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Lot 161
Ink and light Colour on PaperChina , dated 1983Dimensions: 89 cm x 49 cmZhu Qizhan was a famous Chinese painter and professor of the Art Department of Shanghai Normal University. He was mainly engaged in oil painting creations before the 1950s, and began to devote himself to traditional Chinese painting since the 1950s. He was good at painting flowers. This picture shows three pots of calamus, vivid and lovely. There is a poem inscribed by Zhu on the right part of the painting. The text was inspired by the calamus and praises the calamus for its obscurity and perseverance, which also symbolizes the spirit of Chinese literati.
Lot 217
CHAUMET. MONTRE BRACELET DE DAME EN OR BLANC 18K (750) SERTIE DE DIAMANTS MOUVEMENT QUARTZCHAUMET. A LADY'S 18K WHITE GOLD AND DIAMOND SET QUARTZ BRACELET WATCHModel: Night SpiritReference: W10530/05ADate: Purchased December 2002Movement: 6-jewel ETA Cal No.976.001 quartzDial: White mother-of-pearl, diamond set hour markers, polished sword handsCase: Polished round, back secured by 6 screws, bezel and crown set with diamonds, No.1013-0073Strap/Bracelet: Polished white gold link, diamond set on the central linkBuckle/Clasp: Signed double folding claspSigned: Case, dial & movementSize: 30mm Accompaniments: Chaumet box, International GuaranteeThis lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Lot 99
ELKINGTON & CO. A SILVER SIX PIECE TEA AND COFFEE SERVICE of Georgian design, anthemian and acanthus leaf rims, half fluted bodies, comprising; spirit kettle on stand, tea pot, coffee pot, milk jug, and sugar bowl, all Birmingham, composite years fr om 1908-1916, combined weight; 5,072g, (including non-silver handles & knops to certain pieces)
Lot 14
Collection of Signed CD'S two signed CD'S Kenji Suzuki Beat of Rock CD signed in Japanese by Kenji Suzuki Rush The Spirit of Radio Greatest Hits 1974-1987 Signed by Rush. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
![Lot to include a tool box containing a quantity of hand tools, spirit level, a cased Exakt precision saw and similar. [3]](https://cdn.globalauctionplatform.com/fea3bfe2-973c-4063-b76f-adc001063bd5/c9044cdc-e8a2-4ffa-999a-adc7011f446a/468x382.jpg)
Lot 30
Bernard Rancillac (born 1931)La Parole 4 l'Evangile selon Mao 1967 monogrammé; signé et daté 67 au revers acrylique sur toile (en huit parties)with the artist's monogram, signed and dated 67 on the reverseacrylic on canvas (in eight parts)Chaque: 100 x 80 cm.39 3/8 x 31 1/2 in.Dimensions totales: 200 x 320 cm.78 3/4 x 126 in.Footnotes:ProvenanceCollection particulière, France Puis par descendance au propriétaire actuelExpositionsParis, Musée d'Art moderne de la ville de Paris, Le monde en question, 1967Saint-Etienne, Musée d'Art et d'Industrie; Brest, Musée des Beaux-Arts, Rancillac, 1971Paris, Galerie du Centre culturel municipal, Rancillac, 1973Issoudun, Musée de l'Hospice Saint-Roch; Saint-Etienne, Musée d'art moderne et contemporain; Dole, Musée des Beaux-Arts, Bernard Rancillac Retrospective 1962-2002, 2003, p. 75, illustré en couleurLittératureSerge Fauchereau, Rancillac, Paris 1991, p. 99, n° 91, illustré en noir et blancChef de file d'une génération et l'un des membres fondateurs de la Figuration Narrative, Bernard Rancillac est une icône du Pop Art européen, dont l'héritage est inséparable de toute l'histoire culturelle du vingtième siècle. Nous présentons ici une œuvre qui saisit l'esprit du mondialisme après-guerre et révèle l'approche nuancée et critique que Rancillac a adoptée tout au long de sa carrière. La série de huit toiles intitulée La Parole 4 l'Évangile selon Mao (1967) représente une foule compacte de visages réjouis et de bras tendus en signe de salutation, rendue à traits vifs et en rouge selon la technique du pochoir, qui évoque la propagande et l'imagerie des régimes socialistes de la période, et la subversion des tropes du Pop Art qui est largement associée aux peintures d'Andy Warhol et de Roy Lichtenstein.Rancillac est un artiste dont les œuvres figurent dans les collections des plus grands musées mondiaux, y compris le MoMA, New York ; le Musée d'art contemporain de Barcelone (MACBA) ; et le Musée National d'Art Moderne, Paris ; l'importance de son travail a fait l'objet d'une reconnaissance constante depuis sa participation à l'exposition révolutionnaire The World Goes Pop à la Tate Modern en 2015, qui a ensuite été présentée au Walker Centre, Minneapolis. Rancillac a occupé une place centrale dans cette exposition qui ambitionnait de reconstituer et d'étendre l'histoire du Pop Art, traditionnellement considéré comme un phénomène purement anglo-américain. Il a affirmé, ce faisant, une présence avant-gardiste dans ces mutations profondes de la culture mondiale, et s'est imposé comme une figure majeure de l'art des années 1960.La Parole 4 l'Evangile selon Mao est une œuvre de qualité muséale, qui témoigne indéniablement de son époque : une image de la Chine de Mao un an après la Révolution culturelle de 1966, peinte un an avant que Rancillac ne participe personnellement aux événements de mai 1968, en prenant le contrôle des ateliers de lithographie de l'École des beaux-arts pour former l'Atelier Populaire. Chez Rancillac, les motifs artistiques et politiques sont alignés et occupent une large place dans son œuvre. L'ampleur et l'impact de cette grande œuvre impressionnante sont indéniables, et évoquent une énergie et une confiance intellectuelle dont l'observation est captivante. Peinte en utilisant un projecteur – selon un système qui a été mis au point pour la première fois par Illeana Sonnabend pour l'artiste français Daniel Pommereulle, puis introduit auprès des artistes du groupe Figuration narrative en 1964 – l'image photographique est transposée et reconstituée. Rancillac, en imitant les sérigraphies reproductibles de Warhol, mais en créant des œuvres délicatement peintes à la main et uniques, a réalisé une synthèse esthétique qui a constitué une critique des techniques autonomes du Pop Art tout en maintenant sa propre exigence politique.L'iconographie et les pochoirs des œuvres de protestation – dont les successeurs historiques incluent des artistes comme Christopher Wool et Banksy – recèlent une puissance artistique rarement vue dans la peinture traditionnelle. Rancillac est indubitablement l'un des artistes les plus importants et influents qui ont su capter l'énergie politique d'une décennie, et cette énergie est palpable et puissante dans La Parole 4 l'Evangile selon Mao. Sont également présentées à la vente des peintures de Rancillac de la série Cinémonde reconnaissables au premier regard – un épisode de sa carrière au cours duquel il a reproduit des photos publicitaires des starlettes hollywoodiennes les plus célèbres du vingtième siècle. Selon le co-curateur de l'exposition Mythologies Quotidiennes, véritable visionnaire, cette vente donne une occasion unique d'acquérir des œuvres importantes, emblématiques de l'apogée de l'illustre carrière de Rancillac.A leader of a generation and one of the founding members of the Figuration Narrative, Bernard Rancillac is an icon of European Pop Art, whose legacy is inseparable from the broader cultural history of the twentieth century. Presented here is a work that captures the spirit of post-war globalism and reveals the nuanced, critical approach that Rancillac pursued in his work. Executed over eight canvases, La Parole 4 l'Evangile selon Mao (1967) depicts a raucous crowd of cheering faces and arms in salutation, rendered in a typically sharp, red stencil that evokes the propaganda and imagery of the socialist regimes of the period, as well as a subversion of the tropes of Pop Art that is most widely associated with the paintings of Andy Warhol and Roy Lichtenstein. An artist whose work resides in global museum collections inlcuding the MoMA, New York; the Barcelona Museum of Contemporary Art (MACBA); and the Musée National d'Art Moderne, Paris, Rancillac's significance has seen ongoing appreciation since his inclusion in the ground-breaking exhibition The World Goes Pop at the Tate Modern in 2015, travelling to the Walker Centre, Minneapolis, subsequently. Taking centre stage in a show that sought to reconstitute and expand the history of Pop Art that has traditionally been seen as a British-American phenomena, Rancillac stands as a trailblazing presence who engaged deeply with global cultural shifts and emerged a prominent voice of the 1960s. La Parole 4 l'Evangile selon Mao is an institutional-quality piece that is unquestionably of its moment: an image of Mao's China one year after the Cultural Revolution of 1966, painted one year before Rancillac himself would participate in the events of May 1968, taking over the lithography studios of the École des beaux-arts to form the Atelier Populaire. In Rancillac, artistic and political motives are aligned and writ large. In this grand and impressive work, its scale and impact are undeniable, and evoke an energy and intellectual confidence that are captivating to observe. Painted using a projector – a device that was first procured for the French artist Daniel Pommereulle by Illeana Sonnabend, that then was introduced to the artists of the Figuration Narrative group in 1964 – the photographic image is transposed and reconstituted. Both mimicking the reproducible silkscreens of Warhol, but remaining fastidiously hand-painted and unique, R... For further information on this lot please visit Bonhams.com
Lot 9008
An Edwardian clear glass quaich with silver rim and pierced silver lug handles. London 1901. By William Comyns & Sons. A George V clear glass single handled spirit decanter with faceted spire shape stopper and silver collar. Birmingham 1911. By John Grinsell & Sons. An Elizabeth II silver "Sherry" decanter label. London 1965. By Albion Craft Co (probably) (3)
Lot 175
George V Period - Fine Pair of Sterling Silver and Glass Whisky Noggins / Decanters. Each with Silver Hallmarked Spirit Labels. Hallmark Birmingham 1921. One Noggin In Excellent Condition, No Issues, 2 nd Noggin - Minor Cracks to Where Silver Mount Meets Glass. Heights 4.25 Inches - 10.65 cms.
Lot 550
A George II mahogany and crossbanded bureau cabinet, circa 1750, the mirrored panel doors opening to an arrangement of pigeon holes, shelves and small drawers, the fall front opening to an arrangement of pigeon holes and drawers, centred an arcaded cupboard door, above a tooled inset writing surface, 214cm high, 99cm wide, 57cm deepFor a similar example of bureau cabinet, see Christie's, London, Interiors - Style and Spirit, 26th February 2008, Lot 43 (£6,875).Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use.Various old splits and chipsSome loses to moulded elements (see images)Mirrored panels with the expected loses, depletion and grey spotsSome sections of the veneer have been re-stuckLeather inset writing surface is a later replacementLock to fall is a period replacementSome replacement timber adjacent to lock plate on inside of fallKeys present to panel doors and fall, no keys present for lower drawers and interior doors.All locks are open.Some later tape applied to back boardsFeet are later replacements but match wellOld screw repairs to strip of timber to panel doorsHandles are originalPlease refer to additional images for visual reference to condition.Condition Report Disclaimer
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49464 item(s)/page