Ellen Forbes Tatting with Katie, 2023 Acrylic and colour pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Having trained as a scenic artist, Ellen began painting portraits and figurative works when entertainment industries halted during the pandemic lockdowns. Originally a response to the sudden inability to experience in person social connection, her works have developed a narrative quality as the subjects and settings naturally evolve alongside the relationships depicted. She layers bold acrylic colour to create vivid detail, leading to images resonant with film stills. Education BA Hons Theatre Practice, RCSSD Statement about AOAP Submitted Artwork These images are all moments from the recent festival season, where I joined teams of other creatives to build immersive, surreal environments for revellers to lose themselves in. I hope these paintings embody the playful spirit behind these events, while celebrating the individuals who help make them possible. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
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Ellen Forbes Man Ignores Our Selfie At Glastonbury, 2023 Acrylic and colour pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Having trained as a scenic artist, Ellen began painting portraits and figurative works when entertainment industries halted during the pandemic lockdowns. Originally a response to the sudden inability to experience in person social connection, her works have developed a narrative quality as the subjects and settings naturally evolve alongside the relationships depicted. She layers bold acrylic colour to create vivid detail, leading to images resonant with film stills. Education BA Hons Theatre Practice, RCSSD Statement about AOAP Submitted Artwork These images are all moments from the recent festival season, where I joined teams of other creatives to build immersive, surreal environments for revellers to lose themselves in. I hope these paintings embody the playful spirit behind these events, while celebrating the individuals who help make them possible. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Ellen Forbes Thomas and Fi, 2023 Acrylic and colour pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Having trained as a scenic artist, Ellen began painting portraits and figurative works when entertainment industries halted during the pandemic lockdowns. Originally a response to the sudden inability to experience in person social connection, her works have developed a narrative quality as the subjects and settings naturally evolve alongside the relationships depicted. She layers bold acrylic colour to create vivid detail, leading to images resonant with film stills. Education BA Hons Theatre Practice, RCSSD Statement about AOAP Submitted Artwork These images are all moments from the recent festival season, where I joined teams of other creatives to build immersive, surreal environments for revellers to lose themselves in. I hope these paintings embody the playful spirit behind these events, while celebrating the individuals who help make them possible. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Sophie Vallance Cantor Tiger Collage, 2023 Oil and collage on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ell Pennick About Throughout her practice, Sophie Vallance Cantor creates worlds that express the inner workings of her mind by blurring the line between reality and imagination. Her paintings offer a unique perspective as they invite viewers to see the world through her eyes: where bright neon signs light up dark alleyways and domestic cats transform into wild beasts in 24 hour bars and cafés. Each painting reads like a still from a film; characters look at the viewer with a sense of cool detachment as they ride motorcycles down an infinite highway or smoke cigarettes and blow smoke while nursing a cocktail. Amidst the narrative of her paintings there often lies a sense of stillness, with each small moment immortalised and savoured through thick, luscious strokes of oil paint that exude a palpable sense of joy and pleasure in the creation process. Sophie's figures are depicted with strong, bold shapes and her use of vivid colours invites the viewer to relish in the pleasures of her practice. There is a certain sense of playfulness and mischievous delight that permeates all of Sophie's work. In a broader context, Sophie's art serves as a counterbalance to her experiences as a neurodivergent individual, with her self-portraits constantly evolving and conversing with each other on the canvas. Although viewers are welcomed into her world, they are still kept at arm's length, like outsiders looking in on a private moment. Education Painting, Camberwell College of Arts Select Exhibitions/Awards Solo Exhibitions 2025 Upcoming Guts Gallery, London 2023 Burnout NBB Gallery, Berlin 2023 Ride or Die, Galerie Fran Reus, Palma 2022 Tiger Stripes and Smoke, Guts Gallery, London 2021 Bad at Life (Good at Painting), Guts Gallery, London 2020 Peeka-Fuckin-Boo Guts Gallery, London 2020 Even Tigers Need a Rest, Aleph Contemporary, London Art Fairs 2023 Everyday Mooonday, KIAF Seoul 2023 Yusto Giner, KIAF Seoul 2023 Galeria Fran Reus, KIAF Seoul 2023 Yusto Giner, ZONAMACO Art Fair, Mexico City Group Exhibitions 2023 NEW NOW, Guts Gallery, London, UK 2023 UNI[2]ON, Union Gallery, London, UK 2023 Meeting Point, Galerie Slika, Lyon, France 2022 Even a Cat Can Look at the Queen, Mrs, New York, US 2022 Grassroots, JVDW, Düsseldorf 2022 Jerry Gagosian's Suggested Followers: How the Algorithm is Always Right, Sotheby's New York 2022 Bag, Pedestal, Rabbit, Potato, Staffordshire Street, London 2021 Strike Me a Pose, Galerie Fran Reus, Mallorca, Spain 2021 Achy Breaky Heart, NBB Gallery, Berlin 2021 Unsellable, Just a Studio, London 2021 Reality Check, Guts Gallery, London 2021 All Together Now, Big Yin Gallery, St Leonards on Sea 2021 Tiger in a Tropical Storm, Louise Alexander Gallery, Italy 2021 (Re) Birth of Venus, Pulpo Gallery, Munich 2021 A New Art World, Guts Gallery, London 2021 Introducing, Guts Gallery at Sadie Coles 2021 Now, Now, Breach, Miami, USA 2021 Holding Hands, Union Gallery, London 2021 Safe as Milk, Arusha Gallery, Edinburgh 2021 Back to Back, Bowes Parris, London 2020 NBB Paperworks Vol 1, Berlin, Germany 2020 Original Paper, Wilder Gallery, London 2020 Curated for Christmas, Bowes Parris Gallery x All Mouth Gallery, London 2020 Pending, San Mei Gallery, London 2020 Discerning Eye, Mall Galleries London 2020 LIMBO, Everyday Gallery, Antwerp 2020 The Just, Aleph Contemporary, London 2020 Begin Again, Guts Gallery, London 2020 Antifreeze, Bowes Parris Gallery, London 2020 When Shit Hits The Fan, GUTS Gallery, London 2019 Opening Exhibition, GUTS Gallery, London 2019 Let Me Try to Explain, L21 Gallery, Palma de Mallorca, Spain 2019 Manifest The Future, Castiglioni, São Paulo, Brazil 2019 Salad Days, YNGSPC Online Exhibition 2018 Predatory Behaviour, T293, Rome, Italy 2018 Her Presence is Fuel, Mo Gallery, Berlin, Germany 2018 Slightly Seared on The Reality Grill, Unit 5 Gallery, London 2017 Young Contemporary Talent Exhibition, Ingram Collection, London 2017 PC4PC, 198 Contemporary Arts and Learning, London 2015 One Potato, Two, Arch Collective, London 2015 24 Hour Project, GX Gallery, London 2015 UNIT, CGP/ Cafe Gallery, London 2012 CCW Foundation Show, CCW Progression Centre, London 2012 RBA and NADFAS Annual Show, Mall Galleries, London Duo Exhibitions 2021 Achy Breaky Heart, NBB Gallery, Berlin 2021 Sophie Vallance x Banal, Galerie Tracanelli, Grenoble 2019 Sophie Vallance X David Esquivel, Galerie Tracanelli, Grenoble, France 2018 They Said I Was Special, Union Gallery, London 2018 H E R U S, Berlin, Germany 2017 Mine, Others and Yours, We are BUD, Athens, Greece Residencies and Awards 2019 L21 Gallery Residency, Spain 2017 Young Contemporary Talent Prize, Ingram Collection (Finalist) Gallery Representation Guts Gallery Statement about AOAP Submitted Artwork As someone who typically works on square paper and canvas, I wanted to approach the postcard with that in mind. By using collage from an original painting, I made on paper and cutting and placing it to fit the postcard shape it ends up feeling true to my own practice but also true to the spirit of Art on a Postcard. The tiger motif is also a recognisable element from my wider practice, and was enjoyable yet challenging to create small whilst maintaining the feeling of a larger painting. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Glenmorangie 10 YO 3 bottles Glenmorangie 10 YO to include 2 bottles presented in Commemorative “Handcrafts of Scotland” Edition Tins from 1980’s and 1990’s: being 1 bottle75cl bottle from 1980’s ‘Coopering Casks’ Release, together with 1 70cl bottle from 1990’s ‘Selecting the Spirit’ Release and 1 bottle 75cl from 1980’s in Presentation Tube.Qty: 3Wilson55 can help with delivery! Click on the shipping tab for more details.
Various Spirits and Liqueurs 6 bottles including half bottles various Spirits and Liqueurs comprising: 1 x half bottle Polmos Polish Pure Spirit ‘Very Strong’ 79.9% ABV, 1 half bottle Irish Mist Liqueur (in Presentation Box with 2 glasses), 1 bottle Spanish ‘Campeny – El Masnou’ Brandy, 1 bottle Moryoskoff 100 Proof Lujo Vodka of Mallorca, 1 bottle Licor “Vudu” Liqueur Morey Distillery Mallorca, 1 1960’s bottle ‘La Bouteille du Couple – Benedictine B&B – D.O.M. (damaged seals showing signs of seepage).
Prophetic utterances.- Jessey (Henry, editor) The exceeding riches of grace advanced by the spirit of grace, in an empty nothing creature, viz. Mris. [sic] Sarah Wight, lately hopeles and restles, her soule dwelling far from peace or hopes thereof, second edition, woodcut head-pieces and decorative initials, lacking L1&2 and L7&8, title with small hole (just touching tiny part of 1 letter), closely trimmed at foot, affecting the odd signature mark and / or catchword, spotting and staining, lightly browned, later drab boards, soiled, [?Wing J688 (no access due to BL cyber attack], 8vo, Printed by Matthew Simmons for Henry Overton, and Hannah Allen, and are to be sold at their shops in Popes-head alley, 1647. sold not subject to return. ⁂ Rare second edition of this record of the prophetic utterances of the fasting and seriously ill 16 year old Sarah Wight.Provenance: 'Miss Speakman, hur book 1766'; 'Joseph Burnett 1806' (ink inscriptions to verso of title).
* Lindbergh (Charles A., 1902-1974). Menu card for a breakfast in honour of Captain Charles A. Lindbergh on the presentation of the Raymond Orteig 25,000 Dollar Prize, New York to Paris non-stop flight, Friday, June 17, 1927, Hotel Brevoort, New York, cover with a black and white portrait of Lindbergh with American and French flags, published by Malcolm & Hayes, New York, four printed pages including, menu, speakers and history of the prize, red, blue and white cotton twist string with tassel, 8vo, with additional paper inert plus related postcard of Louvie-Juzon (B.-P.)-L'Église et la Maison Orteig QTY: (1)NOTE:On the 20th of May 1927, the American pilot Charles Augustus Lindbergh left Roosevelt Airport, America at the controls of the 'Spirit of St. Louis'. Lindbergh landed at Le Bourget, France after completing the first ever non-stop solo transatlantic flight in 33.5 hours.
Bachmann 00 Gauge group of Goods wagons consisting of 3-pack 37-080T Private owner, 37-105Y 8 Plank Wagon set, Private owners 37-125X Walkers, 37-153 Quibell Bros, 37-075Newstead, 37-427 Denaby, 37-2021K/37-2022K Gloucester railway *2, 37-075S Micklefield, 37075R Redgate, 37-112 North sea Coaling, 38-575/A NE Fish Van *2, 37-706/707 NE Cattle Truck *3, 37-657 Rothervale Tanker, 37-655 Pratts Spirit, 37-675 Mobil and other wagons. Near Mint in Excellent boxes. (25)
An Edward VII silver tea kettle and stand, mark of James Ballantyne & Son, Sheffield 1903, the kettle of baluster panelled form, monogrammed to the side, raised and scrolling parapet, part marked side hinged cover similarly decorated and topped with a rosette finial, the handle with ivory insulators on double scroll supports, raised on a pierced foot with hinge and retainer sockets; the stand similarly decorated, raised on four paw feet with tapering and reeded legs, hinge pin on a short length of belcher link chain, retaining pin lacking, four arm inner frame supporting the spirit burner, 37ozt grossThis item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate Ref No: KMEGE731G
An Elizabeth II silver three bottle decanter frame with associated cut glass decanters, mark of C.J. Vander Ltd., Sheffield 1999, Millennium marked, display marked, of rectangular form, the square sectioned wire frame with a band of Celtic style decoration, integral carrying handle, 39 x 14cm, 35cm high, 75.5ozt weighable silver, presented along with three cut glass spirit decantersOverall in good condition with no obvious signs of damage or repair. Some minor surface scratches as to be expected. Some scuffing to the bottle wells. Hallmarks clear and readable. Glassware in good condition. Presentation engraving to the underside.
A collection of eight various gents military style watches, including AV1-8, anniversary/commemorative Spitfire, Lancaster, Hurricane, 'Lest we forget 100 years', along with Royal Marines and spirit of Ireland all in the original boxes (1 bag) Note: regarding watches/pocket watches please note movements untested, functionality untested, for more information request a condition report with specific questions or please view in person
Dame Elisabeth Frink R.A. (British, 1930-1993)Rolling Over Horse signed 'Frink' (on the rear right leg)bronze with a dark brown patina38.9 cm. (15 1/4 in.) wideConceived in 1976, an Artist's Cast aside from the edition of 9Footnotes:ProvenanceAcquired directly from the artist by the family of the present ownerPrivate Collection, U.K.ExhibitedWashington, D.C., The National Museum for Women in the Arts, Elisabeth Frink: Sculpture and Drawing 1950-1990, 1990 (another cast)LiteratureSarah Kent and Bryan Robertson, Elisabeth Frink, Sculpture: Catalogue Raisonné, Harpvale Press, Salisbury, 1984, pp.186-7, cat.no.233 (ill.b&w, another cast)Bryan Robertson, Elisabeth Frink: Sculpture and Drawings 1950-90, The National Museum for Women in the Arts, Washington, D.C, 1990, p.65 (another cast)Annette Ratuszniak, Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.135, cat.no.FCR262 (ill.b&w, another cast)Dame Elisabeth Frink's sculptures of horses are amongst her most commercial and instantly recognisable motifs with her appreciation of these powerful animals dating back to the earliest work of the 1950s. However, the highest acclaim is reserved for her equine subjects completed between 1969 and 1985, of which Rolling Over Horse (1976) is one. Speaking in reference to this celebrated period, Julian Spalding comments that 'Frink's animals came to feature more and more not as tortured harbingers of terror, but much more quietly, as themselves. Horses roll over and kick in the grass, or they lie down at ease...This is Frink at her most relaxed. She knew everything about horses and had the ability to sculpt them with both broad consequence and, at the same time, exacting precision. This accounts for their strength and agility. There's hardly any detail, but they are so alive that you expect one at any moment to flick a fly away with the swish of its tail or shake of its head' (Julian Spalding in Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.18).Emerging in force during the late 1960s and conceived as both singular entities and with riders, they are largely the result of Frink's time spent in the Camargue region of France, renowned for its semi-wild horses and rugged landscape. Upon returning to England in 1973, shortly before the present work was conceived, the artist continued to explore and develop the horse theme within her work. As with many of the other animals she chose to sculpt and by her own admission, they are more concerned with representing her emotional response to, and spiritual identification with, the subject in question rather than with literal physical form. In view of this particularly subjective approach, Frink denied being an animal sculptor in the true sense of the notion, stating her principal interest to lie 'in the spirit of the animal'. That spirit is clearly demonstrated in the present work, whereby the horse moves with grace, free from human constraint, visible from different angles and positions in a sumptuous brown patina.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
Winifred Nicholson (British, 1893-1981)My Bedroom Window signed, titled and dated 'Winifred Nicholson 1973/'My Bedroom Window' (verso)oil on canvasboard48.5 x 58.8 cm. (19 1/8 x 23 1/8 in.)Footnotes:ProvenanceWith Crane Kalman Gallery, London, November 1974, where acquired by the family of the present ownerPrivate Collection, U.K.One of Winifred Nicholson's most favoured and signature compositions is that of the windowscape, an innovative technique for capturing still life subjects – frequently flowers – as well as the landscape beyond, encompassing the changing tones of the season and creating a sense of intimacy with the interior setting. The present lot shows a very personal view indeed, that of My Bedroom Window.In 1954 Nicholson wrote a short piece entitled I Like To Have A Picture In My Room, in which she lists desires for her ideal domestic space. She states 'I want a window in it, I want a telephone, a radio and a television set. All these are contacts and doors in the outer world' (Winifred Nicholson quoted in Andrew Nicholson, ed., Unknown Colour, Paintings, Letters, Writings by Winifred Nicholson, Faber and Faber, London, 1987, p. 234). For the artist, her bedroom was clearly a deeply personal space in which she spent much time, and so to have a picture painted from just this perspective is very special. It is telling that of the above requirements, the window is utmost, and its function in providing an outlook to the natural world must have been, for her, paramount.From the variety of flowers depicted, which include the distinctive bell-shaped blooms of speckled purple and white fritillaries, the season looks to be Spring, with the potted indoor plants protected from the worst of any frosts by their safe position on the windowsill, where they can bask in the warming sun. The six-petalled blue starry flowers are chionodoxa, 'glory of the snow', another spring-flowering bulb which blossoms in dainty sprays. The leaves and flowers in the foreground are intermingled with the just-budding, wayward branches of saplings and trees which fill the garden beyond. The compositional involvement of a half-drawn curtain, patterned with flying birds, further expands on a theme of the revolving cycle of seasonal changes which form a major focus of her work.Nicholson is famed for the attention dedicated to and singular skill displayed in depicting her floral subjects, which is unique. As a review in the Times noted in 1927 of a joint exhibition with Ben Nicholson and Christopher Wood was to observe, 'there is something of an April spirit in her work...in her flower paintings the escape from realism into a new reality, as lovely as that of Nature, and charged with human feeling, is complete.' (The Times, 21 April 1927, quoted in Christopher Andreae, Winifred Nicholson, Lund Humphries, Farnham, 2009, p.73).We are grateful to Jovan Nicholson for his assistance in cataloguing this lot.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
Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Athènes signé et daté 'Ghika 75' (en bas à gauche)tempera sur papier marouflé sur toile66 x 91.5cm (26 x 36in).Peint en 1975.signed and dated (lower left)tempera on paper laid on canvasFootnotes:ProvenanceZoumboulakis Gallery, Athens.Private collection, Athens.ExpositionsAthens, Iolas-Zoumboulakis Gallery, Nikos Hadjikyriakos-Ghika, December 10, 1976 - January 15, 1977, no. 4 (listed in the exhibition leaflet).LittératureKathimerini newspaper, December 12, 1976.H. Livas, Contemporary Greek Artists, Vantage Press, New York 1993, p. 5 (discussed).K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum, Athens 2011, p. 234 (discussed and illustrated, fig. 19).A mesmerising cubist-like townscape displaying an architectural network of close-knit rhythmical structures, fragmented interlocking planes, and spatially distorted labyrinthine grids, Athènes showcases Ghika's belief that 'the character of the Greek schema, whether in antiquity, the Byzantine era or folk art, is by and large geometric.'1 The rhythmically developed and spatially distorted depictions of Byzantine towns—used as backdrops for religious subjects in much of icon painting—are here pushed to a relentless extreme, transformed into a dense web of lines, angles, and curves. As the schematic undulations of the townscape ascend in petrified waves of subdued colour, the horizontal tilts into the vertical, echoing the Byzantine backgrounds that tend to unfold upwards instead of receding in depth. As noted by Professor M. Michelis, 'Ghika's vision is akin to the Byzantine mosaics of the Chora Monastery.'2Discussing the work, art critic H. Livas notes: 'I'll record what Ghika told me—that even if the subject of his painting is not Greek, its soul always is. Yet, even when the subject is Greek, the spirit of the painting transcends the country and carries us into a new and different world. I take, as example, the painting Athènes, a geometric view of the city that makes it look filled with modern pyramids and Mayan temples. The pyramid has always been one of his favourite forms; I suspect because it suggests mystery; and, modern non- fiction tells us that the pyramid shape can cause miraculous preservation and even regeneration to objects, organic materials, and even people inside it. Ghika's Truncated pyramids of 1963 and the Pyramid triptych of 1965, lift us also to mysterious worlds that we can't quite identify with the comfortable and the familiar.'3 1 N. Hadjikyriakos-Ghika, 'On Greek Art' [in Greek], Neon Kratos journal, no. 5, January 1938.2 M. Michelis, 'N. Hadjikyriakos-Ghika' [in Greek], Zygos magazine, no. 58, September 1960, p. 10.3 H. Livas, Contemporary Greek Artists, Vantage Press, New York 1993, p. 5.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
Spyros Vassiliou (Greek, 1902-1985)Festival, Athènes signé en grec (en bas à droite)technique mixte et feuille d'or sur panneau24 x 35cm (9 7/16 x 13 3/4in).signed in Greek (lower right)mixed media and gold leaf on boardFootnotes:ProvenanceA gift from the artist to a private collector circa 1960.Bonham's London, The Greek Sale, 1 April 2002, lot 78.Acquired from the above sale and thence by descent to the present owner.Athens celebrating the first Monday of Lent is one of Vassiliou's key subjects, considered to be the quintessence of his work and artistic vision.The Monday of Lent marks the passage from a secular period, that of carnival, to a more ascetic and contemplative one, the forty days before Easter. Through fasting people cleanse themselves of everyday mundane thoughts and contemplate matters of life and death, sacrifice and resurrection. This passage is made easier through the feast of the first day of Lent, which combines sadness with hope, yet with a certainty that hope will prevail. There is a definite Byzantine as well as surrealistic quality to this feast, both being captured by the artist.The city seems to float on a golden carpet. The street sellers with their colourful flowers or balloons, the old-time photographer, the horse carriages, the strolling figures are all carried away by the spirit of the day. The impressionistic diminutive pigments give a flickering, micrographic image of the city. Behind the dark mountain the golden Byzantine sky welcomes the kites, which fly free from their cords like birds. Vassiliou never stops being startled, he does not give up on the young child within him. He treasures memories of his youth and shares them with us as a remedy against oblivion. Even the lower part of the work resembles an old mirror that faded as the years went by. Considering the changes in the city's character, Vassiliou's works were almost prophetic. In 'Lights and Shades' he says about the demolition of old houses: '...the salvage remnants of the demolished house laid out on the pavement for sale, at least have something in them to remind us of the human pulse of a city that has lost forever its face and its soul'.Vassiliou creates an 'enchanted city' with face and soul, which accepts the inevitable with dignity.As Haris Kambouridis has noted: ' Vassiliou is a genuine creative artist who combines technical mastery, effective composition, inspirational flair and a talent for self-expression, qualities which have established him as one of the most important Greek artists of this century.' (Haris Kambouridis, Craftsmanship and the human scale in the work of Spyros Vassiliou, Zygos magazine, 1983, vol. II Annual, p.60)This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Yiannis Tsarouchis (Greek, 1910-1989)Garçon couché signé en grec et daté '54' (en bas à droite)huile sur toile20.5 x 34cm (8 1/16 x 13 3/8in).Peint en 1954.signed in Greek and dated (lower right)oil on canvasFootnotes:ProvenanceIolas Gallery, New York.Private collection, Athens.ExpositionsAthens, Zoumboulakis Gallery, May 1972.Nicosia, KEMA Hall, 16 Contemporary Greek Artists, December 18-27, 1986.Tsarouchis's pursuit of realist clarity and truthfulness of vision is described by the words of poet Andreas Embeirikos: 'Truth in the work of Tsarouchis is distilled and explosive like thunder, uninfluenced by any sort of dogmatism, either that of a school or of an accepted morality or aesthetic. This fundamental independence is so apparent that even his most 'clothed' images always appear to be utterly 'nude'.1 In his Reflections,Tsarouchis mentions the writings of archaeologist C. Tsountas who referred to the ideal nudity of ancient Greek sculpture and specifically to that of the 'regiment' of the two Tyrannicides who are stark naked, even though no citizen was in the nude during the Panathenaic Games.'2 As argued by D. Kapetanakis, Tsarouchis found the truth of Modern Greece in the bodily forms of Greek youth. In contrast to other cultures, such as the French, which are woman-centred, Greece, both ancient and modern, is mainly expressed through masculine types.3 In the same vein, Nobel laureate O. Elytis noted that 'Tsarouchis restored the human body in a land whose age-old civilisation has always been man-centred. Thanks to his paintings, the figures of Hermes, Narcissus, St. Georgios and St. Dimitrios started to live and breathe again and circulate among us.'4 For both Kapetanakis and Elytis, Tsarouchis's male figures are invested with a symbolic value that carries on the humanistic ideal of Ancient Greece, while at the same time expressing the spirit and reality of Modern Greece.5 Here, the shallow compositional structure coupled with a stage designer's perception of space, which played a pivotal role throughout Tsarouchis's career, build up an edifice of pure forms, an everlasting world liberated from the fleeting moment, imaginatively transforming the reclining youth into a protagonist of a Modern Greek narrative.A towering figure of 20th century Greek art Yannis Tsarouchis was also an intellectual who courageously faced ideological challenges and biased ethical practices in Greek society of his time that included homophobia. It was only in the last years of his life that studies addressed homosexuality in his painting. And it wasn't until the turn of the century that scholars6 could write unequivocally about the homoeroticism in his work and highlight its determinative role in the artist's evolution.7 1 A. Embeirikos, 'The Triumph of Sensuous Painting' [in Greek], Zygos magazine, no. 72-75, November 1961 - February 1962, p. 11. See also 'Yannis Tsarouchis', Greek Heritage quarterly, vol. 1, no. 2, Spring 1964, p. 92. 2 Y. Tsarouchis, 'Some Reflections on my Works' in The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 299.3 D. Kapetanakis, 'Yannis Tsarouchis, Return to Roots' [in Greek], Nea Grammata magazine, 1937 as reprinted in Tsarouchis [in Greek], Zygos, Athens 1978, p 6. 4 O. Elytis, preface to the Yannis Tsarouchis: Fifteen Works and One Original Print 1938-1963 album [in Greek], 1964.5 See E. Florou, Tsarouchis - Painting, [in Greek] (doctoral dissertation) vol. 1, Athens 1989, p. 118.6 N. Hadjinikolaou, 'Yannis Tsarouchis' [in Greek], in Figures of the Twentieth Century, Ta Nea - Livanis editions, Athens 2000, pp. 517-518.7. See E.D. Matthiopoulos, 'In Search of Divine Lightning' in N. Gripari and A. Szymczyk ed., Yannis Tsarouchis, Dancing in Real Life, exhibition catalogue, Wrightwood 659, Chicago 2021, pp. 251-267.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
CHARLES ROBINSON SYKES (1875-1950): 'ADAM AND EVE' a bronze group with dark greeny brown patination, English, early 20th century, the pair of embracing nudes standing on a naturalistic mound, titled and signed in the bronze 'ADAM / and EVE', 'CHARLES SYKES', on a green and black mottled marble square stand 9.5cm high, bronze 30cm highProvenance: John Buckland Wright (1897–1954), probably a gift from Charles Sykes; thence by direct family descent to the vendor.The artist John Buckland Wright, principally known for his etchings and engravings, was a friend of Charles Sykes, owning a number of his works. According to Wright's family, these were all given to him directly by Sykes. The sculptor Charles Sykes, best known for his ‘Spirit of Ecstasy’ for Rolls Royce (see following lot), also worked as an illustrator, which apparently is how he got to know Wright.
CHARLES ROBINSON SYKES (1875-1950): 'SPIRIT OF ECSTACY' a bronze large Rolls Royce mascot, English, circa 1915, modelled as Eleanor Velasco Thornton with arms raised behind, her robes billowing like wings, inscribed in the bronze to circular base 'ROLLS ROYCE Ltd. Feb 6 1911 C SYKES', on a mottled red rusticated marble stand10cm high, bronze 17.5cm high excluding large threaded steel pinProvenance: John Buckland Wright (1897–1954), probably a gift from Charles Sykes; thence by direct family descent to the vendor. See previous lot for further details.
GEORGE V SILVER MOUNTED SPIRIT BOTTLE, ALONG WITH BOTTLE LABELS the spirit bottle of doughnut shape with silver collar and label, along with a group of silver and plated bottle/decanter labels for brandy, sherry, whisky, gin and portthe bottle 12cm highSilver mount of bottle with scratches, small nicks and slight misshaping to rim; glass with surface scratches and internal flaw or small chip, stopper similar; plated labels display rubbing and loss to finish, the Gin label particularly dented and compressed, further general scratches, nicks and pitting commensurate with age and use throughout
EDWARDIAN SILVER AND PARCEL GILT SPIRIT CUP, J.F., BIRMINGHAM 1902 modelled in the form of a thimble with fluted and honeycomb decorationQty: 37g5cm high, diameter of top 4cmSlight nicks to rim, light scratches and nicks to body but no major issues to note, rim is very slightly misshapen but not overtly so
Coburn (Alvin Langdon, 1882-1966). New York, with a Foreword by H. G. Wells, 1st edition, London: Duckworth & Co., New York: Brentano's, [1910], 20 hand-pulled photogravures (complete), 2 small surface marks touching image of first plate (The Metropolitan Tower), tipped on to rectos of grey stiff paper leaves, closed tear to inner margins of half-title and full-title and foremargins of 'List of Plates' leaf and Foreword part-title, Foreword leaf (pp. 9-10) detached and frayed at edges, lacks pp. 11-12, inner hinges partly broken, original calf-backed gilt-titled boards, worn, backstrip deficient, folioQTY: (1)NOTE:'Of the two books [London and New York], it is the New York volume that might be considered the more proto-modernist in spirit, not only because New York itself was the most palpably modern city, epitomized by that great leitmotif of early modernist photography, the skyscraper, but also because the form of the city, as created by these large, monolithic buildings, pushed Coburn towards a more radical way of seeing' (Parr & Badger, vol. 1, p. 74). Sold as a collection of plates not subject to return.
A collection of often brewery/ pub related glass bottles of various sizes. To include Guinness, Watney, Combe, Reid & Co., Thomas Brothers RBA, R.A. Barrett & Co., Hy. Wilson & Son Ltd. Spirit Merchants Hull, Womersley Church Stretton, Spiers & Pond Purveyors, and Strong & Co. Of Romsey Ltd. (8)
VAN CLEEF & ARPELS JEWELLERY BOOKS (1/2) COMPRISING; The Art & Science of Gems, Van Cleef & Arpels, Éditions Xavier Barral, Paris 2016 In Praise of Hands: The Art of Fine Jewelry at Van Cleef & Arpels, Franco Cologni, Marsilio Editori S.p.A., Venice 2012 The Spirit of Beauty, Van Cleef & Arpels, Éditions Xavier Barral, Paris 2009 Van Cleef & Arpels: L'Art de la Haute Joaillerie, Évelyne Possémé, Les Artes Décoratifs, Paris 2012 Van Cleef & Arpels: The Poetry of Time: Michel Serres, Éditions Cercle D'Art, Paris 2009 Van Cleef & Arpels: Reflects d'éternité, Éditions Cercle D'Art, Paris 2005 Van Cleef & Arpels: Treasures and Legends, Vincent Meylan, Antique Collectors Club Ltd, 2014 Van Cleef & Arpels: Timeless Beauty, Xavier Barral (ed.), Éditions Xavier Barral, Paris 2012 (8) The largest: 34cm x 29cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A GEORGE II SILVER TEA KETTLE, STAND AND SPIRIT BURNERThe kettle of squat circular form, with floral and scroll engraved decoration, engraved armorial to the body, ivory finial to the hinged lid, with a rush woven swingover scrolling handle, London 1735, with a tripod stand incorporating the spirit burner, apparently unmarked, combined gross weight 2002 gmsIvory licence number Z9WBV6UDCondition Report The right hand part of the maker's punch is not properly struck up, so can only be saying the first letter of the maker's mark, overall in good condition, no mark to the spirit burner top. Tripod base is also unmarked
A GEORGE III SILVER SPIRIT BURNER STANDThe tripod form stand decorated with reeded edges, probably London 1792, maker William Frisbee & Paul Storr, with a later spirit burner, London 1907, weight 177 gmsCondition Report Internal diameter of top rim 7.5cm. The pieces are otherwise in good condition, note the spirit burner is of a later associated date. Overall height 10.2cm
A STERLING TODDY LADLE AND THREE FURTHER ITEMS (4)The toddy ladle with a tapered twist stem and with cast floral decoration to the top of the handle, length 35cm, a silver spirit lamp extinguishing straw, probably London 1901, combined weight 119 gms, a Victorian silver small toasting fork, with a loaded spiral decorated handle, Birmingham 1887 and a swagger cane, the base metal terminal having the badge of The Royal Engineers
A RUSSIAN SILVER MATCH BOX COVER, A SMALL CUP, AN ENAMELLED SPIRIT TOT AND A SILVER MOUNTED PEN KNIFE (4)The matchbox cover decorated with Cyrillic and scrolling decoration, detailed 84, the small octagonal cup with fluted decoration, 1760, the spirit tot detailed 'Just a thimble full', in blue enamel otherwise with scroll engraved decoration, Birmingham 1900, height 5.5cm, the pen knife London 1997, with a case
CLASSIC STABLE LTD.: A CHROME-PLATED ROLLS ROYCE RADIATOR FLASK OR DECANTERModern With enamel Rolls Royce insignia and Spirit of Ecstasy symbol, in presentation case, 13cm wide; 23cm highThe Classic Stable decanters first appeared in the late 1960’s, designed by Tony Gardiner and retailed at Harrods.Condition Report:Some tarnishing to the plated case. Very minor surface scratches consistent with age. Appears in unused condition. thread on stopper is smooth.
Victorian electroplated spirit kettle on stand, circa 1875, of bun shape surmounted with a flower finial and with engraved banded decoration, all raised on a stand with scallop feet, complete with a burner, height 39cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Edwardian silver mounted glass spirit flask by James Dixon & Sons, Sheffield 1908, with hammered bayonet cap and cup, 11cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
of Beswick and other ceramic animals to include: Skewbald Pinto Pony, Wendover Billy Dog, Dalmatian and a recumbent horse marked 'Spirit of Peace'. (4) (B.P. 21% + VAT) Beswick horse is crazed and two legs and part of tail are broken, other is repaired. Wendover Billy has scratch at top of head. Other items have no obvious damage.
New York: McGraw-Hill Book Company, 1978. Hardcover book with dustcover. 320-page with illustrations by Brian Brake and Leonard Von Matt. This brilliant book offers a reconstruction in human terms of the many facets of Rome's extraordinary legacy. The Romans speak to us here through their splendid achievements and their tragic failures, their monuments and their tastes, to give us an understanding of the spirit behind these dramatic events. From village to Empire, for nearly a millennium Rome kept up a dizzying pace of change and expansion. Stirring victories over Hannibal, the Gauls, the Britons alternated with peaceful intervals of cultural development under Augustus and Marcus Aurelius, until the final days of chaos and decline. ISBN 10: 0370301072. ISBN 13: 9780370301075. Artist: Barry CunliffeIssued: 1978Dimensions: 9.75"W x 12"H x 1.25"DManufacturer: McGraw-Hill Book CompanyCountry of Origin: United StatesCondition Good.
GLYN PHILPOT (BRITISH, 1884-1937)Niobe signed with initials 'G P' (upper left) oil on canvas 61 x 81cm (unframed) Provenance Sale, Gorringes, 11th March 1999, part lot 2334 (as 'Attributed to' Glyn Philpot), where acquired by Seymour Stein; The Seymour Stein Collection Exhibited London, The Leicester Galleries, 'Exhibition of Recent Paintings and Sculptures by Glyn Philpot R.A', June 1932, (number unknown) Literature Record of works by Glyn Philpot , p.38, Tate Archive; Simon Martin, Glyn Philpot: Flesh and Spirit, 2022, fig.171, p.159.Niobe is something of a rediscovery and forms part of a body of work by Philpot, including Leda and The Swan (private collection), Oedipus and the Sphinx (National Gallery of Victoria) and Echo and Narcissus (private collection), painted in the early 1930s which address themes of classical mythology in a modern style. The work was executed in Philpot's studio at 216 Boulevard Raspail in Montparnasse, an image of which is included in the National Gallery Exhibition catalogue, Glyn Philpot, 1884-1937, Edwardian Aesthete to Thirties Modernist, 1984 (see images). It was then exhibited at The Leicester Galleries in 1932 (see images); its whereabouts are then unknown before being acquired at auction by the late Seymour Stein in 1999.Niobe was a daughter of King Tantalus of Sipylus and married Amphion, son of Zeus and Antiope. In Homer's Iliad Niobe gives birth to six sons and six daughters and boasts about her fecundity to the titan Leto, who only had two offspring, Apollo and Artemis. To punish her pride these twin deities slay all her children with arrows. Niobe then begs the gods to end her grief and pain to which Zeus acquiesces by turning her to stone although the rock still produces tears.We are extremely grateful to Simon Martin, Director, Pallant House Gallery for his assistance in cataloguing the present work.Condition ReportOriginal canvas. There are two minor surface abrasions around Niobe's head; some light surface dirt otherwise good original condition; no sign of retouching under ultraviolet light.
ARR Alan Davie (1920-2014)Spirit Peoplesigned and dated top left 1998gouache 41cm x 34cm Framed and glazed. The artwork is generally in very good condition, with minimal visible issues. The colours are clear and vivid. There is a slight crease to the top left. There is also some undulation to the sheet, but this may well date from the time of its original composition.
MISCELLANEOUS SILVER ETC. A small silver capstan inkwell, a pair of engine turned silver ashtrays, an embossed matchbox cover & a silver mounted bristle brush. Also, a small spirit flask with pewter cup. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
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