Sirak Melkonian (Iran, born 1931)Motherhood oil on board laid down on canvas, framedsigned 'S.Melkonian' and dated '1957' (lower left and verso), executed in 195766 x 58cm (26 x 22 13/16in).Footnotes:A RARE AND IMPORTANT EARLY COMPOSITION BY SIRAK MELKONIAN Provenance:Property from the estate of a distinguished Iranian academic, CaliforniaExhibited:Modern Persian Painting, November 1968, Centre for Iranian Studies, Columbia UniversityPublished:Ehsan Yarshater, Modern Persian Painting, 1968 Center for Iranian Studies, Columbia University'This painter is skilful in portraying faces, gesturers, movements and Iranian characters. His works possess an indigenous tinge and a strong social spirit. His style is figurative with a tendency towards abstraction' - Naqsh o Negar, 1958This 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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Dia Azzawi (Iraq, born 1939)The Seven Golden Odes (The Mu'allaqat) silkscreen print in eight parts in original folio and caseeach print signed 'Dia Azzawi', titled and dated '1978' in Arabic, each print numbered 46/60, executed in 1978Each print: 103 x 72 cm (8)Footnotes:A HIGHLY SOUGHT AFTER AND INTACT FULL SET OF DIA AZZAWI'S MU'ALLAQAT Provenance:Property from the collection of Alecto Editions1. Introduction2. Mu'allaqat Imru Al Qayess3. Mu'allaqat Lubid Ibn Rabia4. Mu'allaqat Tarafa Ibn Al Abd5. Zuhair Bin Abi Sulma6. Mu'allaqat Antarra Ibn Shaddad7. Mu'allaqat Amr Ibn Kalthoum8. Mu'allaqat Al Hareth ben Halza'Oh you long night! Will you not yield to the dawn?Though daylight, like the night.. bears its share of worriesWhat an interminable night you are! As if the stars were bound to the mountains by the tightest of chords... or as though the Pleiades were hung, unmoving in their place by ropes tied to solid rock'- Muallaqat ISpectacularly detailed, rich and intricately worked, Bonhams presents a rare, intact and unopened full set of Dia Azzawi's famed Muallaqat prints; a homage to a group of seven long Arabic poems that are considered some of the defining literary works of the pre-Islamic era. The name means The Suspended Odes or The Hanging Poems, the traditional explanation being that these poems were hung on or in the Ka'ba at Mecca. The name Mu'allaqāt has also been explained figuratively, as if the poems 'hang' in the reader's mind.The Hanging OdesIn the eighth century, Hammad al-Rawiya—Iraq's last reciter of tribal poetry—compiled these timeless Hanging Odes. Hammad al-Rawiya, last of the true rawis or reciters of tribal poetry, was renowned among the newly urbanized Arabs of Damascus and Baghdad for declaiming poems he had heard recited by the Bedouin of the Arabian heartland. In the latter half of the eighth century he put together a collection of seven remarkable poems known collectively as the Mu'allaqat, or Hanging Odes.The Hanging Odes have always been shrouded in mystery. Legend tells that in the sixth century, some years before the rise of Islam, the poems were transcribed in letters of gold on the finest Egyptian linen and suspended from the Ka'ba in Mecca as trophies during the Sacred Months of Peace, when the Bedouin laid down their arms and went on their annual pilgrimage to the fairgrounds of 'Ukaz, near Mecca. Rival clans mingled in the marketplace, and, when not feasting or buying and selling wares, gathered round as the rawis swayed and pitched their lines to the rapt audience.The image of pagan poetry hung from the holy shrine of the Ka'ba serves to bind the ancient world of desert lore to Islam, and the poets themselves — Imru al-Qays ('the Vagabond Prince'), Tarafa ('the One the Gods Loved'), Zuhair ('the Moralist'), Labid ('the Man with the Crooked Staff'), Antara ('the Black Knight'), Amr Ibn Kulthum ('the Regicide'), and Harith ('the Leper') — have passed into legend, each lapped in a vast oral tradition.The Mu'allaqat are the most famous — and among the earliest — examples of the qasida (commonly translated as 'ode'), a form that frequently runs to some hundred and twenty lines. The term may derive from the root qasada, meaning 'to aim' or 'go forward,' or else from qasar, 'to break,' in reference to the mandatory division of the line into two rhythmically equal halves — a binary thrust and parry not unlike the alliterative line in Anglo-Saxon verse.The seven Mu'allaqat, and also the poems appended to them cover a vast array of topics. Tarafa's long, for example, anatomically exact description of his camel was a charming representation of the importance of this domesticated beast in the daily life of the Bedouins. In the Mu'allaqat of 'Amr and Harith we can read the haughty spirit of the powerful chieftains, boastfully celebrating the splendors of their tribe. The other poems are fairly typical examples of the customary qasida, the long poem of ancient Arabia, and bring before us the various phases of Bedouin life. In the Mu'allaqat of 'Antara, whose heroic temperament had overcome the scorn with which the son of a black slave-mother was regarded by the Bedouins.Azzawi's illustrated depiction of the Muallaqat is one of the most vibrant and richly composed examples of the artist's fascination with Iraq and the Arab world's pre-Islamic history and its influence on contemporary visual culture.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
15th century AD. A solid gold ring with D-section hoop, expanding shoulders with crown of thorns decoration and ellipsoidal bezel; incised Christian religious scene depicting the trinity: at the centre is the crucified Jesus Christ, head slumped to his left; behind and above is God the father with halo and arms supporting Jesus; either side of God's head at the top are two recessed sub-triangular fields which likely represent wings and thus the Holy Spirit; these wings may once have contained white enamel. Cf. Chadour, A. B., Rings: The Alice and Louis Koch Collection, Volume I, Leeds, 1994, p.181, for a comparable example and discussion; cf. Oman, C.C., Victoria and Albert Museum Catalogue of Rings, reprinted Ipswich, 1993, items 484, 486, for very similar type; cf. Scarisbrick, D. & Henig, M., Finger Rings from Ancient to Modern, Oxford, 2003, for comparable examples and discussion. Published on the Portable Antiquities Scheme (PAS) with reference number LIN-A52493. 4.60 grams, 20.81mm overall, 17.42mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14) (3/4"). Found while searching with a metal detector near Fleet, Lincolnshire, UK, on 12 March 2009; declared as treasure to HM Coroner, Boston, Lincolnshire, with Treasure Act reference number 2009 T140, and subsequently disclaimed; accompanied by copies of the treasure report for HM Coroner, and various other correspondence from Lincolnshire Police and the British Museum, and a copy of the PAS report number LIN-A52493; and an independent specialist report and valuation by graduate gemmologist and jewellery expert Anna Rogers, GIA GG, BA, Gem-A, ref. no.167355/7/10/2020; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10225-167355. The surface of the ring is worn, suggesting that the bezel scene served as a touch-piece or amulet. Other similar finger rings depict the Holy Spirit as a dove; it is possible that the 'wings' on this example are decorative, and that the dove is worn away. Iconographic rings became popular with the rise of the cult of patron saints in the 15th century. They were often given at weddings and as New Year gifts in England and Scotland. After the Reformation, iconographic jewellery was no longer considered socially acceptable and the type declined in use. Very fine condition, some wear as used as a 'touch piece'. [A video of this lot is available to view on Timeline Auctions website.]
Tang Dynasty, 618-906 AD. A ceramic figure formed as a walking horse, saddled, head to one side, whinnying; ears erect, wide eyes beneath raised brows, cropped mane, open mouth, short dressed tail; musculature suggested by depressed lines of varying depths; suggestion of hair around the mouth; black, pink, red and grey painted pigmentation survives. See Thorp, R., Son of Heaven: Imperial Arts of China, Seattle, 1988. 13.8 kg, 68cm (26 3/4"). From a 1970s west country collection, latterly in a London collection; accompanied by a positive thermoluminescence report issued by Laboratory Kotalla; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10173-166766. The Tang dynasty, with its capital at Chang'an, the most populous city in the world at the time, is regarded by historians as a high point in Chinese civilization - equal, or even superior, to the Han period. The Tang period was considered the golden age of literature and art. Stimulated by contact with India and the Middle East, the empire saw a flowering of creativity in many fields. At its peak, the Tang empire stretched from the Caspian Sea to the Pacific, from Manchuria and Korea in the north into Vietnam in the south. Within the country, commerce and cultural ideas thrived and spread through trade to Europe and even the court at Byzantium. Tang China was cosmopolitan and tolerant, welcoming new ideas and other religions. Within this environment, literature, painting, and the ceramic arts flourished. With a history reaching back to before the third century BC, tomb figures and furnishings were an important aspect of the Chinese culture. They also constituted a sizable amount of the ceramics produced during the Tang dynasty. Even in death, members of the wealthy, cosmopolitan Tang society sought to surround themselves with replicas of the splendid riches they had enjoyed during life. These objects were buried in tombs to provide for the needs of the deceased in the afterlife. Preparations for the tomb, which usually began well in advance of death, included the purchase of literally hundreds of pottery ming qi, or 'articles of the spirit,' such as figures of servants, musicians, and professional attendants; models of domestic and foreign animals; guardian spirits; and vessels from everyday life. The tomb furnishings that have survived are important social and cultural documents of the history of life during the Tang period. Finely modelled. [A video of this lot is available to view on Timeline Auctions website.]
NIRVANA LP & 12" COLLECTORS PACK. A rockin, selection of 5 Nirvana LP's & 12" singles. Titles include Incesticide (GEF24504, 1992 European pressing, Record is stunning Ex, sleeve strong VG+), Smells Like Teen Spirit (GET 21712, 1991 German picture disc pressing, record is Ex, comes in thick plastic wallet), Lithium (DGCTP 9, UK 1992 Limited Edition picture disc pressing. Record is Ex, sleeve VG+), In Bloom (GFSTP 34, UK 1992 LImited Edition picture disc pressing, Record is stunning Ex, sleeve lovely VG+), Sliver (TUPEP 25, UK 1991 blue vinyl pressing. Record is lovely Ex, sleeve strong VG+).
SOFT ROCK/POP/COUNTRY & SOUL - LPs. Diverse collection of 75 x (almost entirely) LPs. Artists/titles include Three Dog Night - Suitable For Framing (SL 5013), The Guess Who, Severin Browne inc. Love Songs, American Flyer - Spirit Of A Woman, Alessi Brothers inc. Words And Music, Andrew Gold (x4) inc. Whirlwind, Jose Feliciano (x14) inc. Angela, A Bag Full Of Soul..., Fireworks and Memphis Menu, England Dan and John Ford Coley, Michael Brewer - Beauty Lies, Brewer & Shipley - Welcome To Riddle Bridge, Jimmie Spheeris - Ports Of The Heart, Capability Brown, Leo Sayer, Larry Weiss, Patrick Simmons, Arthur 'Big Boy' Crudup, Mike Kennedy, Christie - For All Mankind, David Gates, Diana Ross And The Supremes, The Isley Brothers and Johnny Rivers - Rewind. Condition is generally VG to Ex+.
CLASSIC PSYCH/ROCK LPs (MAINLY WEST COAST). Absolutely essential LPs with this collection of 38! Artists/titles include Moby Grape (x5) - '69 (UK mono og, M 63430 - Ex+/VG), Murder In My Heart (Edsel), Live Grape, S/T (Edsel) and 20 Granite Creek (RS 6460), Quicksilver (sic) - What About Me, Fillmore The Last Days (box set), Sky Saxon Blues Band - A Full Spoon Of Seedy Blues (GNP Crescendo og, GNP 2040), The Grateful Dead (x9) - Without A Net (303 395 - Ex copy), American Beauty (WS 1893, RE), Live/Dead (WS 1830/1, UK og orange labels - VG copy, records would benefit from a clean), S/T (Edsel RE and K 66009), Workingman's Dead, Go To Heaven, Shakedown Street, In The Dark, Spirit (x13) inc. The Family That Plays Together, Rapture In The Chambers, Farther Along, Twelve Dreams Of Dr. Sardonicus (3 copies), Future Games and Feedback, Randy California (solo) and Randy Ferguson. Condition is generally VG to Ex+.
ROCK/ POP/ REGGAE/ INDIE/ ALT - LP COLLECTION. A superb collection of around 56 mixed genre LPs. Artist/ titles include King Tubbys - Meets Rockers Uptown (CT 085), KISS - Alive!, The Who inc Magic Bus/ My Generation (MCA2-4068), A Quick One/ Sell Out (MCA2-4067), The Clash - Sandinista, Rat Patrol, Combat Rock. Joe Strummer inc The Spirit Of Smoking Joe (private 10" press), Walker OST. Pete Shelley - Heaven & The Sea. Ska Ba Dip - The Essential King Edwards, Brian Eno - Another Green World, Various - Nu Yorica! (SJR LP29), Morrissey - Viva Hate, Billy Bragg, The Stranglers, The Creatures, Skids, Jimmy Cliff - I Am The Living (sealed), The Saints, Sham 69, John Cale, Various - Clap Your Hands and Stomp Your Feet. Condition is generally VG+ to Ex+.
ISLAND/POLYDOR PSYCH/POP 7". Wicked pack of 4 x hard to find 7". Titles are Emil Dean - This Is Our Anniversary (WIP 6033 - VG+ a small surface mark on the A side), Henri And His Hobo Amigos - Tonopah (WIP 6034 - Ex a couple of light scuffs), Kytes - Running In The Water (WIP 6027 - please note Fair condition with many surface/scuff marks and some feelable scratches) and Kingdom Come - Spirit Of Joy (2001-416 - Ex+ lovely copy).
An Edward VII silver spirit kettle on stand, of London shape with ebonised bow shaped handle, side hinged lid with ebonised finial, the stand with row of ventilation holes, a hinge to front for pouring, and locking pin on chain to back, removable burner with lift out domed lidded wick holder, raised on four cabriole legs terminating in pad feet, William Hutton & Sons Ltd., 25 by 13.5 by 32.5cm high overall, London 1907, 49.50toz total.
A collection of silver plated items, including a large oval galleried silver plated tray with four bun feet, 60.5 by 40.7 by 7cm high, a coffee pot, 24 by 14 by 19.7cm high, with spare finial, four white metal spirit labels two 'Gin', largest with scroll form borders and broken chain, 5 by 3cm, 'Whiskey' of Hexagonal form, 4.5 by 2.8cm, with broken chain, and Brandy, 3 by 1.8cm, a wooden canteen with some ivorine handled flatware inside. (1 box)
A collection of Danish and English silver, comprising a ladle with an octagonal bowl, 22.4cm, and two spoons, J. P. Jorgenson, two serving slices, a spirit ladle, a pair of large condiment spoons with shell escutcheon and gilt bowls, R. A. Christophersen, all with assay master Christian Heise marks, a table spoon, fork, and further table spoon, all 10.37toz, a set of seven 800 silver dessert forks and one spoon, 8.36toz, English silver comprising a stilton scoop with a bone handle, George Nangle, London 1801, a pickle fork with ivory handle, John Round & Son Ltd (Joseph Ridge), Sheffield 1894, and a butter knife, with mother of pearl handle, A. J. Bailey, Birmingham 1908, all 4.15toz, together with a pair of dessert spoons, a spoon with bone handle, and a horn spoon with silver mounts marks all worn, and a toddy ladle with turned handle, three butter forks, and a leaf bowled spoon with ivory handle, all apparently unmarked, 5.68toz. (31)
A George V silver topped whisky noggin, Hukin & Heath Ltd. Birmingham 1913, 7 by 6.5 by 10.5cm high, together with a Whisky spirit label, Hukin & Heath Ltd. Birmingham 1916, 3.3cm wide, 0.09toz. (2)Condition:The thumb grip on the lid is bent and has an area of old polish below it, the lid also has a slight smile, there is one chip to the base rim and marks to the glass as well overall surface wear.
An Ornate and Striking 19th Century Ivory Fan, the monture gently shaped, etched and tinged with colour to the guards, the gorge continuing the floral theme in bands, with a band of elongated ovals and leaves. The cream silk leaf is painted with three separate romantic scenes, the largest featuring a musical gathering, all set in the 18th century. Each scene is bordered with tiny gold sequins. Any remaining space is painted with small pink flowers. The verso is plain cream silk. Guard length approx. 9.5 inches or 24cm. Together with A Similar Cream Silk Fan with central scene of a wealthy family at leisure in a park, this cartouche being embroidered with tiny coloured spangles as a narrow border, these being embroidered elsewhere in the reserves, as highlights within meandering flowers and leaves. The verso is plain, a second layer of cream silk. The monture is quite formal but understated in design against the lightness of the leaf design. Guard length approx. 9.5 inches or 24cm. Contained in a Duvelleroy fan box covered in floral brocade; and A Small Ivory Fan mounted with a pink silk leaf, painted with small pink and white flowers and green leaves, this being continued on the guards and gorge. Centrally, a portrait of an 18th century lady wearing a large hat perched atop a high formal hairstyle in the spirit of Marie-Antoinette, bordered with tiny gold sequins. Double layer of silk but mounted à l'Anglaise. Guard length approx. 7.5 inches or 19cm (3) . The first fan, some front leaf folds have splits but the two layers of silk have prevented severe loss. The lower guard has been repaired with a small metal plate. The second fan is in good order. The box is grubby and some edging braid is damaged. The clasps work well. Fan 3, the portrait panel is detaching at one side and the ribs need some reattachment.
Great War fighter ace Baron Willy Coppens de Houthulst signed flown Charles Lindbergh Historic Aviators cover No 986 of 1300. Flown in boing 707 and 727 over routes taken by Charles Lindbergh in the Spirit of St. Louis date stamp May 20, 1977. Good Condition. All autographs are genuine hand signed and 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.
Nigel Wood, Chinese Glazes, Gardners Books, 1999. ISBN: 0-7136-3837-0 Ann Paludan (Yale Historical Pub.), The Chinese Spirit Road: Classical tradition of Stone Tomb Statuary. Yale University Press. 1991. ISBN: 0-300-04597-2 Jenny F So and Emma C Bunker, Traders and Raiders: on China's Northern Frontier, University of Washington Press, 1995. ISBN: 0-295-97473-7 Rosemary E Scott, Chinese Jades, Percival David Foundation. 1997. ISBN: 0-7286-0273-3 Carol Michaelson, Gilded Dragons, Art Media Resources Ltd. 2000. ISBN: 0-7141-1489-8 S J Vainker, Chinese Pottery and Porcelain from Prehistory to the Present. British Museum Publications Ltd. 1995. ISBN: 0-7141-1470-7 Xu Huping and Zhou Mei, Celadon Wares of the Six Dynasties Gems of Collections in Nanjing Museum. Shanghai China Classics Publishing House. 1999. ISBN: 7-5325-2566-X Peng Shifan, Dated Qingbai Wares of the Song and Yuan Dynasties. Ching Leng Foundation. 1995. ISBN: 962-7502-45-6 Janet Baker, Seeking Immortality Chinese Tomb Sculpture from the Schloss Collection. ISBN: 957-562-018-6 Chinese Ceramics Selected articles from Orientations 1982-1998 Song Ceramics, Toba Museum of Art, Museum of Oriental Ceramics Osaka, Hagi Uragami Museum, Asahi Shimbun. Shaanxi History Museum. Shaanxi History MuseumProvenance: The Professor Conrad Harris Collection
Southeast Asian Ceramic Society, Spirit of Han: Ceramics for the After-Life, Southeast Asian Ceramic Society, 1991. ISBN: 981-00-2961-6 He Li, Chinese Ceramics: The New Standard Guide, Gardners Books. 1996. ISBN: 0-500-23727-1 Rhonda Cooper, Masterpieces of Chinese Art, Tiger. 1998. ISBN: 1-85501-944-2 Jessica Rawson, Chinese Ornament: The Lotus and the Dragon, British Museum Press. 1984. ISBN: 0-7141-1431-6 May Holdsworth, Women of the Tang Dynasty, Pacific Century Publishers Ltd. 1999. ISBN: 962-217-460-4 China Institute in America, Ceramics in the Liao Dynasty Fung Ping Shan Museum, Green Wares from Zhejiang, University of Hong Kong. 1993. Jessica Rawson, Mysteries of Ancient China New Discoveries from the Early Dynasties, British Museum Press. 1996. ISBN: 0-7141-1472-3 Wu Hung, Between Han and Tang, Cultural Relics Publishing House Beijing. 2001. ISBN: 7-5010-1282-2/K.539 Suzanne G Valenstein, A Handbook of Chinese Ceramics, The Metropolitan Museum of Art. 1988. ISBN: 0-8109-1170-1 The J & J Collection, The Art of the Chinese Snuff Bottle (at the Percival David Foundation of Chinese Art 1997) Ancient Treasures from LuoyangProvenance: The Professor Conrad Harris Collection
Tamura, Eileen H et al, China: Understanding Its Past, University of Hawaii Press. 1997. ISBN: 0-8248-1923-3 Michael Loewe and Edward Shaughnessy, The Cambridge History of Ancient China from the Origins of Civilization to 221 BC, Cambridge University Press. 1999. ISBN: 0-521-47030-7 Jacob D'Ancona, The City of Light, Little Brown. 1997. ISBN: 0-316-63968-0 Jasper Becker, The Chinese, John Murray Publishers Ltd. 2000. ISBN: 0-7195-5439-X Karl Heinz Ranitzsch, The Army of Tang China, Montvert Publications. 1998. ISBN: 9 781874 101048 Wolfram Eberhard, A Dictionary of Chinese Symbols, Routledge UK.1986. ISBN: 0-415-00228-1 Anne Birrell, Chinese Mythology an Introduction, John Hopkins University Press.1999. ISBN: 0-8018-6183-7 Valerie Hansen, The Open Empire A History of China to 1600, WW Norton & Company. 2000. ISBN: 0-393-97374-3 Anon, The Classic of Mountains and Seas, Penguin Classics. 2000. ISBN: 0-14-044719-9 Anne Birrell, Chinese Myths, British Museum Press. 2000. ISBN: 0-7141-2178-9 Gilles Beguin and Dominique Morel, The Forbidden City: Heart of Imperial China, Thames and Hudson. 1997. ISBN: 0-500-30078-X Nicola Di Cosmo, Ancient China and its Enemies. The Rise of Nomadic Power in East Asian History, Cambridge University Press. 2002. ISBN: 0-521-77064-5 Erik Hildinger, Warriors of the Steppe A Military History of Central Asia 500BC to 1700AD, Da Capo Press. 2001. ISBN: 0-306-81065-4 Suzanne E Cahill, Transcendence & Divine Passion: The Queen Mother of the West in Medieval China, Stanford University Press. 1995. ISBN: 0-8047-2584-5 Frances Wood, Hand-Grenade Practice in Peking: My Part in the Cultural Revolution, John Murray Publishers Ltd. 2000. ISBN: 0-7195-5781-x Arthur Cotterell, China: A History (2nd Revised Edition), Pimlico. 1995. ISBN: 0-7126-6251-0 Ann Paludan, Chronical of the Chinese Emperors, Thames and Hudson. 1998. ISBN: 0-500-05090-2 Liu Zongren, The Former Imperial Palace in Beijing, China Books & Periodicals. 1995. ISBN: 7-5052-0263-4 JAG Roberts, China: Prehistory to the Nineteenth Century, Sutton Publishing. 2000. ISBN: 0-7509-2564-7 Nicholas J Saunders, The Cult of the Cat, Thames & Hudson. 1991. ISBN: 0-500-81036-2 Francis Huxley, The Dragon, Nature of Spirit, Spirit of Nature, Thames & Hudson. 1988. ISBN: 0-500-81020-6 Provenance: The Professor Conrad Harris Collection
Winston Branch Morning Dew in Holland Park, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Winston Branch (born in 1947) is a British artist originally from Saint Lucia, the sovereign island in the Caribbean Sea. He still has a home there, while maintaining a studio in California. Works by Branch are included in the collections of Tate Britain, the Legion of Honor De Young Museum in San Francisco, California, and the St Louis Museum of Art in Missouri. Branch was the recipient of a Guggenheim Fellowship in 1978, the British Prix de Rome, a DAAD (German Academic Exchange Service) Fellowship to Berlin, a sponsorship to Belize from the Organization of American States, and was Artist in Residence at Fisk University in Tennessee. He has been a professor of fine arts and has taught at several art institutions in London and in the US. He has also worked as a theatrical set designer with various theatre groups. As described by art critic Carlos Diaz Sosa, Branch paints "abstract canvases in cool, cloudy colours that have a quality which allow the viewer to explore the depths of the mind. Branch uses paint like a symbol, a purely aesthetic language, an illustration of spirit."
Winston Branch "She is as Sweet as Tupelo Honey" Piera, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Winston Branch (born in 1947) is a British artist originally from Saint Lucia, the sovereign island in the Caribbean Sea. He still has a home there, while maintaining a studio in California. Works by Branch are included in the collections of Tate Britain, the Legion of Honor De Young Museum in San Francisco, California, and the St Louis Museum of Art in Missouri. Branch was the recipient of a Guggenheim Fellowship in 1978, the British Prix de Rome, a DAAD (German Academic Exchange Service) Fellowship to Berlin, a sponsorship to Belize from the Organization of American States, and was Artist in Residence at Fisk University in Tennessee. He has been a professor of fine arts and has taught at several art institutions in London and in the US. He has also worked as a theatrical set designer with various theatre groups. As described by art critic Carlos Diaz Sosa, Branch paints "abstract canvases in cool, cloudy colours that have a quality which allow the viewer to explore the depths of the mind. Branch uses paint like a symbol, a purely aesthetic language, an illustration of spirit."
Winston Branch Here and Now in the Distance, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Winston Branch (born in 1947) is a British artist originally from Saint Lucia, the sovereign island in the Caribbean Sea. He still has a home there, while maintaining a studio in California. Works by Branch are included in the collections of Tate Britain, the Legion of Honor De Young Museum in San Francisco, California, and the St Louis Museum of Art in Missouri. Branch was the recipient of a Guggenheim Fellowship in 1978, the British Prix de Rome, a DAAD (German Academic Exchange Service) Fellowship to Berlin, a sponsorship to Belize from the Organization of American States, and was Artist in Residence at Fisk University in Tennessee. He has been a professor of fine arts and has taught at several art institutions in London and in the US. He has also worked as a theatrical set designer with various theatre groups. As described by art critic Carlos Diaz Sosa, Branch paints "abstract canvases in cool, cloudy colours that have a quality which allow the viewer to explore the depths of the mind. Branch uses paint like a symbol, a purely aesthetic language, an illustration of spirit."
Winston Branch Look Now Stand Still, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Winston Branch (born in 1947) is a British artist originally from Saint Lucia, the sovereign island in the Caribbean Sea. He still has a home there, while maintaining a studio in California. Works by Branch are included in the collections of Tate Britain, the Legion of Honor De Young Museum in San Francisco, California, and the St Louis Museum of Art in Missouri. Branch was the recipient of a Guggenheim Fellowship in 1978, the British Prix de Rome, a DAAD (German Academic Exchange Service) Fellowship to Berlin, a sponsorship to Belize from the Organization of American States, and was Artist in Residence at Fisk University in Tennessee. He has been a professor of fine arts and has taught at several art institutions in London and in the US. He has also worked as a theatrical set designer with various theatre groups. As described by art critic Carlos Diaz Sosa, Branch paints "abstract canvases in cool, cloudy colours that have a quality which allow the viewer to explore the depths of the mind. Branch uses paint like a symbol, a purely aesthetic language, an illustration of spirit."
David Harrison Hermaphrodite Spirit Frees The Birds, 2020 Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Teetering on the cusp of ordinary perception, David Harrison's paintings, drawings and sculptures present a world where the natural and supernatural go hand in hand. Harrison's works expand the languages of contemporary painting and sculpture, drawing into play parts of the culture which are forgotten, buried, discarded or disregarded. The artist employs all that has lain outside of the mainstream of modern art - age-old symbols and fanciful myth, irrational beliefs, traditional genres like landscape, exuberant sexuality, barbed wit, and wonder at the natural world - in order to speak vividly about our own time, and to revivify the disciplines of painting and sculpture. Harrison's paintings give shape to a complete imaginative universe akin to those of earlier Romantic visionaries, ripe with references to the natural world and populated by a cast of animals and figures drawn from myths, legends, modern-day politics and from his own biography alike. They have featured a cast of potent female characters - including Foxglove, Belladonna and Wolfsbane fairies - that find echoes in the fairy painting of John Anster Fitzgerald and others of the Victorian era, whose scenes of fabulous revelry unfolding on the edge of social consciousness married a gothic interest in otherworldliness with an impulse to cleanse the doors of perception. Such characters might seem to exist at the outer reaches of our ordinary sensory thresholds, as though momentarily illuminated by Harrison's vivid powers of description. Though in his imagined world, each species struggles to co-exist with mankind, nature is unbowed. Animal life always maintains the upper hand, even when mankind's avarice threatens everything else. While human presence is revealed to be ignorant, frivolous, or destructive, animal and plant life represents good sense and eternal knowledge. Shaped from cheap, prosaic materials such as Sellotape, along with detritus recovered from the city, Harrison's sculptures present us with symbolic figures from the past, from myth, or from fiction. They embody either man's tragic folly or nature's wisdom and life-force, by literally embodying our throw-away society and its effects upon the natural world. Harrison's dexterity with such materials allows each object, despite its humble origins, to possess an alarming, talismanic potency, and an iconic simplicity. Born in 1954, David Harrison lives and works in London. Harrison's works have been exhibited at venues including Southwark Park Galleries, London, UK (2019); Royal Academy of Art, London, UK (2019); Lungley Gallery, London, UK (2018); Churchgate Gallery, Somerset, UK (2017); Sargent's Daughters, New York (2016), TRAMPS, London (2017 and 2014), VeneKlasen/Werner, Berlin (2012), Vilma Gold, London (2012 and 2003), Daniel Reich Gallery, New York (2008), Galeria OMR, Mexico City (2007), the Arts Centre St. Petersburg, Florida (2005), Northern Gallery for Contemporary Art, Sunderland (2005), The Whitechapel Gallery, London (2006 and 2004), Whitechapel Project Space, London (2004 and 2003), Bloomberg Space, London (2004) and Cubitt Gallery, London (2001).
Mick Rooney Leda and the Swan, 2020 Gouache on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mick Rooney's work strives to continue a narrative, poetic, humanistic tradition in painting. Mankind is central to his work; sometimes in stories from his own personal history, his travels and small events of the everyday. His paintings explore the inner mythologies, neurosis, dreams and secrets that are so much a part of today's social landscape. Mick Rooney studied at Sutton School of Art from 1959 to 1962, Wimbledon School of Art from 1962 to 1964, and subsequently at the Royal College of Art, London from 1964 to 1967. Here he was awarded the Austin Abbey Major Scholarship to study at the British School of Rome from 1967 to 1968, where he was commissioned by the Franciscan Order to create a wall mosaic for a new Basilica in Nazareth, Israel. Between 1968 and 1982 he taught part-time at various art colleges. Rooney's early solo exhibitions were held from 1965 at the Fulham Gallery, London, Galerie Petit, Amsterdam, Seasons Gallery, The Hague and Patrick Seale Gallery, London, with regular solo shows being held at the Mercury Gallery, London from 1984. A retrospective of his work (covering the period 1978 to 1988) was held in 1989 and toured Folkestone, Eastbourne and Bath. Rooney's work has been included in many group exhibitions in Britain and abroad. Among Rooney's commissions is a painting to celebrate the centenary of the Financial Times (1988), a poster for London Underground (1990), a tapestry commissioned by TSB for Birmingham Headquarters (woven by Edinburgh Tapestry Company) and a book cover for Mr and Mrs Noah - recent poems by Brendan Kennely. Among Rooney's many awards are ANSVAR Insurance, Towner Art Gallery, Eastbourne (1981), World of Newspapers, Daily Mirror, London (1982), Spirit of London, GLC Southbank (1983), Gulbenkian Printmakers Award (1984), John Player Portrait Award, National Portrait Gallery (1985), Daler/Rowney Prize (Royal Academy, 1986), House and Garden Magazine Award (Royal Academy, 1988), Korn/Ferry International Premier Award (Royal Academy, 1989) and First Prize, Chichester Arts Festival Exhibition. Rooney was Artist in Residence for the Towner Art Gallery, Eastbourne in 1983. He was elected Royal Academician in 1991 and in 2001 was elected to the Royal Society of Painters and Printmakers. Rooney lives and works in London.
Mick Rooney Just Landed, 2020 Gouache on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mick Rooney studied at Sutton School of Art from 1959 to 1962, Wimbledon School of Art from 1962 to 1964, and subsequently at the Royal College of Art, London from 1964 to 1967. Here he was awarded the Austin Abbey Major Scholarship to study at the British School of Rome from 1967 to 1968, where he was commissioned by the Franciscan Order to create a wall mosaic for a new Basilica in Nazareth, Israel. Between 1968 and 1982 he taught part-time at various art colleges. Rooney's early solo exhibitions were held from 1965 at the Fulham Gallery, London, Galerie Petit, Amsterdam, Seasons Gallery, The Hague and Patrick Seale Gallery, London, with regular solo shows being held at the Mercury Gallery, London from 1984. A retrospective of his work (covering the period 1978 to 1988) was held in 1989 and toured Folkestone, Eastbourne and Bath. Rooney's work has been included in many group exhibitions in Britain and abroad. Among Rooney's commissions is a painting to celebrate the centenary of the Financial Times (1988), a poster for London Underground (1990), a tapestry commissioned by TSB for Birmingham Headquarters (woven by Edinburgh Tapestry Company) and a book cover for Mr and Mrs Noah - recent poems by Brendan Kennely. Among Rooney's many awards are ANSVAR Insurance, Towner Art Gallery, Eastbourne (1981), World of Newspapers, Daily Mirror, London (1982), Spirit of London, GLC Southbank (1983), Gulbenkian Printmakers Award (1984), John Player Portrait Award, National Portrait Gallery (1985), Daler/Rowney Prize (Royal Academy, 1986), House and Garden Magazine Award (Royal Academy, 1988), Korn/Ferry International Premier Award (Royal Academy, 1989) and First Prize, Chichester Arts Festival Exhibition. Rooney was Artist in Residence for the Towner Art Gallery, Eastbourne in 1983. He was elected Royal Academician in 1991 and in 2001 was elected to the Royal Society of Painters and Printmakers. Rooney lives and works in London.
Jim Denomie Rabbit Spirit, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) As a painter and an artist, I find I am constantly evolving. I develop images from my imagination, my memories, my dreams, and from the world around me, as I perceive it. I try to discover something new or different with each painting. I like to explore new subject matter. Employing rich colours, I tell original stories that are completely of my own creation and visual style. Over time, I have developed several series that are distinct yet related. Subject matter may include but is not limited to social, political, and historical narrative, creative portraiture, dreams, spirituality and eroticism. I also work with found object mask making, printmaking, ink drawings, mixed media oil stick, and photography. I sketch almost daily developing spontaneous ideas, documenting current thoughts or issues, and exploring and working out ideas for paintings. Jim Denomie was born in Hayward, Wisconsin on July 6, 1955 and is a member of the Lac Court Oreilles Band of Ojibwe. He grew up in Minneapolis, MN since the age of 5 and currently lives and works in Franconia, MN. In 1995 he received a Bachelor of Fine Arts degree in visual arts from the University of Minnesota and since has shown in over 130 exhibitions throughout the U.S. and internationally. Primarily a painter, he also works in printmaking, photography, ink drawings and found object sculpture. His narrative paintings focus mainly on political, social, cultural and personal events (both current and historical) pertaining to Native American issues and his personal identity. His most recent body of political work (2018-19) documented the North Dakota Access Pipeline protests at the Standing Rock Reservation in 2016. The nine paintings debuted at Bockley Gallery in Minneapolis, MN in 2019 and a number of then have since or will be exhibited in Sao Paulo, Brazil, Mexico City and Vienna, Austria. His intelligent and courageous work has garnered him numerous prestigious fellowships (a Bush Fellowship, McKnight Fellowships (2) a Joan Mitchell Fellowship, and most recently, a McKnight Distinguished Artist Award (2019) among others. His work is also in the permanent collections of numerous museums including the Minneapolis Institute of Art, the Walker Art Center, the Westphalien Museum of History and Life, the Denver Art Museum, Eiteljorg Museum of Western and American Art as well as many other public and private collections.
Jose Alvarez (D.O.P.A) In the Garden - 1, 2020 Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Jose Alvarez (b. 1961) was born in Venezuela and currently lives and works in South Florida. He graduated from the School of the Visual Arts in 1995. He began his career by making a name for himself through charismatic performances where he "channeled" the 2,000-year-old spirit of a shaman named Carlos. In front of live audiences around the world, Carlos' performances and media broadcasts have been viewed by millions of people in the United States, China, Australia, Europe, and South America. These performances were the subject of a video work presented in the 2004 Whitney Biennial curated by Lawrence Rinder, and more recently at his solo exhibition at The Kitchen in New York curated by Debra Singer. He has performed at the NASA Johnson Space Flight Center, as well at the Parkes Radio Telescope in Australia. Alvarez has also exhibited his work most recently at Marlborough Gallery, New York, The Moore Space, Miami, Gavlak, West Palm Beach, Ratio 3, San Francisco, as well as in the 2002 Whitney Biennial, "We Are Electric," at Jeffrey Deitch, and "Cosmic Wonder" at the Yerba Buena Center for The Arts. Alvarez's work will be included in the upcoming Exhibition "Altered States" at The Norton Museum of Art in Palm Beach and was included in the exhibition "Psychedelic: Optical and Visionary Art since the 1960s" at the San Antonio Museum of Art.
Jose Alvarez (D.O.P.A) In the Garden - 2, 2020 Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Jose Alvarez (b. 1961) was born in Venezuela and currently lives and works in South Florida. He graduated from the School of the Visual Arts in 1995. He began his career by making a name for himself through charismatic performances where he "channeled" the 2,000-year-old spirit of a shaman named Carlos. In front of live audiences around the world, Carlos' performances and media broadcasts have been viewed by millions of people in the United States, China, Australia, Europe, and South America. These performances were the subject of a video work presented in the 2004 Whitney Biennial curated by Lawrence Rinder, and more recently at his solo exhibition at The Kitchen in New York curated by Debra Singer. He has performed at the NASA Johnson Space Flight Center, as well at the Parkes Radio Telescope in Australia. Alvarez has also exhibited his work most recently at Marlborough Gallery, New York, The Moore Space, Miami, Gavlak, West Palm Beach, Ratio 3, San Francisco, as well as in the 2002 Whitney Biennial, "We Are Electric," at Jeffrey Deitch, and "Cosmic Wonder" at the Yerba Buena Center for The Arts. Alvarez's work will be included in the upcoming Exhibition "Altered States" at The Norton Museum of Art in Palm Beach and was included in the exhibition "Psychedelic: Optical and Visionary Art since the 1960s" at the San Antonio Museum of Art.
Eduardo Terrazas From the Series: Possibilities of Structure, Subseries: Cosmos, 2020 Graphite Pencil and Marker on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Eduardo Terrazas (1936) is a Mexican creator who has taken genuine interest in studying and contemplating the complexity of our contemporary world. Spirit, beauty, order, and technique are the cornerstones that define his visual universe. Architect by training, he obtain his Bachelor's degree at UNAM Mexico, and then a Master's, at Cornell University, New York. But his endeavors -for over fifty years- include an array of disciplines: design, architecture, urban and regional planning, visual arts and environmental issues, responding and reflecting creatively to our changing reality, proposing alternate methods of inhabiting our world, different forms to relate one another, new ways to portray and understand our cosmos. Terrazas sees his transit through these disciplines, as different pathways that nevertheless run parallel, as resources to approach concerns that range from philosophy to science. His fascination for the Mexican indigenous craft techniques is visible in many of his works. He was the co-author of the Olympic Design and Identity Program Mexico'68, working for architect Pedro Ramírez Vázquez, President of the Organizing Committee of the Games of the XIX Olympiad in Mexico in 1968. His first exhibition Tablas (1972 Palacio de Bellas Artes, Mexico) presents a series of compositions focused on basic forms, all of them produced with the Huichol technique (wool yarn on wooden board, covered with Campeche wax), a joint collaboration between Terrazas and the Huichol artisan Santos Motoaapohua de la Torre de Santiago. Terrazas broad artistic production includes works as heterogeneous as his most iconic series: Possibilities of a Structure (1974 - ) with its subseries: Cosmos, Nine Circles, Diagonals, Grid and Bar Code, a pictorial investigation of the characteristics that allows an specific structure be developed and transformed to the infinite. He has at this moment more that 375 works only from the Cosmos subseries. From that time on, he has produced more than 20 different series like: Tablas, Exponential Growth, Organic Growth, Multiplications, The Predicament of Mankind, Deconstruction of an Image, Everyday Museum, Imagen México, Traces, Universe, Toscana, and Force of Gravity among others. Terrazas work serves as a testimony of his interest in thinking in an interdisciplinary way to establish visions of our contemporary world through universal visual languages. Image after image his work seems to tell stories of the geometry underlining our Cosmos.
Eduardo Terrazas From the Series: Possibilities of Structure, Subseries: Cosmos, 2020 Graphite and Colour Pencil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Eduardo Terrazas (1936) is a Mexican creator who has taken genuine interest in studying and contemplating the complexity of our contemporary world. Spirit, beauty, order, and technique are the cornerstones that define his visual universe. Architect by training, he obtain his Bachelor's degree at UNAM Mexico, and then a Master's, at Cornell University, New York. But his endeavors -for over fifty years- include an array of disciplines: design, architecture, urban and regional planning, visual arts and environmental issues, responding and reflecting creatively to our changing reality, proposing alternate methods of inhabiting our world, different forms to relate one another, new ways to portray and understand our cosmos. Terrazas sees his transit through these disciplines, as different pathways that nevertheless run parallel, as resources to approach concerns that range from philosophy to science. His fascination for the Mexican indigenous craft techniques is visible in many of his works. He was the co-author of the Olympic Design and Identity Program Mexico'68, working for architect Pedro Ramírez Vázquez, President of the Organizing Committee of the Games of the XIX Olympiad in Mexico in 1968. His first exhibition Tablas (1972 Palacio de Bellas Artes, Mexico) presents a series of compositions focused on basic forms, all of them produced with the Huichol technique (wool yarn on wooden board, covered with Campeche wax), a joint collaboration between Terrazas and the Huichol artisan Santos Motoaapohua de la Torre de Santiago. Terrazas broad artistic production includes works as heterogeneous as his most iconic series: Possibilities of a Structure (1974 - ) with its subseries: Cosmos, Nine Circles, Diagonals, Grid and Bar Code, a pictorial investigation of the characteristics that allows an specific structure be developed and transformed to the infinite. He has at this moment more that 375 works only from the Cosmos subseries. From that time on, he has produced more than 20 different series like: Tablas, Exponential Growth, Organic Growth, Multiplications, The Predicament of Mankind, Deconstruction of an Image, Everyday Museum, Imagen México, Traces, Universe, Toscana, and Force of Gravity among others. Terrazas work serves as a testimony of his interest in thinking in an interdisciplinary way to establish visions of our contemporary world through universal visual languages. Image after image his work seems to tell stories of the geometry underlining our Cosmos.
Su Blackewell Miniature Penguins, 2020 Paper on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Su Blackwell is an artist based in the South Coast of England and working predominantly within the realm of paper. Paper has been used for communication since its invention; either between humans or in an attempt to communicate with the spirit world. Su employs this delicate, accessible medium and uses irreversible, destructive processes to reflect on the precariousness of the world we inhabit and the fragility of our life, dreams and ambitions. Su expresses her unique art style through book sculptures (sculptures using books as the medium) and through themes such as fairy tales and folklore. Her pieces visualize the poetic space hidden within the pages of old tales; the sculptures created by cutting pages of old books are three-dimensional pieces of art that lead us to the world of imagination. Su has exhibited her exquisite sculptures around the World. Her illustrated book of fairy tales 'The Fairytale Princess', published by Thames & Hudson was re-released in 2015. Su has designed art fabric for Liberty London, and her illustrations have contributed to regular columns in 'Intelligent Life Magazine' and 'Harper's Bazaar UK'. Su has also turned her hand to art-direction for commercials, for clients such as Volvo and British Airways, and to theatre set-design. In 2011, Su appeared on Radio 2's Art Show with Claudia Winkleman to talk about her set for The Rose Theatre's production of 'The Snow Queen'.
MOLINARI, ANTONIO MOLINARI, ANTONIO Venedig 1655 - 1704 Titel: Sophonisbe. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 113,5 x 94,5cm. Rahmen/Sockel: Rahmen. Literatur: A. Craievich: Antonio Molinari, Cremona 2005, S. 200; S. Brink: Genio vigoroso ed originale. Die Zeichnungen des Antonio Molinari, Düsseldorf 2005, S. 40-41, Kat. 6. Provenienz: Privatbesitz, Italien. Die Figur der Sophonisbe entstammt der römischen Geschichte und erfuhr eine traditionell große Beliebtheit sowohl für ihre Schönheit als auch für ihre Intelligenz. Sie war die Frau des Syphax, der sich als König der Massäsylier auf ihren Rat hin mit den Karthagern gegen die Römer verbündete. Nach der Niederlage durch die Römer 203 v.Chr. brachte sie den König von Numidien Massinissa dazu, sich in sie zu verlieben. Um nach der Gefangennahme durch Scipio der Demütigung der Sklaverei zu entgehen, schickte Massinissa ihr einen Becher Gift. Sofonisba trank das tragische Geschenk und zog es vor, lieber zu sterben statt als Sklavin der Römer zu leben. Das vorliegende Gemälde zeigt Sophonisbe, wie sie mit der rechten Hand den Giftbecher und in der linken Hand den Brief ihres Mannes hält, der sie zum Selbstmord verleitet. Der Autor des Werkes ist der Venezianer Antonio Molinari, der 1655 geboren wurde und bei seinem Vater Giovanni sowie dem als Vertreter der Tenebrosi bekannten Antonio Zanchi ausgebildet wurde. Als Molinari etwa zwanzig Jahre alt war, begann er selbstständig zu malen, immer nach dem Vorbild der Tenebrosi im Zeichen des Naturalismus und einer akzentuierten Theatralik der Szenerie. Ab den achtziger Jahren änderte Molinari seinen Stil und wandte sich eleganteren Formen und zarteren Farben im Geschmack der Neorenaissance zu, wobei er einen beachtlichen Erfolg mit den kleineren und mittleren Bildformaten hatte. Diese stellten insbesondere Episoden historischen, mythologischen oder biblischen Charakters dar, deren Erfolg durch die Nachfrage nach zahlreichen Wiederholungen bestätigt wird. Diese Gemälde feiern oft berühmte Heldinnen, wie Portia oder wie auf dem vorliegenden Gemälde Sofonisba, einige stellen Figuren aus der römischen Geschichte dar, die in theatralischen Posen vor in klassischen Kulissen dargestellt werden. Molinari war darüber hinaus ein ausgezeichneter Zeichner, dessen umfangreiche graphische Tätigkeit durch zwei Sammlungen dokumentiert wird, die sich im Düsseldorfer Museum Kunstpalast und im Zeichnungskabinett des Louvre befinden. Mit wenigen Feder- und Aquarellstrichen konnte Molinari eine ganze Komposition zusammenzufassen. Die Zeichnungen dienen dabei oftmals als graphische Vorlagen für Gemälde: Diese Sofonisba entstand auf der Grundlage einer in Düsseldorf erhaltenen Zeichnung. Erläuterungen zum Katalog Antonio Molinari Italien Barock 17.Jh. Originale Literarische Themen Malerei Historische Personen MOLINARI, ANTONIO MOLINARI, ANTONIO Venice 1655 - 1704 Title: Sophonisbe. Technique: Oil on canvas. Mounting: Relined. Measurement: 113,5 x 94,5cm. Frame/Pedestal: Framed. Literature: A. Craievich: Antonio Molinari, Cremona 2005, p. 200; S. Brink: Genio vigoroso ed originale. Die Zeichnungen des Antonio Molinari, Düsseldorf 2005, p. 40-41, cat. 6. Provenance: Private ownership, Italy. The figure of the Sophonisbe originates from Roman history and has traditionally been popular both for her beauty and her intelligence. She was the wife of Syphax, who, as king of the Massäsyliers, allied himself with the Carthaginians against the Romans on their advice. After the defeat by the Romans in 203 B.C., she made the king of Numidia Massinissa fall in love with her. To escape the humiliation of slavery after her capture by Scipio, Massinissa sent her a cup of poison. Sofonisba drank the tragic gift and preferred to die rather than live as a slave to the Romans. The present painting shows Sophonisbe holding the cup of poison in her right hand and the letter from her husband in her left, which tempts her to commit suicide. The author of the work is the Venetian Antonio Molinari, born in 1655, who was trained by his father Giovanni and Antonio Zanchi, known as a representative of the Tenebrosi. When Molinari was about twenty years old, he began to paint on his own, always following the example of the Tenebrosi in the spirit of naturalism and an accentuated theatricality of the scenery. From the eighties onwards Molinari changed his style and turned to more elegant forms and more delicate colours in the taste of the Neo-Renaissance, achieving considerable success with the smaller and medium-sized image formats. These represented in particular episodes of historical, mythological or biblical character, the success of which is confirmed by the demand for numerous repetitions. These paintings often celebrate famous heroines, such as Portia or, as in the present painting, Sofonisba, some of them depicting figures from Roman history, depicted in theatrical poses in front of classical backdrops. Molinari was also an excellent draughtsman, whose extensive graphic activity is documented by two collections, one in the Kunstpalast Museum in Düsseldorf and the other in the drawing cabinet of the Louvre. Molinari was able to summarize an entire composition with a few pen and watercolour strokes. The drawings often serve as graphic models for paintings: this Sofonisba was created on the basis of a drawing preserved in Düsseldorf. Explanations to the Catalogue Antonio Molinari Baroque 17th C. Old Masters Literary theme Painting Historical people
PESCHEL, CARL GOTTLIEB PESCHEL, CARL GOTTLIEB Dresden 1798 - 1879 Titel: Ruhe auf der Flucht. Die Heilige Familie bei der Rast. Technik: Aquarell über schwarzem Stift auf Papier. Montierung: Kaschiert. Maße: 22 x 28,5cm. Bezeichnung: Signiert und datiert unten rechts: C.(lig.) Peschel / 1872. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Die vorliegende, aquarellierte Zeichnung zeigt in eine strengen frontalen Komposition das neutestamentlich Motiv der Heiligen Familie bei der Rast. Der 1847 an der Kunstakademie Dresden zum Professor berufene Künstler Carl Gottlieb Peschel verbrachte 1825/26 ein Jahr in Rom und schloss sich dort durch seinen engen Freund und Kollegen Julius Schorr von Carolsfeld der Künstlergruppe der Nazarener an. Ziel dieser deutschsprachigen, in Rom und Wien tätigen Künstler war die anfangs antikademisch-fortschrittliche Haltung und Erneuerung der Kunst im Geiste des Christentums. Auch wenn Peschel nur ein Jahr in Rom verbrachte und die vorliegende Zeichnung laut der Signatur im Jahr 1872 entstand (und somit beinahe 50 Jahr nach seiner prägenden Zeit in Rom sowie sieben Jahr vor seinem Tod), sind die Einflüsse der Nazarener Schule anhand der mittelalterlichen Formensprache und lieblichen Ikonographie deutlich ersichtlich. Erläuterungen zum Katalog Carl Gottlieb Peschel Deutschland Nazarener Dresdener Schule 19.Jh. Handzeichnungen Religiöse Darstellung Aquarell Marienleben PESCHEL, CARL GOTTLIEB PESCHEL, CARL GOTTLIEB Dresden 1798 - 1879 Title: Rest on the Flight. The Holy Family resting. Technique: Watercolour over black pen on paper. Mounting: Mounted. Measurement: 22 x 28,5cm. Notation: Signed and dated lower right: C.(lig.) Peschel / 1872. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. The present watercoloured drawing shows in a strict frontal composition the New Testament motif of the Holy Family at Rest. 1847 Carl Gottlieb Peschel was appointed professor at the academy of arts in Dresden. 1825/26 he spent one year in Rome, where he joined the Nazarene group of artists through his close friend and colleague Julius Schorr von Carolsfeld. The aim of these German-speaking artists, who worked in Rome and Vienna, was the initially anti-academic and progressive attitude and renewal of art in the spirit of Christianity. Even though Peschel only spent one year in Rome and the present drawing, according to the signature, was created in 1872 (almost 50 years after his formative period in Rome and seven years before his death), the influences of the Nazarene school are clearly evident in the medieval formal language and lovely iconography. Explanations to the Catalogue Carl Gottlieb Peschel Germany Nazarene Dresden School 19th C. Watercolour / Drawings Religious Art Water color Life of Virgin Mary
circa 1943; this camera appears to be unique and is reputed to have been made by an Italian prisoner of war in a camp in Perthshire; its origins remain a mystery as it has so many refinements that it almost appears to be a 'labour of love' by a skilled craftsman; the lens and shutter are of quite high quality and have been removed from an unidentified old camera of about 1909 and may have been one made by ICA of Dresden; the camera uses 35mm film wound from one cassette into another and the sprocket over which it winds rotates the pointer on the dial at the top, two frames per complete rotation; it also operates a frame counter, which can be re-set and the lens of the tiny folding viewfinder comes from another camera. There are two unusual features, one being the socket for a small spirit level, suggesting that the camera was intended for document copying and the other being a non-standard accessory shoe. The camera's interior is painted with home-made black paint and the final finishing touch is a holder from a filing cabinet on the back to hold a card
An early 20th century leather cased travel set, containing a spirit flask with two detachable cups, two folding knives, and two simlar forks also with corkscrews, overall height 12.5cm, together with a burr maple snuff box (2).Condition report: General wear commensurate with age. Please see additional images.
Robert Colquhoun (British, 1914-1962)Two Actors oil and oil pastel on canvas43.7 x 33.8 cm. (17 1/4 x 13 1/4 in.)Painted in 1945Footnotes:ProvenanceWith The Mayor Gallery, LondonFrances Byng StamperWith The Redfern Gallery, London, 6 March 1985, where purchased by the present ownerPrivate Collection, U.K.ExhibitedLondon, Whitechapel Art Gallery, Robert Colquhoun; An Exhibition of Paintings, Drawings and Prints from 1942 to 1958, March-May 1958, cat.no.32The present canvas is a smaller version of an almost identical composition, Actors on a Stage, painted the same year. In both works, two figures are depicted side on, embracing in a moment of tenderness, with a cat stretched out on part of a stage above them. Three years after they were painted, in 1948, both Robert Colquhoun and MacBryde were approached by Leonide Massine, a Russian choreographer and ballet dancer, to design the costumes and décor for a Scottish ballet, Donald of the Burthens, which later came to Covent Garden in 1951. The following year they travelled to Italy to see the puppet plays at Modena and the Palio at Sienna. However, as these two works clearly demonstrate, theatrical subject matter had already taken hold before this project, and filtered into Colquhoun's canvases.Two Actors was painted during the time which is widely regarded by critics as the artist's most successful. By 1945 Colquhoun was well established in London, following his move in 1941 from Glasgow with fellow Scottish artist and partner Robert MacBryde. Based in Kensington, through the patronage and care of Peter Watson, he became integral to the Neo-Romantics, including John Minton, John Craxton and Keith Vaughan. By 1942 the influential Polish émigré artist, Jankel Adler (1895-1949), had taken a studio in the same building and was instrumental in exposing the group to the pictorial vocabulary of Braque's style of Cubism, which gradually replaced the Romantic tone of Colquhoun's work, as can be seen in Two Actors. Malcolm Yorke remarks on this relationship:'Adler was responsible for weaning Colquhoun and MacBryde away from the English landscape tradition (it had never been their tradition, anyway) and on to a richer eclecticism, a less parochial style, and more humanistic subject matter. As he explored his Jewish tradition, so he urged them to explore their Celtic heritage. Soon Colquhoun began to paint Irish and Scottish peasant women, haggard, shawled and black-skirted. These remote static figures were meant, like Adler's, to represent something archetypal, enduring through time, but they are also expressed in an unmistakably twentieth-century idiom derived from Picasso and Braque (Malcolm Yorke, The Spirit of Place, Nine Neo-Romantic Artists and their Times, Constable, London, 1988, pp.241-242).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Yiannis Tsarouchis (Greek, 1910-1989)Woman from Salamis/ Koulouriotissa signed in Greek and dated '34' (upper right)oil on canvas laid on panel 46 x 25 cm.Painted in 1934.Footnotes:ProvenancePrivate collection, Athens.ExhibitedAthens, The British Council, Exhibition Yannis Tsarouchis 1932-1952, February 17-29, 1952, no. 13 (possibly).LiteratureE. Florou, Tsarouchis – Painting, doctoral dissertation, Athens 1989, vol. 1, p. 38-39 (discussed), p. 215 (catalogued), vol. 2, fig. 129 (illustrated).E. Florou, Yannis Tsarouchis, his Painting and his Era, Nea Synora - A.A. Livanis editions, Athens 1989, no. 140, p. 18 (mentioned), p. 21 (discussed), p. 19, fig. 16 (illustrated).Yannis Tsarouchis (1910-1989) Painting, Yannis Tsarouchis Foundation, Athens 1990, no. 48 (illustrated).Yannis Tsarouchis Painting, Comments, Yannis Tsarouchis Foundation, Athens 1990, no. 48, p. iv (discussed).A work that marks a turning point in Tsarouchis's career, as noted by the artist himself,1 Woman from Salamis conveys a striking immediacy and resilient allure. Broad planes of earthy colours highlighted by solid outlines and supplemented by highly stylised motifs, such as the clouds and the sun, build up a solid edifice of pure form, stretching beyond the confines of the transient and perfectly matching the young maiden's silent inflexibility and hieratic posture. We are reminded of Byzantine icons, Fayum portraits, Theofilos, and Kontoglou, the leading advocate for the revival of the Byzantine pictorial tradition, under whom Tsarouchis apprenticed for four years.As noted by former Benaki Museum Director M. Hadjidakis, in Tsarouchis's hands, human form takes on a monumental quality. Lightly modelled, his subjects fill the picture and are elevated to a symbolic type full of dignity and grandeur,2 capturing the genuineness of character which is the lifeblood of the Modern Greek spirit.Ever since his early childhood, Tsarouchis was enchanted by traditional local costumes from around Greece. His fascination was further heightened following his acquaintance with Angeliki Hadjimichali, Elli Papadimitriou and Eva Palmer-Sikelianou and was filtered through Kontoglou's passion for Byzantine art. He was not only interested in the art form but also in the techniques involved. He knew how to weave, cut and sew, as well as take patterns from folk clothing. Unfortunately, his entire archive of dress designs and costume details was destroyed during the German Occupation.31 Yannis Tsarouchis Painting, Comments, Yannis Tsarouchis Foundation, Athens 1990, no. 48, p. iv.2 M. Hadjidakis, 'Some Aspects of Modern Greek Art' in Perspective of Greece, an Atlantic Monthly Supplement, Intercultural Publications, New York 1955, p. 33.3 M. Karavia, The Thinker of Marousi, Memories and Conversations with Yannis Tsarouchis [in Greek], Kapon editions Athens 2009, p. 74.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Yiannis Tsarouchis (Greek, 1910-1989)Portrait of a Young Man signed in greek and dated '16-10-66' (upper left) oil on canvas47 x 38 cm. Painted in 1966.Footnotes:ExhibitedThessaloniki, Tellogleio Art Institute, Selections of a Bold Collector, Stavros Tsigkoglou, February 2017, no. 94 (illustrated in the exhibition catalogue, p. 175).Distilled with marvellous restraint, this captivating portrait of a young Greek male epitomizes the artist's signature subject. Impeccably painted in earthy colours, highlighted by solid outlines, and handled with confident brushwork, the work conveys a sense of immediacy and presence, distantly echoing Gysis's psychologically acute portraits. The honesty of representation, genuineness of character and purity of form give this portrait its power and directness, impelling the viewer to scratch beyond the veneer to seek the inner world of the young Greek. As noted by D. Kapetanakis, 'Tsarouchis managed, with the wisdom of his art, to elevate a model posing in his studio into a symbol of the Modern Greek spirit.'1 As noted by Athens National Gallery Director M. Lambraki-Plaka, 'in Tsarouchis's work, the human figure managed to survive three sins: the primordial, the academic and the 'modern'. With the latter one I mean modern art's iconoclastic crusade, which never tired to demolish, distort or expel the human form. Tsarouchis did not give in to this negative aesthetic theory which preached the systematic rejection of the rules of Western tradition. He is one of the few painters who managed to cross the tempestuous 20th century by keeping intact the precious human figure.'2 1 D. Kapetanakis, Yiannis Tsarouchis, Return to Roots, Nea Grammata magazine, 1937.2 M. Lambraki-Plaka, 'Yannis Tsarouchis, the Icon and the Work' [in Greek], Lexi magazine, no. 73, March-April 1988, p. 229. See also Osei Myra, Yannis Tsarouchis 1910-1989 [in Greek], Kastaniotis editions, Athens 1998, p. 452. This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Irish Language.- Prayers, beginning "In the name of the Father, Son, and Holy Spirit" and ending the same, manuscript in Irish and Latin, 280pp. excluding blanks, all but first title, titles and headlines in red ink, first f. lightly soiled, some water-staining in margins, some other marks in text, browned, later endpapers watermarked 1853, 19th century vellum, gilt borders, soiled and marked, r.e., sm. 4to, [Ireland], [c. 1780].
Sassoon (Siegfried) The War Poems, new impression, Autograph Letter signed by the author dated 27.2.49 "The generally accepted view is that R[upert] B[rooke], Owen & self are the names which remain conspicuous - as representing the '1914 spirit' & the subsequent reaction and disillusionment. Grenfell's pem belongs with Brooke's sonnets... Edmund Blunden... will have a special & important place in the history of that war... Sidney Keyes was a genius, killed at 21" loosely inseted, original cloth, paper labels to spine and upper cover, dust-jacket, spine browned, spine ends and corners chipped, some creasing to head, 1920; and 3 others, similar, 8vo (4)⁂ An excellent letter by Sassoon discussing his admiration for the work of his war poet contemporaries.
A VICTORIAN EPNS TEA KETTLE, C1870, OF GLOBULAR FORM, THE DOMED LID WITH BIRD KNOP, CRISPLY CHASED WITH FLOWERS AND FOLIAGE, THE LAMPSTAND WITH SWAGS, ON FOUR SCROLLING LEGS AND SHELL FEET, 45CM H, BY MARTIN, HALL & CO Spirit lamp associated and lacking burner; slight wear to plating. Lid not quite closing shut
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