick has some dents to edges, clear marks. Goblet has a number of dents to body and foot, clear marks. Flask has clear marks, very light scratches with age, two minor dents to body, otherwise very good. Match book holder very good, snaps shut with some slight movement between top and bottom
A VICTORIAN SILVER SPIRIT FLASK OF UNUSUAL FORM by Henry William Dee, London 1879, rounded rectangular, slightly shaped for the pocket, the twist hinged cap recessed into one corner, engraved with a monogram, stamped with registration lozenge. 8.5cm by 5.5cm, 3.4 troy ouncesGood condition overall, wear and tear commensurate with age, clear marks, dents to cover, and dent to top right corner, a few small dents to concave side and one minor dent to other side
A LATE VICTORIAN SILVER SPIRIT FLASK by William Henry Stokes & Arthur George Ireland, Chester 1899, plain demilune form, shaped for the pocket, with twist hinged cap. 9.6cm wide, 4.6 troy ouncesGood condition overall, wear and tear commensurate with age, marks slightly rubbed, small dent to cap, minor dent to top edge, very minor dent to base, light surface scratches with age, sits flush no rocking
AN EDWARDIAN SILVER SPIRIT KETTLE ON STAND by Horace Woodward & Co Ltd, London 1907, with ebonised handle and finial, the stand with pierced gallery side and scalloped rim, with ebonised twin handles, raised on four scroll legs and pad feet, with detachable burner, engraved 'THE AMBLESIDE KETTLE' to underside. Stand 20.2cm across handles, 35.7 troy ounces gross"The Ambleside Kettle" was originally retailed as a picnic kettle.Marks clear throughout. Stands upright, very minor wobble to stand feet. Cover hinge slightly loose but sturdy. Light surface scratches and marks throughout commensurate with age and use.
ROYAL DOULTON LAMBETH STONEWARE SPIRIT BARREL CIRCA 1880-1900 the barrel incised with central band of fruiting vines and bordering bands of palmettes, the ends with flowerheads, with silver plated mounts, one engraved with armorial, and stopper with cherub final, on oak X-frame support with silver plated mountsthe barrel 20cm long
Nicholas Richard Brewer (1857-1949). Oil on canvas painting depicting two figures in a walled garden, one shrouded in shadow and the other bathed in sunlight. Signed along the lower right.Lot Essay:Born in a log cabin in Minnesota in 1857, Nicholas Brewer’s work typifies his frontier spirit and love for the American landscape. He grew up on a farm, where his days were defined by hard work, but he still found the time to draw and paint in between chores. At the age of 18, he moved to St. Paul. He received some art training there from Henry Koempel, a local painter and decorator, and ended up marrying Koempel’s daughter. He eked out a living for his swiftly growing family through portrait commissions and teaching.In 1885, Brewer first traveled to New York, determined to make it as a serious artist. He received a small amount of training there; however, he remained primarily self-taught. He began receiving some success in New York, and continued spending winters there for much of his career. His work was included in several exhibitions, and he was inducted into the illustrious Salmagundi Club. In his later career, he traveled the United States, giving traveling lectures and exhibitions, as well as taking portrait commissions wherever he went. During one productive visit to Washington D.C., Brewer even painted a portrait of President Franklin Delano Roosevelt.The main reason for his travels, though, was his love of the American landscape. Although Brewer was never able to fully make a living by landscape painting, it remained his true passion. His agrarian upbringing left him with a sense of reverence for the earth, and he delighted in experimenting with colors and textures to best capture the mood of a landscape. He paid particular heed to the flora he passed by, from the solemn Minnesota prairie grasses to southern blue bonnets to the tiny patches of scrub grass clinging to vertiginous California cliffs. His paintings rarely depict specific places; Brewer instead preferred to paint landscapes that he felt represented an ideal, more the spirit than the actuality of a location. Nevertheless, his travels provided him with a rich backdrop upon which to base his works.Sight; height: 25 in x width: 29 1/4 in. Framed; height: 32 in x width: 36 1/2 in.Condition: There are scattered restorations throughout the artwork; most notably along the upper left quadrant there is a large area of inpainting measuring approx. 1" x 2" in size. Further notable areas of inpainting along the canopy of the palm tree above the little girl, just above the girl, along the center left edge, amongst other, smaller scattered restorations. Wear along the verso. The keys have been replaced. Losses to the gilt wood frame and wear to the frame throughout.
Nicholas Richard Brewer (1857-1949). Oil on canvas titled "Pastoral Scene," depicting a Texas prairie scene of cattle grazing on rolling hills dotted with wildflowers, 1927. Signed and dated along the lower right.Lot Essay:Born in a log cabin in Minnesota in 1857, Nicholas Brewer’s work typifies his frontier spirit and love for the American landscape. He grew up on a farm, where his days were defined by hard work, but he still found the time to draw and paint in between chores. At the age of 18, he moved to St. Paul. He received some art training there from Henry Koempel, a local painter and decorator, and ended up marrying Koempel’s daughter. He eked out a living for his swiftly growing family through portrait commissions and teaching.In 1885, Brewer first traveled to New York, determined to make it as a serious artist. He received a small amount of training there; however, he remained primarily self-taught. He began receiving some success in New York, and continued spending winters there for much of his career. His work was included in several exhibitions, and he was inducted into the illustrious Salmagundi Club. In his later career, he traveled the United States, giving traveling lectures and exhibitions, as well as taking portrait commissions wherever he went. During one productive visit to Washington D.C., Brewer even painted a portrait of President Franklin Delano Roosevelt.The main reason for his travels, though, was his love of the American landscape. Although Brewer was never able to fully make a living by landscape painting, it remained his true passion. His agrarian upbringing left him with a sense of reverence for the earth, and he delighted in experimenting with colors and textures to best capture the mood of a landscape. He paid particular heed to the flora he passed by, from the solemn Minnesota prairie grasses to southern blue bonnets to the tiny patches of scrub grass clinging to vertiginous California cliffs. His paintings rarely depict specific places; Brewer instead preferred to paint landscapes that he felt represented an ideal, more the spirit than the actuality of a location. Nevertheless, his travels provided him with a rich backdrop upon which to base his works.Unframed; height: 32 1/2 in x width: 40 in. Framed; height: 39 1/4 in x width: 47 in.Condition: The painting is in fair condition. There is craquelure throughout. There are stretcher bar marks visible along all four margins. There are scattered small areas of restoration throughout, visible under UV light. The largest area is along the center of the painting along the right margin and is oval in shape, measuring approx. 1.5" x 2" inches. It is patched along the verso. Along the center near the left margin there is a 3 inch long restoration that is also visible along the margin; it was possibly a tear. Some light wear to the frame.
Nicholas Richard Brewer (1857-1949). Oil on canvas titled "The Toilet," depicting a young woman preparing her hair in a mirror, ca. 1906.Lot Essay:Born in a log cabin in Minnesota in 1857, Nicholas Brewer’s work typifies his frontier spirit and love for the American landscape. He grew up on a farm, where his days were defined by hard work, but he still found the time to draw and paint in between chores. At the age of 18, he moved to St. Paul. He received some art training there from Henry Koempel, a local painter and decorator, and ended up marrying Koempel’s daughter. He eked out a living for his swiftly growing family through portrait commissions and teaching.In 1885, Brewer first traveled to New York, determined to make it as a serious artist. He received a small amount of training there; however, he remained primarily self-taught. He began receiving some success in New York, and continued spending winters there for much of his career. His work was included in several exhibitions, and he was inducted into the illustrious Salmagundi Club. In his later career, he traveled the United States, giving traveling lectures and exhibitions, as well as taking portrait commissions wherever he went. During one productive visit to Washington D.C., Brewer even painted a portrait of President Franklin Delano Roosevelt.The main reason for his travels, though, was his love of the American landscape. Although Brewer was never able to fully make a living by landscape painting, it remained his true passion. His agrarian upbringing left him with a sense of reverence for the earth, and he delighted in experimenting with colors and textures to best capture the mood of a landscape. He paid particular heed to the flora he passed by, from the solemn Minnesota prairie grasses to southern blue bonnets to the tiny patches of scrub grass clinging to vertiginous California cliffs. His paintings rarely depict specific places; Brewer instead preferred to paint landscapes that he felt represented an ideal, more the spirit than the actuality of a location. Nevertheless, his travels provided him with a rich backdrop upon which to base his works.Height: 30 in x width: 26 in.Condition: The artwork is in generally good condition. The surface is stable and the colors are bold and bright. There is craquelure throughout the work. When inspected underUV there are areas of restoration along the extreme edges, most concentrated along the upper right corner. There are minor losses to the extreme edges of the work, most noticeable along the upper right corner. Wear to the edges of the artwork. The keys have been replaced and are newer, likely within the past 10 years. Some wear to the frame.
Paul T. Granlund (American, 1925-2003). Bronze sculpture titled "Ambivalence III," depicting a woman in a contorted pose balancing on one leg, 1960. Signed, dated, and numbered illegibly along the base.Literature: William K. Freiert, "Paul T. Granlund: Spirit of Bronze Shape of Freedom," Primarius Limited Publishing (Minneapolis: 1991), pg. 82, plate 144.Kathryn Christenson and Kelvin W. Miller, "Granlund: The Sculptor and his Works," Gustavus Adolphus College (St. Peter, MN: 1978), pg. 212, plate 144.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 14 in x width: 18 in x depth: 11 1/2 in.Condition: No noticeable cracks, dents, or losses. Due to the original design of the artwork, some areas are difficult to discern whether it is damaged or original. However, given that No visible sign of restoration under UV light. Along the recessed areas, there are a few scattered areas with white unidentified residue collected; however, it does not appear to be a glue. Wear along the underside.
Paul T. Granlund (American, 1925-2003). Bronze sculpture titled "Figure with Mirror", depicting a figure of a woman with her mirror image next to her, 1984. Signed, titled, and numbered 3/10 along the base.Literature: William K. Freiert, "Paul T. Granlund: Spirit of Bronze Shape of Freedom," Primarius Limited Publishing (Minneapolis: 1991), pg 117, plate 513.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 29 1/4 in x width: 18 1/4 in x depth: 7 3/4 in.Condition: No visible dents, cracks, or losses. No visible sign of restoration under UV light. Wear throughout. Light oxidation throughout, most noticeably along the upper back of the mirror image. Throughout the sculpture, there is uneven coloration visible; however, it appears to be the original design intended by the artist. Wear along the underside.
Paul T. Granlund (American, 1925-2003). Bronze sculpture titled "Toe To Toe" depicting two figures interlocked, 1988. Signed along the base P.T. Granlund, dated, and numbered 12/25.Literature: William K. Freiert, "Paul T. Granlund: Spirit of Bronze Shape of Freedom," Primarius Limited Publishing (Minneapolis: 1991), pg. 822, plate 555.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 11 1/2 in x width: 8 in x depth: 8 3/4 in.Condition: The sculpture is in good condition with no dents, losses, bend, breaks, or restorations. Some light wear, especially along the base, consistent with age and use.
LIU DAN (b.1953)Old Cypress from the Forbidden City, 2007Ink on xuan paper, signed in lower right corner. 259.1cm high x 137.2cm wide (102in high x 54in wide) Footnotes:劉丹（1953年生） 紫禁城御花園古柏 水墨紙本 鏡框 2007年作Published, Illustrated and Exhibited: Chinese Ink Painting Now, New York, 2010, p.71.Michael Goedhuis, Ink: The Art of China, Saatchi Gallery, London, 2012, p.75.展覽著錄：《當代中國水墨畫》，紐約，2010年，第71頁。Michael Goedhuis著，《Ink: the Art of China》， 薩奇美術館，倫敦，2012年，第75頁。Liu Dan is one of the most internationally renowned painters of his generation, known for his meticulously detailed ink paintings of rocks, trees and flowers that combine literati traditions with western hyper-realism. Liu Dan's paintings of trees are rare, and most of his work usually depicts rocks or flowers. The present lot depicts a specific cypress tree in the Imperial garden of the Forbidden City. The garden, which is at the rear of the palace, was a private retreat for the Imperial family. Many of the trees planted there date to the Ming dynasty and are living time capsules of history. Indeed, the cypress in Chinese is baishu (柏樹) which is homophonous with bai (百) 'hundred', and so symbolises longevity as well as virtue. The present painting therefore, seems to capture the essence of China's long and textured history. Born in Nanjing, Jiangsu Province, in 1953, Liu studied the Confucian classics, poetry, painting, and calligraphy with his grandfather at an early age. After the disruption of the Cultural Revolution and joining the Nanjing Red Guards, Liu returned to traditional painting under Ya Ming (1924-2002) at the newly reopened Jiangsu Academy of Chinese Painting, Hangzhou, from 1978 to 1981. He later moved to Hawaii and studied Western art. Liu then moved to New York in 1992, and after fourteen years there, he returned to China in 2006.Despite his highly privileged training with noted ink painter Ya Ming, and years of study at the Jiangsu Provincial Academy of Painting in his native town of Nanjing, Liu Dan's work departs from the dramatic expressive qualities of the brush and brushstrokes that were central to his education. Having mastered the art of self-expression via the brushstroke, for centuries regarded as key to the most sophisticated Chinese ink painting revealing the hand and heart of the artist, Liu Dan rejected it in favour of a focus on structure. There are three reasons why Liu's painting moved away from brush-strokes to hyper-realism: Firstly, he found it imperative to reconnect with an original pure creative spirit and for this reason he delighted in the less self-conscious forms of classical and medieval Western art, and Chinese art of the Yuan dynasty (1271-1368) and earlier. Secondly, while living in the West - primarily Hawaii and New York, from 1981 until moving to Beijing in 2006 - he concluded that most twentieth-century Chinese art had been produced in response to external pressures. He aspired to be an agent of self-directed creativity rather than reactive production. Thirdly, he developed a personal philosophy of nature's generative force, observing that natural forms evolve and duplicate on a grand scale, such that rocks can be considered the 'stem cells of landscape, see, C.von Spee, Modern Chinese Ink Paintings, London, 2012, p.101. Liu Dan explains his doctrine as an artist: 'Your one responsibility as an artist is changing the visual experience of people, the way they look at things. Your one purpose is to encourage an openness of mind that allows them to look beyond everyday concerns and think freely.' Liu Dan's ink paintings, whether of landscapes, scholar's rocks, or old cypress trees in the Forbidden City, are all fastidiously conceived, complex works which highlight his concern to emphasise underlying compositional structure over virtuoso expressions of brushwork. Liu's paintings are collected globally and can be found in many prestigious museums and collections including the British Museum; the Musée Guimét, Paris; The Shanghai Contemporary Art Museum; the Ashmolean Museum, Oxford; and the San Diego Museum of Art. See a painting of a poppy by Liu Dan, which was sold at Christie's New York, 16 September 2016, lot 1118.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
GU WENDA (b.1955)Storm Clouds Gathering Over a Small Hut, 1993Ink on paper, signed by the artist, framed. 68.5cm high x 99cm wide (27in high x 39in wide). Footnotes:谷文達（1955年生） 曲徑通幽處 水墨紙本 鏡框 1993年作 Gu Wenda was a leading figure of China's 1980s 'New Wave' art movement, and later a prominent member of China's art diaspora when he moved to New York in 1987. He originally studied traditional ink painting at the Zhejiang Academy of Fine Arts and achieved a superlative degree of technical skill which he put to devastating effect during the exciting era of China's opening-up policy. His early landscapes, such as Ink Valley and White Water (1986), illustrated in China Onward: The Estella Collection, Chinese Contemporary Art, 1966-2006, Humlebaek, 2007, p.89, show an understanding of historical masters but feature iconoclastic compositions and surreal spaces, reflecting the mentality of Chinese society and idealist art of the 1980s, when huge social changes took place. By combining different character components, Gu has invented unreadable characters to investigate the power of the written word. In most of these works, he places these powerfully symbolic pseudo-characters in vast surreal spaces. See for example, The Mythos of Lost Dynasties, C Series No.6: Cloud and Water, 1996-1997, illustrated in Chinese Ink Painting Today, New York, 2010, pp.152-153. For more details about Gu Wenda, see also W.Hung, Contemporary Chinese Art: A History, 1970s>2000s, Singapore, 2014, pp.314-315. The present lot is titled and inscribed with a line from a Tang dynasty poem by Chang Jian 常建 (708-765) which may be literally translated as 'the winding path leading to the dark and secluded place' (曲徑通幽處).The painting thus encapsulated Gu's understanding of traditional art and literature, with his innovative spirit. Gu Wenda's works are in numerous prestigious collections and museums globally, including the Guggenheim Museum, New York; The British Museum, London; the Museum of Fine Arts, Boston; the Uli Sigg Collection, Switzerland; Shanghai Art Museum; China National Art Museum, Beijing; and the San Francisco Museum of Modern Art. Compare with a related painting by Gu Wenda, which was sold at Sotheby's Hong Kong, 5 October 2015, lot 2803.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
ZENG XIAOJUN (b.1954)Ancient Wood from Horyu Temple in Nara, Japan No. 2, 2004Ink on xuan paper, framed. 182cm long x 126cm wide (71 3/4in long × 49 1/2in wide). Footnotes:曾小俊（1954年生）奈良法隆寺古木，日本No.2 水墨紙本 鏡框 2004年作 Published, Illustrated and Exhibited: Chinese Ink Painting Now, New York, 2010, p.62.Michael Goedhuis, The Ink Art of China, London, 2019, pp.10-11.展覽著錄：《當代中國水墨畫》，紐約，2010年，第62頁Michael Goedhuis著，《水墨中国》，伦敦，2019年，第10-11頁Zeng Xiaojun was born in Beijing in 1954. He graduated from the Central Academy of Fine Arts, Beijing, in 1981, specialising in mural painting. He moved to the United States in 1983 and lived for the next fourteen years in Boston, where he exhibited and taught until 1997. Drawing inspiration from the literati landscape painting tradition, especially works by Shen Zhou (1427–1509) and Wen Zhengming (1470–1559) of the Ming dynasty, Zeng extracts rocks and trees from the context of landscape and depicts them as isolated objects. Zeng Xiaojun collects antique furniture, scholar's rocks and grotesque roots which the Chinese literati have long held the tradition of depicting.Employing a delicate balance between dry and wet, lines and dots, his meticulously executed paintings remind us of the Chinese scholars' fascination with these subjects as embodiments of their own spiritual perseverance in times of difficulty and turbulence. Together with the work of Liu Dan, Zeng Xiaojun's ink paintings are a powerful example of how the high culture of traditional China can be reinvigorated for contemporary society.See a related painting by Zeng Xiaojun, 'Wild Spirit Screen No.2', 2013, which was sold at Christie's Hong Kong, 28 May 2018, lot 858.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
QIU DESHU (b.1948)Self Portrait (Spirit), 1997Ink and acrylic on xuan paper and mounted on canvas, signed and dated 1997 in Chinese. 180cm high x 360cm wide (70 3/4in high x 141 1/2in wide) Footnotes:仇德樹(1948年生) 自畫像（靈魂） 水墨丙烯宣紙 裱於畫布 1997年作 Published, Illustrated and Exhibited: Louisiana Museum of Modern Art, China Onward: the Estella Collection, Chinese Contemporary Art 1966-2006, Humlebaek, 2007, pp.232-233. Chinese Ink Painting Now, New York, 2010, p.82.Michael Goedhuis, Qiu Deshu, London, 2012, pp.40-41.Michael Goedhuis, Ink: The Art of China, Saatchi Gallery, London, 2012, pp.168-169. 展覽著錄：路易斯安納現代藝術博物館編, 《China Onward: the Estella Collection, Chinese Contemporary Art 1966-2006》，胡姆勒拜克，2007年，第232-233頁。《當代中國水墨畫》，紐約，2010年，第82頁。Michael Goedhuis編, 《仇德樹》，倫敦，2012年，第40-41頁。Michael Goedhuis編, 《Ink: The Art of China》, 薩奇美術館, 倫敦, 2012年, 第168-169頁. Qiu Deshu, born in Shanghai in 1948, was one of the earliest artists on the mainland to receive international recognition in the post Mao era. As a child he studied traditional ink painting and seal carving, but his interest in the traditional arts was interrupted by the Great Proletarian Cultural Revolution, during which he was sent to work at the Number Eighteen Shanghai Plastics Factory. At the close of that tumultuous period, he rededicated himself to art and co-founded the Grass Painting Society (Cao cao hua she 草草画社), one of the first experimental art groups in the late 70s. However, his interest in abstraction was deemed too 'bourgeois' and he was ordered to cease painting during the Anti-Spiritual Pollution Campaign of 1983. It was around this time that he developed his signature style of tearing paper, called 'fissuring' (liebian 裂变).'Fissuring', which in Chinese literally means tearing (裂) and change (变), indicates both the dramatic changes and breaks in his own life as well as that of a rapidly changing Chinese society. His creative process begins with painting vivid colours on traditional Chinese xuan paper, tearing it, and then sticking selected pieces to a base layer using the techniques traditionally employed in mounting Chinese paintings. When spaces show between the mounted torn papers they read as fissures or cracks. Abrading or burnishing the paper, or mounting white paper on top of colours, produces additional effects: the final work is a sophisticated combination of painting and collage.The present lot, his self-portrait, is merged with a rocky landscape, not only reflecting the fissures and dramatic disruptions fragmenting his life, but also his unity with the ever-changing universe. As an expression of his place within this ongoing cosmos in flux, Qiu created his unique Self-Portrait (Spirit), a landscape in which facial features emerge from the mountain formations to suggest the presence of the artist's human spirit.Qiu Deshu's works are in numerous museum collections including the Museum of Fine Arts, Boston; M+ Museum, Hong Kong; Shanghai Art Museum, China; Asian Art Museum, South Korea; Taichung Provincial Art Museum, Taiwan; Linden Museum, Germany; Seoul Maili Art Museum, Korea; and Shenzhen Art Museum, China.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Y LARGE PORTRAIT MINIATURE OF LOUIS XVI 19TH CENTURY oval, on ivory, after the original by Joseph Boze, painted with watercolours and bodycolour, the sitter wearing a mauve and gold embroidered coat and the Order of the Holy Spirit, signed indistinctly, in an unmarked gold locket frame with tortoiseshell and mother-of-pearl covers, mirror interior, and a suspension loopDimensions:9.3cm excluding frameNote: Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference WXDR5895Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/
A Chinese blue and white ‘spirit’ bottleQing dynasty, Kangxi periodOf elongated barrel shape, with short straight spout rising from a recessed mouth, boldly painted around the body in bright washes of cobalt blue with a thick meander of scrolling leafy chrysanthemums, the recessed base left plain, 14.5cm high.Provenance: Guest & Gray (label).清康熙 青花繪菊紋魂瓶來源：Guest & Gray（標籤）。Condition Report: 品相報告A few expected minor firing imperfections and a shallow infilled chip at the foot. There is a patch highlighting to the side under UV, however this looks to be some transparent residue from the foot chip, rather than restoration to the area.
A mid-20th century American sterling cylindrical christening cup, inscription engraved, Newburyport by Towle Silversmiths, height 6.3cm, and a small group of other American sterling, including a christening knife, fork and spoon set and a serving spoon, together with a pair of late Victorian apostle sugar tongs, London 1893 by Mappin & Webb, total weight 431.3g, and a group of plated items, including a spirit kettle, stand and burner, a two-handled tea tray, water jug, an American bowl by Reed & Barton, diameter 25.4cm, and a Gorham for Horizon copy of a 'Greek Kylix from the Metropolitan Museum of Art', length 17.5cm.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.
A Victorian mother-of-pearl mounted and silver folding fruit knife, Birmingham 1853 by George Unite, a silver two-piece buckle, cast and pierced with foliate scrolls, Chester 1899 by Cornelius Desormeaux Saunders & James Francis Hollings Shepherd, length 12cm, a silver trowel book mark, no date letter, length 8.8cm, and a small group of other silver, including a stamp envelope, an enamelled 'Mind, Spirit, Body' brooch and a clear glass scent bottle and stopper with silver screw lid, Chester 1925, height 6cm, weighable items 144.9g, together with a plated propelling pencil.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.
A small group of silver items, including a Chinese spirit measure decorated with a dragon by Wang Hing, height 4cm, a Victorian silver ovoid pepper, London 1881, and a cigar cutter, together with a Dunhill lighter and a diminutive carriage timepiece.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.
Athletics Interest: A framed and glazed, black and white action photograph of 'Sir Roger Bannister CBE - The first man to run the mile in less than 4 minutes'. Signed by Bannister to the top of the photograph. Limited Edition 194 of 200. Spirit of Sport label to reverse. Frame measuring approx. 67cm x 60cm.
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