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Lot 1369A
Philippe Gentils (French, Contemporary). "Grands Espaces", a dynamic, textured abstraction, acrylic and mixed media, signed on frame, titled and dated 1995 verso, in moulded frame under glass, 94 cm x 94 cm overall[Gentils is an award-winning painter who resides in France, exhibiting both nationally and internationally in China and The United States. His work seeks a balance between figuration and abstraction and is rooted in the contemplation of nature and the spirit of the elements.]
Lot 205
A George III silver spirit burner, of quatrefoil form, the top with five apertures, and a central detachable circular section which when removed allows for filling, each aperture presumably to take a wick, fully marked to the underside of the base, with the lion passant struck to the flange of the detachable circular cover, Henry Green & Charles Aldridge, London 1776, length 10.8cm, weight 166g/5.33ozt approx
Lot 193
Field Sports Interest.A Victorian silver travelling spirit decanter or flask, with beaker, of tapering cylindrical form, the cap with cork stopper, secured by a screw thread mechanism, and integral suspension chain fitted with gimble, to prevent the chain from being tangled when the cap is unscrewed, the base with an integral fitted beaker with gilt interior, Thomas Johnson I, London 1866, length 27.3cm, weight 231g/7.42ozt approx
Lot 34
GLENN BROWN (B. 1966)The Music of the Mountains 2016 signed on a label affixed to the reverse of the backing boardIndia ink and acrylic on panel 135 by 95 cm. 53 1/8 by 37 3/8 in. This work was executed in 2016. Footnotes:This work is registered in the archives of the Glenn Brown Studio, London. ProvenanceGagosian Gallery, London Acquired directly from the above by the present ownerExhibitedFlorence, Museo Stefano Bardini, Glenn Brown: Piaceri Sconosciuti, 2017London, Gagosian Gallery, Glenn Brown: Come to Dust, 2018Guernsey, The Rona Cole Art Gallery, Guernsey Museum at Candie, 2018 - 2022, work on loan to the museumEmerging from a shimmering veil of woven, fluttering lines and threads of acrylic and ink, the timeless subject of Glenn Brown's The Music of the Mountains impresses upon us the uniqueness of his talent and the thrilling nature of his daring artistry that calls upon the benevolent gods of art history, from Da Vinci, Fragonard, Rembrandt and Boucher to John Martin, Dali, and Frank Auerbach. These apparitions don't simply appear as facsimile, however, but instead deconstruct the very humanity that comprises their historicity. Brown produces an intensified vision of painting qua painting that is captivating to behold and supremely contemporary in their notions of authorship and subject. Since his emergence in the 1990s, he has been a maverick of contemporary practice who has gone against the grain consistently, earning a Turner Prize nomination in 2000 and carving out a place amongst the most significant and lauded painters of his generation, with works in major institutions including The Art Institute of Chicago; the Centre Georges Pompidou, Paris; the Museum of Modern Art, New York; and the Walker Art Center, Minneapolis. He will further solidify his standing as one of the leading contemporary British artists with a museum dedicated to his practice and works from his personal collection, including Dutch and Italian masters, opening in Marylebone during the 2022 October Frieze week.In The Music of the Mountains, one cannot escape the elegance of Brown's virtuoso hand that lures and enthrals our gaze with its fluidity, poetry and sensitivity to form. Above all else, Brown is an artist who produces beautiful paintings. But therein lies the complexity and tragedy of his practice that makes his work some of the most challenging conceptual feats of contemporary art. Christoph Grunenberg, Director of the Kunsthalle Bremen, seized upon this essential quality, describing his art as 'one of extreme attraction – in subject matter, execution and look – yet at its heart there is darkness, a melancholic vision of death, destruction and loneliness. Belying their aesthetic perfection, masterly technical dexterity and formal integrity, Brown's paintings reveal surprising contradictions and ambiguities' (Christoph Grunenberg in Glenn Brown, London: 2009, p. 15). In this way, through The Music of the Mountains we are given access to a transcendent vision of art history that reveals fresh narratives and upends contemporary questions by placing them on a timeline that shrinks their fleeting pertinence. Here, Brown's wisps of paint and ink call upon the delicate and unsurpassed sketches of Da Vinci, blending and folding about one another to manifest a ghost-like head of a woman caught in a three-quarter glance, her eyes cast down appearing transfixed and intent. It is an arresting vision whose features evoke the playful fullness of a Boucher, yet her apparent seriousness lends an air of Judith beheading Holofernes. These epistemic questions tug at our knowledge of art history and the history of images themselves, proving an elaborate contemporary challenge to the validity of painting today. Brown thus goes beyond the reproduction of an original image; he reconstructs the composition, subjects it to distortion, and ultimately imbues it with a new sense of narrative. In his skilful handling of paint and conceptual ingenuity grounded in Postmodern critical theory, The Music of the Mountains draws us in with a timeless beauty that teeters on collapse, as exquisite and gossamer as the painted surface is. In opening his practice to the questions and tribulations of originality, Brown places himself amongst a rarefied group of artists for whom appropriation practices have defined their careers, from Marcel Duchamp, Cindy Sherman, Sherry Levine, Richard Prince, and Jeff Koons. Brown stands apart, however. His paintings leave doors open to ambiguity and revivification, not least in his titles that can appear oftentimes as banal or overly romantic, but interestingly turn to music as a source of inspiration. 'The connections between my paintings and my titles are not always obvious but they are never random,' the artist says: 'I am trying to puzzle viewers. The work is supposed to stick in their heads and make them ask why. Again, that is the base with good music; something, perhaps a sense of disharmony or miss alignment of timing, catches your attention but you often cannot articulate why. I think it is the same with a painting: it has to catch you by being enigmatic and intriguing – whether it is through colour or meaning, beauty or ugliness, a celebration of life or the devastation of death' (the artist interviewed by Rochelle Steiner in Glenn Brown, London: 2004, p. 100).In a perfectly balanced synthesis, Brown's execution is bonded to the grandeur of his ideas, which enables him to operate with an unparalleled nuance, cutting right between what the image is and what it represents. Without the masterly hand of the artist, such notions of beauty and decay, of life and death, would not uphold. As evidenced in the present work, these sumptuous swirls and painterly panache permit us to glimpse the sublime. But Brown allows darkness to creep in, where trailing threads and spirals appear to create a kind of smog, a putridity that hangs in the air of the piece. Ultimately, what the artist captures is pure affect – the remnant of an impression that casts itself back through time: 'the naked flesh of the original model may be long dead, but that just aids the imagination Fragonard, Auerbach and Rembrandt painted the living. Their flesh has become paint so I paint paint. The paint is the crusty residue left after the relationship between the artist and his model is over. It is all that there is left of real love, so I paint that' (the artist in Ibid., p. 17).Glenn Brown's The Music of the Mountains is an exemplary painting that illustrates the richness and vastness of his practice. In Brown's dextrous hand, we sense the timelessness of his subject that is conjured spirit-like before us. She hangs in the air as a vision of art that was, and art as it is now – constantly evolving, emerging, dwindling, and reconstituting. Brown continues to be one of the most exciting and talented contemporary artists, whose communion with art history's masters has surely placed him amongst them.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 3781
Quinn, Anthony (1915 Chihuahua, Mexiko - Boston 2001) Blatt aus "The Great Spirit" (1986). Farblithographie als Doppelblatt, re. u. mit Bleistift sign. sowie li. u. Ex. 175/255, verso typographisch bez., gedruckt wohl im Atelier Lithographic Aloys Arceuil, Paris 1987. Published by Ariane Zeisig Lancell, Paris. Sichtmaß ca. 61,5x 42,5 cm. PP., R. Der Künstler ist eigentlich als Schauspieler bekannt geworden.
Lot 70
Matchbox Models of Yesteryear Group of Vans Fitted With Trial Decals. (1) Y5 Talbot Van with "XI th MICA Convention" trial decals; (2) Y22 Ford Model A Van with "Tomatin Scotch Whisky" trial decals, RARE RED SEATS; (3) Y22 Ford Model A Van with "Pratts Motor Spirit" trial decals; (4) Y23 Ford Model A VAn with "Nestle's Milk" decals - Excellent to Mint unboxed. (4)
Lot 884
Zwei Apothekenflaschen mit Stöpsel 18./19. Jh. Vierkantform. Weißer Schild in schwarzer Einfassung, beschriftet: ESS: BALSAMI INDICI, SPIRIT: ANGELIC: COMP: 27. H. 14 cm (1 Stöpsel erg.). Der Emailschild in Art der Löwen-Apotheke in Celle. Dazu: Vierkantflasche. Auf der Schauseite mattgeschnittenes Schleifenmedaillon mit ligiertem Monogramm FS. Wabenschliff um die facettierte Mündung (Chips). H. 23,3 cm. A. 19. Jh. (60662)
Lot 15
Joan Miro (Spanish (Catalan), 1893-1983). Etching and aquatint from "Les Brisants" depicting an abstract form in primarily red, 1958. Pencil signed along the lower right; numbered II/X (2/10) along the lower left.Provenance: Private Minnesota Collection.Reference: Dupin 238; Cramer 46.Lot Essay:Joan Miro's early works were influenced by Catalan folk art and Fauvism, but it was his encounter with Surrealism in Paris during the 1920s that profoundly shaped his artistic vision. Embracing the Surrealist ethos of unlocking the subconscious mind, Miro developed a unique visual language characterized by biomorphic forms, dreamlike symbols, and vibrant colors. His paintings, such as "The Farm" (1921-1922) and "The Tilled Field" (1923-1924), evoke a sense of poetic spontaneity and primal energy.Throughout his career, Miro continued to innovate, exploring various mediums including painting, sculpture, ceramics, and printmaking. His experimentation with automatic drawing and spontaneous mark-making liberated his artistic process, allowing for a fluid and intuitive approach to creation. Miro's iconic works, such as "The Harlequin's Carnival" (1924-1925) and "The Birth of the World" (1925), exemplify his playful yet profound exploration of form and color.In addition to his artistic achievements, Miro was a committed advocate for social and political causes, particularly during the tumultuous period of the Spanish Civil War and World War II. His art often served as a vehicle for political commentary, expressing solidarity with the oppressed and advocating for peace and freedom. Miro's enduring legacy as a pioneer of Surrealism and a champion of artistic experimentation continues to inspire generations of artists, as his boundless imagination and creative spirit remain as relevant today as ever before. Through his daring exploration of the subconscious and his fearless embrace of spontaneity, Miro transcended artistic conventions, leaving an indelible mark on the trajectory of modern art.Sight; height: 7 in x width: 5 3/4 in. Framed; height: 18 in x width: 14 in.
Lot 20
Joan Miro (Spanish (Catalan), 1893-1983). Aquatint etching on paper from the "El Pi de Formentor (The Pine of Formentor)" Suite, 1976. Depicting an abstracted composition of bold black shapes surrounding a burst of bright, primary colors in the artist's signature style. Pencil signed along the lower right; numbered 34/50 along the lower left. Published by Sala Gaspar, Barcelona. "The Pine of Formentor" is a well-known Catalan poem by Miquel Costa i Llobera.Provenance: Private Connecticut Collection, 1991; Private Minnesota Collection.Lot Essay:Joan Miro's early works were influenced by Catalan folk art and Fauvism, but it was his encounter with Surrealism in Paris during the 1920s that profoundly shaped his artistic vision. Embracing the Surrealist ethos of unlocking the subconscious mind, Miro developed a unique visual language characterized by biomorphic forms, dreamlike symbols, and vibrant colors. His paintings, such as "The Farm" (1921-1922) and "The Tilled Field" (1923-1924), evoke a sense of poetic spontaneity and primal energy.Throughout his career, Miro continued to innovate, exploring various mediums including painting, sculpture, ceramics, and printmaking. His experimentation with automatic drawing and spontaneous mark-making liberated his artistic process, allowing for a fluid and intuitive approach to creation. Miro's iconic works, such as "The Harlequin's Carnival" (1924-1925) and "The Birth of the World" (1925), exemplify his playful yet profound exploration of form and color.In addition to his artistic achievements, Miro was a committed advocate for social and political causes, particularly during the tumultuous period of the Spanish Civil War and World War II. His art often served as a vehicle for political commentary, expressing solidarity with the oppressed and advocating for peace and freedom. Miro's enduring legacy as a pioneer of Surrealism and a champion of artistic experimentation continues to inspire generations of artists, as his boundless imagination and creative spirit remain as relevant today as ever before. Through his daring exploration of the subconscious and his fearless embrace of spontaneity, Miro transcended artistic conventions, leaving an indelible mark on the trajectory of modern art.Sight; height: 41 1/4 in x width: 35 1/2 in. Framed: height: 56 1/2 in x width: 50 1/2 in.
Lot 17
Joan Miro (Spanish (Catalan), 1893-1983). Etching and aquatint with colors on paper from "Le Courtesan Grotesque" by Adrian de Monluc (French, 1571-1646), published by Iliazd, Paris, 1974. Pencil signed along the lower right; numbered 2/12 along the lower center.Provenance: Private Connecticut Collection, 1991; Private Minnesota Collection.Reference: Dupin 660-675; Cramer 182.Lot Essay:Joan Miro's early works were influenced by Catalan folk art and Fauvism, but it was his encounter with Surrealism in Paris during the 1920s that profoundly shaped his artistic vision. Embracing the Surrealist ethos of unlocking the subconscious mind, Miro developed a unique visual language characterized by biomorphic forms, dreamlike symbols, and vibrant colors. His paintings, such as "The Farm" (1921-1922) and "The Tilled Field" (1923-1924), evoke a sense of poetic spontaneity and primal energy.Throughout his career, Miro continued to innovate, exploring various mediums including painting, sculpture, ceramics, and printmaking. His experimentation with automatic drawing and spontaneous mark-making liberated his artistic process, allowing for a fluid and intuitive approach to creation. Miro's iconic works, such as "The Harlequin's Carnival" (1924-1925) and "The Birth of the World" (1925), exemplify his playful yet profound exploration of form and color.In addition to his artistic achievements, Miro was a committed advocate for social and political causes, particularly during the tumultuous period of the Spanish Civil War and World War II. His art often served as a vehicle for political commentary, expressing solidarity with the oppressed and advocating for peace and freedom. Miro's enduring legacy as a pioneer of Surrealism and a champion of artistic experimentation continues to inspire generations of artists, as his boundless imagination and creative spirit remain as relevant today as ever before. Through his daring exploration of the subconscious and his fearless embrace of spontaneity, Miro transcended artistic conventions, leaving an indelible mark on the trajectory of modern art.Sight; height: 16 in x width: 22 1/2 in. Framed; height: 30 in x width: 36 in.
Lot 40
George Morrison (Ojibwe, 1919-2000). Mixed media on paper painting depicting an abstracted figure in blue, red, yellow, and black, 1946. Pencil signed and dated along the lower right.Provenance: Private Minnesota Collection.Reference: "Modern Spirit: The Art of George Morrison," Minnesota Museum of American Art, 2013. A very similar work is illustrated in this exhibition (plate 5, pg. 68), depicting three figures.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 10 1/4 in x width: 8 in. Framed; height: 23 1/4 in x width: 19 in.
Lot 18
Joan Miro (Spanish (Catalan), 1893-1983). Aquatint and etching on Guarro paper depicting an abstract composition in bright colors, plate 5 from the "Espriu" Suite, 1974. Pencil signed along the lower right; numbered 20/50 along the lower left.Provenance: Private Connecticut Collection, 1991; Private Minnesota Collection.Lot Essay:Joan Miro's early works were influenced by Catalan folk art and Fauvism, but it was his encounter with Surrealism in Paris during the 1920s that profoundly shaped his artistic vision. Embracing the Surrealist ethos of unlocking the subconscious mind, Miro developed a unique visual language characterized by biomorphic forms, dreamlike symbols, and vibrant colors. His paintings, such as "The Farm" (1921-1922) and "The Tilled Field" (1923-1924), evoke a sense of poetic spontaneity and primal energy.Throughout his career, Miro continued to innovate, exploring various mediums including painting, sculpture, ceramics, and printmaking. His experimentation with automatic drawing and spontaneous mark-making liberated his artistic process, allowing for a fluid and intuitive approach to creation. Miro's iconic works, such as "The Harlequin's Carnival" (1924-1925) and "The Birth of the World" (1925), exemplify his playful yet profound exploration of form and color.In addition to his artistic achievements, Miro was a committed advocate for social and political causes, particularly during the tumultuous period of the Spanish Civil War and World War II. His art often served as a vehicle for political commentary, expressing solidarity with the oppressed and advocating for peace and freedom. Miro's enduring legacy as a pioneer of Surrealism and a champion of artistic experimentation continues to inspire generations of artists, as his boundless imagination and creative spirit remain as relevant today as ever before. Through his daring exploration of the subconscious and his fearless embrace of spontaneity, Miro transcended artistic conventions, leaving an indelible mark on the trajectory of modern art.Sight; height: 33 3/4 in x width: 27 1/2 in. Framed; height: 45 1/2 in x width: 39 in.
Lot 19
Joan Miro (Spanish (Catalan), 1893-1983). Aquatint depicting an abstract composition in black, red, yellow, and blue. Plate IV from the "Espiru" series, 1975. Pencil signed along the lower right; numbered 20/50 along the lower left.Provenance: Private Connecticut Collection, 1991; Private Minnesota Collection.Reference: Dupin 194, no. 872.Lot Essay:Joan Miro's early works were influenced by Catalan folk art and Fauvism, but it was his encounter with Surrealism in Paris during the 1920s that profoundly shaped his artistic vision. Embracing the Surrealist ethos of unlocking the subconscious mind, Miro developed a unique visual language characterized by biomorphic forms, dreamlike symbols, and vibrant colors. His paintings, such as "The Farm" (1921-1922) and "The Tilled Field" (1923-1924), evoke a sense of poetic spontaneity and primal energy.Throughout his career, Miro continued to innovate, exploring various mediums including painting, sculpture, ceramics, and printmaking. His experimentation with automatic drawing and spontaneous mark-making liberated his artistic process, allowing for a fluid and intuitive approach to creation. Miro's iconic works, such as "The Harlequin's Carnival" (1924-1925) and "The Birth of the World" (1925), exemplify his playful yet profound exploration of form and color.In addition to his artistic achievements, Miro was a committed advocate for social and political causes, particularly during the tumultuous period of the Spanish Civil War and World War II. His art often served as a vehicle for political commentary, expressing solidarity with the oppressed and advocating for peace and freedom. Miro's enduring legacy as a pioneer of Surrealism and a champion of artistic experimentation continues to inspire generations of artists, as his boundless imagination and creative spirit remain as relevant today as ever before. Through his daring exploration of the subconscious and his fearless embrace of spontaneity, Miro transcended artistic conventions, leaving an indelible mark on the trajectory of modern art.Sight; height: 33 3/4 in x width: 27 1/2 in. Framed; height: 45 1/2 in x width: 39 in.
Lot 46
Grace Hartigan (American, 1922-2008). Large oil on canvas painting titled "Dublin" depicting an abstract expressionist painting executed in muted colors with splashes of bright blue and purple, 1958-59. Part of her "European Place" painting series, inspired by her travels to eight cities in Europe and Ireland from 1958 to 1959. This painting is very similar to a work in the collection of the Guggenheim titled "Ireland," which is the largest work in this series. This series did not depict literal views of the cities or places she visited, but were rather "evocations of place" inspired by her experiences there.Provenance: The artist via Tibor de Nagy Gallery, New York; Collection of Beatrice & Hart Perry, New York; Collection of John Raimondi, Palm Beach, Florida; Private Connecticut Collection; Private Minnesotan Collection.Exhibition History: Columbus Gallery of Fine Arts, "Contemporary American Painting," Columbus, Ohio, January 14 - February 18, 1960; Newport Harbor Art Museum "Action/Precision: The New Direction in New York 1955-1960," Newport Beach, California, 1984-1986.Reference:Robert S. Mattison, "Grace Hartigan: A Painter's World," New York: Rizzoli International Publications, 1990. Pgs. 46 & 47."Action/Precision: The New Direction in New York 1955-1960," Newport Beach, California: Newport Harbor Art Museum, 1984. Pgs. 86 & 87.Lot Essay:Grace Hartigan (March 28, 1922 – November 15, 2008) was a trailblazing American Abstract Expressionist painter, celebrated for her bold and dynamic contributions to the mid-20th-century art scene. Born in Newark, New Jersey, her artistic journey began at an early age, and she later pursued formal training at the Newark College of Engineering and the George Washington University. However, it was in the vibrant atmosphere of post-war New York City that Hartigan truly found her artistic voice.In the early 1950s, Hartigan became associated with the famed New York School, a group of avant-garde artists who played a pivotal role in the development of Abstract Expressionism. She was notably close to Willem de Kooning, Jackson Pollock, Helen Frankenthaler, Alfred Leslie, Franz Kline, and other influential artists of the era, yet her unique approach to painting set her apart. Hartigan's work often blended abstraction with elements of figurative representation, creating a distinctive style that defied easy categorization.The European Place paintings, to which the present work belongs, were inspired by her travels to eight cities in Europe and especially Ireland from 1958 to 1959. She felt a special affinity for her "dear, dirty Dublin" which reminded her of New York as well as her Irish heritage. The dark, rectangular planes of the work suggest the sooty buildings while the blue expanse in the center recalls the feeling of strolling along the seaside boardwalk at the edges of the city. The delicate, white linear patterns along the lower edge reflect Hartigan's romanticism. At the time of this painting's conception, she was involved in a love affair with Franz Kline and has described these white lines as "a love letter to Franz." The white also suggests the word "Dublin" itself, showing the lyrical and poetic nature of Hartigan's artworks.Hartigan's impact on the art world extended beyond her prolific studio practice. She was a prominent figure in the burgeoning feminist art movement, advocating for greater recognition and opportunities for women artists. In 1982, she was appointed the first female full professor of art at the Maryland Institute College of Art, solidifying her role as a trailblazer for women in the arts.Her extensive body of work has been exhibited in major institutions around the world, including the Museum of Modern Art, the Whitney Museum of American Art, and the National Museum of Women in the Arts. Grace Hartigan's legacy endures as a testament to her innovative spirit and unwavering commitment to pushing artistic boundaries. Her influence continues to inspire contemporary artists, ensuring that her contributions to the rich tapestry of American art remain both celebrated and influential.Sight; height: 83 1/2 in x width: 71 in. Framed; height: 84 3/4 in x width: 72 1/4 in.
Lot 16
Joan Miro (Spanish (Catalan), 1893-1983). Color etching and aquatint depicting black, abstract shapes and lines with small bursts of primary colors, from the "Barcelona" suite 1973. Signed along the lower right; numbered "49/50" along the lower left.Provenance: Private Connecticut Collection, 1991; Private Minnesota Collection.Lot Essay:Joan Miro's early works were influenced by Catalan folk art and Fauvism, but it was his encounter with Surrealism in Paris during the 1920s that profoundly shaped his artistic vision. Embracing the Surrealist ethos of unlocking the subconscious mind, Miro developed a unique visual language characterized by biomorphic forms, dreamlike symbols, and vibrant colors. His paintings, such as "The Farm" (1921-1922) and "The Tilled Field" (1923-1924), evoke a sense of poetic spontaneity and primal energy.Throughout his career, Miro continued to innovate, exploring various mediums including painting, sculpture, ceramics, and printmaking. His experimentation with automatic drawing and spontaneous mark-making liberated his artistic process, allowing for a fluid and intuitive approach to creation. Miro's iconic works, such as "The Harlequin's Carnival" (1924-1925) and "The Birth of the World" (1925), exemplify his playful yet profound exploration of form and color.In addition to his artistic achievements, Miro was a committed advocate for social and political causes, particularly during the tumultuous period of the Spanish Civil War and World War II. His art often served as a vehicle for political commentary, expressing solidarity with the oppressed and advocating for peace and freedom. Miro's enduring legacy as a pioneer of Surrealism and a champion of artistic experimentation continues to inspire generations of artists, as his boundless imagination and creative spirit remain as relevant today as ever before. Through his daring exploration of the subconscious and his fearless embrace of spontaneity, Miro transcended artistic conventions, leaving an indelible mark on the trajectory of modern art.Sight; height: 27 1/2 in x width: 41 1/4 in. Framed; height: 41 in x width: 54 3/4 in.
Lot 1
Robert Indiana (American, 1928-2018). Serigraph titled "German Love" depicting the artist's iconic "Love" symbol in the national colors of Germany. Numbered 99/100, pencil signed, and dated. From Graphic (Graphik) USA, Edition Plus, Baden-Baden. Distributed by Trois Anges, Inc., New York. Published by Edition Plus, Suzanne L. Fischer, Baden-Baden.Provenance: Private Minnesota Collection.Lot Essay:Robert Indiana stands as a seminal figure of the Pop Art movement, celebrated for his iconic renderings of words and symbols that captured the essence of Americana. Born Robert Clark in New Castle, Indiana, he adopted the name of his home state, reflecting his deep attachment to his roots. Indiana's most famous work, "LOVE," featuring bold letters with the "O" tilted at a jaunty angle, quickly became emblematic of the era, appearing on stamps, sculptures, and reproductions worldwide. His art transcended mere representation, delving into themes of patriotism, consumer culture, and the American Dream, resonating with audiences through its timeless imagery and vibrant colors.Throughout his career, Indiana's art evolved to encompass various mediums, including painting, sculpture, and printmaking. Beyond his artistic contributions, Indiana was a staunch advocate for social justice, using his art as a platform for political commentary and LGBTQ+ advocacy. His enduring legacy lies not only in his iconic imagery but also in his belief in the power of art to effect change and inspire dialogue, reminding us of the enduring power of love, hope, and the human spirit in the face of adversity.Height: 29 1/2 in x width: 23 1/2 in.
Lot 302
Part of the Christian Era Spirit of Bethlehem Collection. Beautifully crafted matte white porcelain figurine with gold-trimmed details. Modeled as King Melchior, one of the three kings who visited Jesus when he was born. He is featured in a bowing gesture with a gold chalice. Boehm backstamp. Dimensions: 10.25"L x 7.25"W x 11.75"HManufacturer: BoehmCountry of Origin: United StatesCondition: Age related wear and minor stains.
Lot 297
Part of the Christian Era Spirit of Bethlehem Collection. All white matte finished porcelain figurine modeled as an angel with beautiful wings and an open arm gesture. Boehm backstamp. Dimensions: 8.5"L x 6.5"W x 10.5"HManufacturer: BoehmCountry of Origin: United StatesCondition: Age related wear and minor stains.
Lot 306
Part of the Christian Era Spirit of Bethlehem Collection. All white matte finished porcelain figurines modeled as baby Jesus in his manger with a little lamb. Boehm backstamp. Largest figurine (Baby Jesus) measures 5"L x 3.5"W x 2.25"H. Manufacturer: BoehmCountry of Origin: United StatesCondition: Age related wear and minor stains.
Lot 300
Part of the Spirit of Bethlehem collection, bisque figurine accented with golden color on crown, earrings, robe and rings, holding silver toned casket. Boehm backstamp. Issued: 20th centuryDimensions: 5.5"L x 6"W x 12"HManufacturer: BoehmCountry of Origin: United StatesCondition: Age related wear.
Lot 296
Part of the Christian Era Spirit of Bethlehem Collection. All white matte finished porcelain figurine modeled as an aged shepherd with sheep leaning to peer at the newly born Baby Jesus. Boehm backstamp. Dimensions: 7"L x 4.75"W x 8.75"HManufacturer: BoehmCountry of Origin: United StatesCondition: Age related wear and minor stains.
Lot 304
Part of the Christian Era Collection/Spirit of Bethlehem. All white porcelain figurine modeled as a reclining ox with long curved horns. Matte finish. Boehm backstamp. Dimensions: 8"L x 3.5"W x 5.5"HManufacturer: BoehmCountry of Origin: United StatesCondition: Age related wear and minor stains.
Lot 299
Part of the Christian Era Spirit of Bethlehem Collection. All white matte finished porcelain figurine modeled as Joseph kneeling with a shepherd's cane in awe of his son, Jesus Christ. Boehm backstamp. Dimensions: 5.25"L x 4.25"W x 8"HManufacturer: BoehmCountry of Origin: United StatesCondition: Age related wear and minor stains.
Lot 74
Edward Reginald Frampton, ROI (British, 1873-1923)'Or in a clear-wall'd city on the sea Near gilded organ pipes, her hair wound with white roses, slept St.Cecily, An angel look'd at her' signed 'E Reginald Frampton' (lower left)oil on canvas laid to panel94 x 40cm (37 x 15 3/4in).Footnotes:ProvenancePrivate collection, UK.The subject of the present work is taken form Tennyson's poem The Palace of Art, first published in 1832 and extensively revised by the poet ten years later. The poem expresses the spiritual despair of the Soul who isolates herself in her arts and can only be cured by leaving the palace of art for a cottage among men. Frampton would certainly have been familiar with The Palace of Art: St Cecilia published by Edward Moxon in 1857 with engraved illustrations by the Dalziel brothers after original designs by Rossetti.In the introduction to the Frampton Memorial Exhibition catalogue of 1924 the art critic Rudolf Dircks noted that the artist 'was amongst the few distinguished modern painters who sought to express decorative form in his pictures...his spirit moved in the type of legendary or religious subject which lends itself particularly to decorative treatment...' and 'the poetic and decorative fervour' of his works, which were 'all accomplished in detail, beautiful and sensitive in colour'1Frampton had travelled in Italy as a young man and this, combined with his love of the work of Puvis de Chavannes and Edward Burne-Jones informed his art and resulted in easel and mural painting and stained glass characterised by a 'restful and dignified serenity'.2Saint Cecilia is famous in Christian iconography as the patron saint of music and is shown here having fallen asleep whilst playing the organ, the instrument most usually associated with her. Her hair is adorned with a garland of white roses (an attribute often associated with her) and by her feet grow poppies a well-known emblem of oblivion and sleep as her guardian angel looks on.Frampton is known to have painted this subject on several occasions and exhibited versions at The Royal Academy in 1911 and 1917. Writing in The Art Journal in 1907, Rudolf Dircks reflects on Frampton's treatment of the subject 'In St Cecily, have we not a precise and sympathetic interpretation of the lines of Tennyson – in which the full poetic beauty is apprehended pictorially?'1R. Dircks, cited in Memorial Exhibition of Paintings and Water-Colours by the Late E.Reginald Frampton, London, 1924, pp. 3-4.2Aymer Vallance, The Paintings of Reginald Frampton, R.O.I., International Studio, 1919, p. 66.For further information on this lot please visit Bonhams.com
Lot 24
ILLUMINATED MANUSCRIPT LEAFPope Gregory IX receiving the text of the Decretals from Raymond of Penyafort and another cleric, opening leaf of the Decretals with the glossa ordinaria by Bernard of Botone, 30 lines in two columns surrounded by the glossa in 80 lines in two columns in gothic textualis, brown ink on vellum with rubrics in red, four historiated initials on the recto, one historiated initial and one inhabited initial depicting the Holy Trinity (God the Father, Holy Spirit and Christ on the Cross) on the verso, all decoration heightened in gold, early marginal notes and manicules, 3 tiny single wormholes, framed and glazed, folio (leaf measures 405 x 270mm.), [Paris, c.1325-50]Footnotes:FINE ILLUMINATED MANUSCRIPT LEAF of a fundamental text of canon law, The Decretals of Gregory IX. In 1230 the Pope ordered Raymond of Penyafort (d.1275) to organise the five existing compilations of canon law into one authoritative text. In 1234 he decreed that this was to be considered the official collection and sent copies of his Decretals to the universities of Bologna and Paris. The gloss that accompanies the text is the so-called glossa ordinaria which was completed in c.1266 by Bernard of Botone (d.1266).For further information on this lot please visit Bonhams.com
Lot 115
PSYCHIC PHOTOGRAPHY AND SPIRITUALISMFALCONER (CRAIG AND GEORGE) A group of 10 'spirit' photographs of pairs of sitters above whom hover spirit faces surrounded by ectoplasm, gelatin silver prints, one with small surface abrasion in blank area, slightly uneven fading, all stamped on verso with copyright stamp of the Falconers ('Renowned Psychic Photographers, 182 Holland Park Avenue, London, W.11') with photo number and date in ink, approximately 108 x 84mm., [dated between 11 June 1935 and 10 April 1936]; together a single-leaf typescript of 'A few notes on the conduct of a voice circle' by voice medium Leslie Hodges (group)Footnotes:A group of ten 'Spirit Photographs' by the Scottish-born Falconer Brothers, who established a successful studio in London, having previously been sentenced to prison in South Africa for fraudulent practice. The ten images each show two persons (4 of 2 men, one a duplicate; 5 of a man a woman) with the apparition of a face surrounded by ectoplasm.With the group is a typescript, 'duplicated for private circulation only. June, 1969', of 'A few notes on the conduct of a voice circle' by the Brighton voice medium Leslie Hodges, extracted from his 1930s notebooks. Twenty-five points are given from 'Regular attendance is essential', 'Have about 5 to 7 sitters with as many males as possible', 'It is best to sit on a carpet', to 'Avoid the Scientific Sitter and Roman Catholics like the plague'.Provenance: John Austin, Spiritualist from Hove, member of 'The Noah's Ark Society', and close friend of Colin Fry ('Lincoln') to whom he lent this collection for use in lectures; gifted by Austin to Scott Milligan, the current owner.For further information on this lot please visit Bonhams.com
Lot 85
BORGES (JORGE LUIS)Autograph manuscript of his short story 'Deutsches Requiem', signed ('Jorge Luis Borges') at the end, seemingly a corrected final draft of the version published in El Sur and then in El Aleph, with ink corrections, deletions (in some cases giving 3 options for a word and crossing through 2 of them), and re-arrangements of phrases or paragraphs, 8pp., written in black ink on 8 sheets of squared graph paper, recto only, some browning, 8vo (242 x 165mm. and slightly smaller), [c.1946]Footnotes:'MUCHAS COSAS HAY QUE DESTRUIR PARA EDIFICAR EL NUEVO ORDEN' - AUTOGRAPH MANUSCRIPT OF BORGES'S POWERFUL HOLOCAUST NOVELLA.Written at the time of the Nuremberg Trials, first published in the magazine Sur in February 1946, and included in the collection El Aleph three years later (see adjacent lot), 'Deutsches Requiem' is the fictional last testament of Otto Dietrich zur Linde, an unrepentant Nazi concentration camp Commander, torturer and murderer. After being tried and found guilty of crimes against humanity, he reflects on his own sins and those of Nazi Germany whilst awaiting the firing squad. Borges was always keen to stress that he was not solely concerned with the physical horror of the genocide, but also with 'lo trágico del destino alemán', the destruction of German spirit and culture as a whole (Epilogue to El Aleph).Some critics over the years have suggested that the author's technique of putting distance between the reader and the horrific events that took place represented a shying away from the subject. Apart from the fact that 1946 was undoubtedly too soon for such fictional depictions, it is difficult to avoid finding parallels with Michael Glazer's recent Oscar-nominated film, Zone of Interest, which adopts its own distancing technique by setting the entire film outside the camp walls. A loose adaptation of Martin Amis's 2014 novel, the film tells the story from the point of view of the Auschwitz Commandant, Rudolf Höss, and his family. Like the dispassionate zur Linde, Höss is 'less the ideologue and passionate Nazi of his professional career, more of a dispassionate strategist'. Our manuscript would seem to be a near-final draft, written on Borges's famous mathematical graph paper, which was perfectly suited to his methodical and precise methods of composition. The first few pages are written on every other line, with numerous alterations, whilst the second half is more neatly written on every line. Although there are numerous deletions, corrections and markings to indicate that various paragraphs, sentences and phrases are to be re-arranged or swapped (one paragraph is entirely crossed through but rewritten verbatim elsewhere), we can find only one textual difference from the version printed in El Aleph, which adds the final short sentence sentence 'Mi carne puede tener miedo; yo no.' ('My flesh may feel fear; I do not'). One other manuscript of the story is recorded by Daniel Balderston (How Borges Wrote, University of Virginia, 2018), presumably in private hands with no details given.Provenance: Lame Duck Books, purchased 2006; private collection.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
Lot 129
ROYALTY – EDWARD, DUKE OF WINDSORCorrected typescript draft of a long article titled 'The Story of the Education of a Prince by Edward The Duke of Windsor', published as The Education of a Prince in LIFE magazine, December 1947, a working proof heavily amended and with additions and corrections by the Duke of Windsor throughout in red pen, other amendments in pencil by the editor, additional passages typed on separate sheets and tipped in, some pages duplicated, some crossed through with red pen, comprising some 157 ruled yellow carbon paper pages and 18 mimeographed pages, the story written in three parts (Part I 'A Royal Boyhood', from birth to the accession of his father to the throne, Part II 'I, Edward Prince of Wales', from the coronation of George V to the outbreak of war, and Part III 'A Prince at War', on his wartime service and the immediate aftermath), c.175 pages, sections numbered 'Windsor I', 'Windsor II', 'Windsor III' etc., filing hole top left of each page, general dust-staining, marks and discolouration, contemporary red morocco, gilt coronet on upper cover, gilt title on spine within raised bands, gilt dentelles, marbled endpapers, 4to (280 x 235mm.), [n.d. but c.1947]; in a custom-made solander boxFootnotes:'THE POSITION TO WHICH I WAS BORN': EDWARD, DUKE OF WINDSOR WRITES CANDIDLY ON HIS CHILDHOOD & EARLY YEARS FOR AN AMERICAN MAGAZINE.The present typescript had its origins two years earlier when '...Reading LIFE in 1945 in the Bahamas, the Duke of Windsor was impressed by the understanding of Britain shown in a series about his old friend, Winston Churchill. The Duke had a mutual friend call up Charles J. V. Murphy, now a LIFE staff writer, a big, ducal-looking Bostonian who had written the article (with John Davenport). The friend's suggestion: the Duke of Windsor and Reporter Murphy ought to know each other because 'the Duke is thinking of doing some writing himself.' The result of the delayed meeting (Murphy first spent six months in the Pacific as a war correspondent) was a three-part story, written by the Duke and edited by Murphy, on 'The Education of a Prince.' It was published in LIFE in December 1947...' (Time website, 'The Press: Edward & Wallis', 22 May 1950). The sequel, A King's Story, another collaboration with Murphy, took up the story and was published in book form in 1951. As can be seen from our manuscript, Edward went through the proof with a keen eye, making extensive amendments, correcting facts and deleting certain passages. These deleted extracts, struck through firmly with red pen, show hitherto unseen material that was left out of the published version. A constant theme throughout is the overwhelming sense of duty and responsibility of his position and his frustration at the restrictions this brought, despite a life of privilege: '...the concept of duty was drilled into me and I never had the same sense that the days belonged to me alone... My father literally pounded good manners into us...'. The final words of the piece, written in exile after his abdication, are telling: '...I did not spare myself in striving to fulfil all that was expected of me in the position to which I was born...'.Part I begins with his birth and early childhood, with hazy memories of the elderly Queen Victoria ('...She wore shiny black shoes with elastic sides...') and gives an insight into an idyllic childhood at York Cottage on the Sandringham estate ('...an elegant, undoubtedly paternalistic, and self-contained existence...', the Christmas festivities '...Dickens in a Cartier setting...'). As he grows older, the realisation he is now in the public eye becomes more apparent ('...the most significant change has been the disappearance of privacy... I grew up before the age of photography. We were seldom recognised on the street, and when we were the salutation would be a friendly wave of the hand or, in the case of a courtier or a family friend, a polite lifting of the hat...'). Part II, entitled 'I Edward Prince of Wales' opens with his sorrow at the death of his grandfather Edward VII, a kindred spirit ('...the last Englishman to have an uninterruptedly good time...'), and the coronation of George V which he identifies as a turning point ('...I arrived at the end of my boyhood... Henceforth the demands of my inheritance would press upon me ever more fiercely...'). The final part, 'A Prince at War', covers the war years, with much on his frustration at not being allowed to fulfil his potential as a soldier ('...I was to discover that my trophy value exceeded my military usefulness...'). After the war he devoted himself to what he and his brothers described as 'Princing'. A tour of the country after the war opened his eyes to the poverty and discontent among the people after years of conflict. Despite that, in a letter to George V, he assures him, perhaps ironically in light of future events, that the monarchy is still strong: '...there seems to be a regular epidemic of revolutions and abdications throughout the enemy countries... of those that remain I have no hesitation in saying that ours is by far the most solid...'. Provenance: The Duke (1894-1972) and Duchess (1896-1986) of Windsor; presented by Maître Suzanne Blum, the Duchess of Windsor's French lawyer and executrix, to the present owner who had provided important assistance in the administration of the Duchess's estate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 83
• LESLIE MARR (BRITISH 1922-2021) Leslie Marr (lots 83-90) Introduction Leslie Marr, born in Durham into a family of engineers and shipbuilders, studied Engineering at Cambridge. But while serving with the RAF in the Middle East during the Second World War discovered a burning inclination to paint. Short on supplies, he procured some brushes and paint and purportedly used his kit bag as canvas to depict the landscape around him. On his return to London he enrolled in art school in Pimlico. But uninspired by the conventional approach offered, a chance encounter with David Bomberg’s stepdaughter, Dinora Mendelsohn, led Marr to seek the more vivacious and anything but ‘run-of-the-mill’ teaching style that Bomberg espoused at Borough Polytechnic in South London. Bomberg’s innovative non-academic approach to painting centred around discovering what he called ‘the spirit of the mass’. It was a method that had been fuelled by his pre-War painting expeditions to far flung and isolated destinations: the rugged landscapes of Palestine, the volcanic gorges of Ronda in Spain, and the mountains of Cyprus. And his ideas had a profound influence on a number of his students, Leon Kossoff (1926-2019) and Frank Auerbach (b.1931) amongst them, as well as Marr himself. Bomberg’s non-conventional style spawned The Borough Group, founded in 1946 by Cliff Holden (1926 -2020). Among its members were Bomberg himself, his wife Lillian Holt (1898-1983), Dinora Mendelson (1924-2010), Dorothy Mead (1928-1975), Edna Mann (1926-1985), Miles Peter Richmond (1922-2008), Dennis Creffield (1931-2018) and Marr. After marrying in 1946, Marr and Dinora travelled to Cyprus with Bomberg. Painting there together Marr’s work flourished, and he would later describe his time in Greece as the point at which he achieved the ‘enlightened’ state. But with the break-up of the Group in 1950 Marr turned to other interests, including as a photographer, film maker and Formula 1 driver before returning to painting after Bomberg’s death in 1957. Re-connecting with Bomberg’s original approach, Marr travelled far and wide to seek out wild and isolated landscapes – as far afield as New Zealand - and used extreme contrasts and thrusting diagonals to depict untamed Nature. In the present sale these landscapes include highly charged views of the River Barle and Chuggaton in Devon (lots 83 & 84), Rothbury, Northumberland (lot 85) and Glen Etive, Scotland (lot 87). But Bomberg’s nervous energy can equally be seen in Marr’s charcoal of Lucca cathedral (lot 88), which combines a massing of architectural elements with swirling weather conditions. Another influence was Chaim Soutine, whose distinctive style permeates much of Marr's later output. 83 LESLIE MARR (BRITISH 1922-2021)BARLE IN WINTERsigned and dated Marr / 63/4 lower leftoil on canvas91.5 x 91.5cm; 36 x 36in106 x 106cm; 41 3/4 x 41 3/4in (framed)ExhibitedLondon, Portland Gallery, Leslie Marr, A Centenary Exhibition, 2022, n.n.The River Barle runs north across the border between Devon and Somerset, a few miles west of Marr's home at Higher Chuggaton where he lived between 1963 and 1970.
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