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Lot 22
FERNANDO BOTERO (1932-2023)Dog on a cushion 1976 incised with the artist's signature and numbered 5/6bronze34 by 37 by 40 cm.13 3/8 by 14 9/16 by 15 3/4 in.This work was executed in 1976, and is number 5 from an edition of 6.Footnotes:Provenance Didier Imbert Fine Art, ParisPrivate Collection, Saint Tropez (acquired from the above in 1993)Thence by descent to the present ownerExhibitedMonte Carlo, Marisa del Re Gallery, Fernando Botero, 1992, another example exhibitedParis, Avenue Des Champs-Élysées, Grand Palais and Galerie Didier Imbert Fine Art, Botero Aux Champs-Élysées - Sculptures et Œuvres sur Papiers, 1992-1993, p. 156, another example exhibited and illustrated in colour Literature Jean-Clarence Lambert, Benjamín Villegas (Ed.), Botero Sculptures, Colombia 1998, p. 61, another example illustrated in colour, n.p., another example illustrated in colour Renowned for his distinctive style characterised by voluptuous and exaggerated forms, the Colombian artist Fernando Botero has left an indelible mark on the history of art. His works evoke a sense of affection and endearment, transcending cultural and linguistic boundaries and animals often play a quintessential role in them. Having studied under Roberto Longhi, a distinguished authority on Italian Renaissance and Baroque art, Botero obtained a remarkable art historical knowledge of Western Classicism that transfuses his oeuvre and made him one of the world's most revered and sought-after artists of the present day. The canon of art history, especially the European one became a rich source of inspiration, and no subject is quite as interwoven into the history of art as the humble dog, man's best friend and faithful companion. Dog on a Cushion from 1976 is a beautifully playful example of Botero's celebrated sculptural practice, with the small well-rounded canine proudly perching on a fluffy cushion- an emblem of domesticity and comfort but also a nod to the importance we give to the pets in our lives. The artist's fascination with horses, cats, birds, and dogs is a prominent feature throughout his oeuvre. Characterised by an intentional exaggeration of his subjects' forms, Botero's ability to infuse life into his sculptures is striking. The present work is not a mere imitation of a dog but a celebration of its essence, the exaggerated curves and humorous expectantly outstretched tongue emphasize the joviality and charm of the animal, which might at any moment jump off the cushion.Dogs have held a significant role in art history as subjects of fascination, symbolism, and companionship. From ancient cave paintings to the masterpieces of the Renaissance and beyond, dogs have been depicted in various contexts, reflecting their diverse roles in human societies. As companions and symbols of fidelity, dogs often appear in portraits, signifying loyalty, trust, and the bonds of friendship. Furthermore, their depictions in hunting scenes highlight their utilitarian roles as skilled hunters and trackers. In the broader context of art history, dogs have served as allegorical symbols, representing virtue, faithfulness, or even human qualities, reminding us of their enduring importance in the human experience.Profoundly influenced by the classical masterworks he saw during his studies and travels, Botero dedicated his life to critically re-interpret iconic paintings, paying homage to the great artists of the past whilst finding true originality doing so. Not unlike Picasso, whose Cubist breakthrough came after experimenting with the construction of a guitar, Botero had his artistic revolution with a mandolin. In 1956, the artist painted an image of a mandolin resting on a table and decided to place a disproportionately small hole in the body of the instrument, thus transforming it into an object of exaggerated mass and monumentality; a lifelong fascination with the exploration of volume was born.World-renowned for his often epic paintings, Botero's foray into sculpture has further enriched his artistic repertoire over the decades. Dog on a Cushion stands as a prime example of his prowess in this medium. His sculptures are characterised by the same aesthetic principles that define his paintings—exaggerated volumes, harmonious proportions, and a playful approach to form. The transition from canvas to three-dimensional sculpture however allowed the artist to bring his iconic subjects to life in a tangible and interactive way with a tactile quality that invites viewers to engage on a more physical level. Dog on a Cushion exemplifies this approach, with its smooth, sensuous surfaces inviting touch and exploration. The artist said that 'For my entire life, I've felt as if I had something to say in terms of sculpture. It's a very strong desire...pleasure—that of touching the new reality that you create. Certainly, in a painting you give the illusion of truth, but with sculpture, you can touch its reality . . . . If I paint a knife in my pictures, it's imaginary, but if I sculpt it, then the sensation of having it in your hand is real— it's an object from your spirit, it's a sensual experience even in its execution. It brings a special joy to touch the material with your hands.' (the artist in: E. J. Sullivan, Botero Sculpture, New York 1986, p. 13.Fernando Botero's contributions to the world of art are substantial and far-reaching and his unique style and unwavering commitment to his artistic vision have earned him a significant place in art history. His oeuvre serves as a bridge between traditional and contemporary art, drawing from classical techniques while infusing them with a modern and innovative sensibility. Embracing diversity and celebrating the inherent charm in all subjects, he challenges conventional notions of beauty and representation and forces viewers to reconsider their preconceived notions and stereotypes. The same dog of undefined breed as in the present work can be found in many of the artist's paintings, and a large-scale sculpture version, without the plump cushion, can be found in the Plaza Botero in the artist's hometown of Medellín. Other Botero works are presently held in the collections of The Museum of Modern Art in New York, the Art Institute of Chicago, and the Museo Botero in Bogotá. In 1958 and 1992 Botero participated in the Venice Biennale and represented Colombia in the 5th São Paulo Biennial, Brazil. He has had major retrospectives at the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (1979); Seibu Museum of Art, Tokyo (1981); Museo Nacional Centro de Arte Reina Sofía, Madrid (1987); Museo de Bellas Artes, Bilbao (2012); and many others. Botero's international recognition and ability to transcend geographical and cultural boundaries has elevated the visibility of Latin American artists on the global stage. Unequivocally timeless, his work continues to inspire artists worldwide, encouraging them to explore new dimensions of expression and representation and Dog on a Cushion offers a wonderful opportunity to acquire a charming example from the contemporary master's celebrated oeuvre.For further information on this lot please visit Bonhams.com
Lot 30
FUTURA 2000 (B. 1955)Untitled 1982 tagged twicespray paint on canvas121 by 304.3 cm.47 5/8 by 119 13/16 in.This work was executed in 1982. Footnotes:ProvenanceAcquired directly from the artist by the present owner in 1982Exuding an exhilarating new aesthetic while reigning supreme in its expansive scale, Untitled from 1982 emerges as an extraordinary and iconic masterpiece created by one of the most important graffiti artists of our time. Made in one of the most experimental years of the artist's career, the present work, alongside other remarkable works from 'New York City Rap' tour gained notability due to an enduring collaboration between American graffiti artists Futura 2000 and Dondi. Works like these identified by their distinct visual language, played a pivotal role in not only shaping visual aesthetics in popular culture but also in elevating graffiti art from the fringes of subculture to the forefront of mainstream consciousness. In Untitled, the sprayed striking primary colours overlayer a black tag, reminiscent of graffiti on a street wall, but created on a white canvas instead, the artist elevates it to the permanent, to the realm of high art. Monumental and expressive in its appearance, Futura used his whole body to create these vast works. Executed next to Dondi in the vibrant heart of Paris, the present work was a backdrop to hip-hop performers during 'New York City Rap' tour and exudes a distinct blend of abstract elements and textual nuances. Tagged twice and marked with the letters 'CC' symbolising the initials of his former wife, who he met in Paris on the tour, Untitled 1982 is brimming with personal significance, marking a pivotal and prolific chapter in the artist's oeuvre. These thoughtfully crafted components encapsulate the very essence of its place of origin, rendering it an unmistakable creation within the 'New York Rap City' paintings. Futura 2000's works from the 1980s are by far the most highly sought-after within the artist's market. This era not only witnessed the peak of his artistic productivity but also marked a surge of creativity and innovation in his work, whilst boldly challenges established artistic norms of the time. Drawing direct inspiration from the revolutionary political climate of the 1960s, Futura 2000 embarked on excursions with friends in the early 70s, equipped with spray paint and an inclination for the cutting edge. These expeditions into the cityscape became acts of reinvention, transforming mundane public fixtures into vibrant canvases that brought art directly to the people. With each stroke, he redefined the conventional canvas, making art accessible to everyone in New York. His signature abstract forms and dynamic lines demonstrated in the present work, resonated with the spirit of the times. Graffiti art emerged as an unapologetic voice of rebellion and self-expression, artists painted their unique identities on break trains and public fixtures through 'tagging,' a crucial act in a country where public graffiti was prohibited, rendering them anonymous pioneers of urban expression. It was precisely this fascination with the concept of identity that beckoned Leonard Hilton McGurr into the realm of street art. Amidst the apex of advertising and consumer culture, he forged his artistic persona as Futura 2000, taking direct inspiration from the film '2001: A Space Odyssey,'.Weathering challenges and unforeseen detours, he eventually found himself embracing an unexpected interlude in the Navy, a compelling twist that would soon enrich the captivating tapestry of his artistic journey. Upon his return the very landscape he once embellished had transformed, streets pulsated with a new artistic rhythm. The early 80s emerged as a turning point for Futura's work, fostering his unique style and refining his technical expertise. In this incubator of creativity, he gathered valuable wisdom from his avant-garde comrades, figures like Jean-Michel Basquiat, Keith Haring, and Fab 5 Freddy. A group of audacious visionaries, they formed a pioneering ensemble reshaping artistic boundaries, their creations igniting cities globally with the electric vibrancy of artistic expression.In 1981, Futura's career started to gain traction after a celebrated collaboration with the legendary band 'The Clash'. An electrifying fusion of art and sound, this collaboration not only redefined the concert experience but also transcended creative realms, leaving an enduring mark on both music and visual expression. Furthermore, it shattered the conventions of traditional stage design, replacing static backdrops with a living, breathing masterpiece that evolved with every performance. This groundbreaking event was an innovation serving as a unique platform that united artists and performers, celebrating the vibrant culture of hip-pop. Futura's work brims with stories of rebellion, identity, and the city's beating heart. His art captures the pulse of a generation, reflecting the socio-political climate and the human experience within it. The artist's encounters with likeminded innovators of the graffiti movement infused his work with a sense of camaraderie and collective spirit, elevating his creations beyond the canvas and into the realm of cultural conversation. Futura's contribution to the street art movement is not limited to the streets alone. His journey from subway cars to gallery walls signifies the evolution of an art form once considered subversive. He not only navigated this transition but also flourished within it, bringing the energy of the streets into spaces traditionally reserved for 'high art'. Untitled 1982 is an electrifying fusion of creativity and urban dynamism. It captures the essence of a moment, a movement, and a mindset. His style transcends medium and canvas, reaching deep into the collective subconscious of a city, a generation, and an art world transformed by his style.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 143
Rolls-Royce Subject Books. Old Contemptible by Charles Howard; Rolls-Royce and Bentley by Robson; Rolls-Royce Motor Cars; Spirit of Ecstasy; Radley Drives to Vienna by Kennedy; Rolls-Royce & Bentley Motor Car Engineer by Peter Hill; Rolls-Royce the best motor car in the World; Rolls-Royce 17EX; Street Muses of London. (9)
Lot 1003
AN IMPORTANT AND RARE JADE 'MASK' PENDANT, HUANG, LIANGZHU CULTUREChina, circa 3300-2200 BC. Finely decorated to all sides and edges with neatly applied incision work depicting cosmic cloud scrolls, the present Huang has a prominently carved godhead mask located at the center of the front side, just beneath a zoomorphic bird head with a pointed beak at the top. Both wings are pierced with funneled apertures for suspension. The opaque stone is of a brown hue with beige clouding and dark brown inclusions.Provenance: From the Sir Percival David collection, according to an old paper label reading 'The Percival Collection, of Chinese Jades' and manually inscribed 'Zoomorphic Figure'. Collection of Harry Geoffrey Beasley, probably acquired from the above between 1923 and 1939, and thence by descent to his widow Irene Beasley. Collection of Alfred William Cowperthwaite, acquired from the above c. 1939 and thence by descent in the same family. Sir Percival David (1892-1964) was a Bombay-born British financier who is best known as a scholar and collector of Chinese ceramics, postal stamps, and jades. He became enamored with Chinese art after his visit to China in 1923 and started the Percival David Foundation to promote the research of Chinese art and culture. His collection grew to an astounding 1,700 pieces, which are now on display at the British Museum. Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator who developed an important ethnographic collection during the early 20th century that is now held in various British museums. With his wife Irene, Beasley set up the Cranmore Ethnographical Museum which eventually held more than 6,000 objects of ethnographical interest. The Beasleys collected objects from across Europe, buying from auction houses and local museums to expand the collection, which contained material from the Pacific, Asia, Africa, and Northwestern America. Beasley wrote numerous articles for anthropological journals and was considered an expert in his field. He died in 1939 and his collection was stored with the British Museum collections during the war, which was fortunate as the Cranmore Museum was destroyed by bombing. After the war, substantial portions of the collection were passed to the British Museum, the Royal Museum in Edinburgh, the Museum of Archaeology and Anthropology, the University of Cambridge, the Pitt Rivers Museum, and the Merseyside County Museum. Other pieces, such as the present lot, were sold by his widow and, after her death in 1974, by their daughters. Alfred William Cowperthwaite (1890-1964) was a contributor to the Cranmore Museum and became good friends with Harry Beasley. Shortly after Harry Beasley's death, he acquired a number of objects from Irene Beasley, including the present lot.Condition: Very good condition, commensurate with age. Extensive wear and weathering, as expected, with rubbing and abrasion to the fine incision work, and some nicks and chips which have smoothened over time. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time. Calcification throughout.Weight: 73.7 g Dimensions: Length 10.3 cm With an associated metal stand. (2)Huang were a part of the elite adornments during the Neolithic period, especially within Hongshan, Liangzhu, and Longshan cultures. These were worn along with headgear, knee decorations, elaborate beaded necklaces, and other body ornaments, all made primarily from jade. Dr. Elizabeth Childs-Johnson dubs these cultures a part of the 'Jade Age', a period during which an abundance of jade objects accompanied the elite burials for the first time. The imagery carved on these jade adornments was highly standardized, and the most prominent image, which appears on this lot, is that of the godhead (also called a spirit person, shenren, or an anthropomorphized deity). This image is flat, often covered in cosmic cloud scrolls, and has zoomorphic attributes combining bird and semi-human elements.Literature comparison:Compare a closely related but much smaller jade pendant with godhead incision work, 6.3 cm long, dated to the Neolithic period, Liangzhu culture, in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.734. Compare also a related jade ornament with a mask godhead, 8.3 cm wide, dated to the Neolithic period, Liangzhu culture, in the Metropolitan Museum of Art, accession number 18.63.良渚文化罕見神面玉璜中國，西元前約3300-2200年。器形下端圓弧，上端有三叉，中叉較短，兩側叉較長。玉璜四面和邊緣均有精美的紋理如雲紋一般，正面中央有一個突出的雕刻神人面具，頂部有尖喙的動物形鳥頭。兩翼都穿有用於懸掛的小孔。不透明的玉石呈棕色，帶有雲霧和深棕色內沁。來源：Percival David 爵士收藏，紙標籤上可見 “The Percival Collection，of Chinese Jades” 以及 “Zoomorphic Figure”字樣。Harry Geoffrey Beasley (1881-1939)收藏，他逝世後由其遺孀Irene Beasley保存；Alfred William Cowperthwaite (1890-1964)，約於1939年購於上述收藏，之後在同一家族保存至今。Sir Percival David (1892-1964) 出生於孟買的英國金融家，收藏中國陶瓷、郵票和玉器。1923年訪問中國後，他迷上了中國藝術，並創辦了Percival David基金會，以促進中國藝術和文化的研究。他的藏品已增至驚人的 1,700 件，現陳列於大英博物館。Harry Geoffrey Beasley (1881-1939)收藏，他逝世後由其遺孀Irene Beasley保存；Alfred William Cowperthwaite (1890-1964)，約於1939年購於上述收藏，之後在同一家族保存至今。Harry Geoffrey Beasley (1881-1939) 是一位英國人類學家和博物館館長，他在二十世紀初建立了一個重要的民族志收藏，現在收藏在英國的各個博物館中。Beasley和他的妻子Irene一起建立了Cranmore民族志博物館，該博物館最終收藏了 6,000 多件民族志方面的物品。Beasley 收集了來自歐洲各地的物品，從拍賣行和當地博物館購買以擴大收藏範圍，其中包含來自太平洋、亞洲、非洲和美國西北部的資料。Beasley為人類學期刊撰寫了大量文章，被公認爲是該領域的專家。他於 1939 年去世，他的藏品幸虧在戰爭期間被存放在大英博物館裏，而Cranmore博物館被轟炸摧毀。戰後，大部分藏品被轉移到大英博物館、愛丁堡皇家博物館、劍橋大學考古與人類學博物館、Pitt Rivers博物館和Merseyside County博物館。其他收藏，例如現在的拍品，由他的遺孀出售，在她 1974 年去世後，由他們的女兒出售。Alfred William Cowperthwaite (1890-1964) 曾是Cranmore 民族志博物館重要支持人，也曾是 Harry Beasley的好友。在Harry Beasley去世不久，他從Irene Beasley 處購買了一些收藏，包括此件拍品。品相：狀況極好，大面積磨損和風化，精細切口的摩擦和磨損，以及一些隨著時間的推移而變得平滑的刻痕和缺口。具有天然內沁和裂縫的玉石，其中一些可能隨著時間的推移發展成細小的裂縫。整體鈣化。重量：73.7 克尺寸：長 10.3 釐米金屬支架。(2)玉璜是新石器時代，特別是在紅山、良渚和龍山文化中，屬於權力階層裝飾品。 它們與頭飾、衣服配飾、精緻的串珠項鍊和其他裝飾品一起佩戴，所有這些都主要由玉製成。 Elizabeth Childs-Johnson博士將這些文化稱為“玉器時代”的一部分，在此期間，大量玉器首次伴隨著權力階層墓葬。 這些玉佩上雕刻的圖像非常標準化，而這批作品中最突出的圖像是神格（也稱為神人，或擬人化的神）。 該圖像是平坦的，通常覆蓋雲紋，並具有結合鳥類和半人類元素的動物形態。文獻比較:比較一件非常相近且尺寸較小的新石器時代良渚文化神面玉佩，長6.3 厘米，收藏於史密森學會國立亞洲藝術博物館，館藏編號S1987.734。比較相近的新石器時代良渚文化神面玉佩，收藏於大都會藝術博物館，館藏編號18.63。
Lot 118
PRIESTLEY (Joseph) The Doctrine of Philosophical Necessity Illustrated; Being an Appendix to the Disquisitions relating to Matter and Spirit. To which is Added an Answer to the Letters on Materialism, and on Hartley's Theory of the Mind, 1st edition, London 1777, 8vo, errata leaf, advertisement leaf at end, lacking half title, slight soiling, skilfully rebacked marbled boards
Lot 1010
Le Roux,H.: Les Jeux du Cirque et la vie foraine. Paris, Plon (1889). 4°. Mit zahlr. kolor. Textillustr. v. J. Garnier. 2 Bl., V S., 1 Bl., 250 S., 3 (1 w.) Bl. Hldr. d. Zt. mit Rverg. u. Kopfgoldschn. (Berieb., Innengelenke brüchig). Vicaire V, 225. Carteret V, 122. Toole Stott 444. Erste Ausgabe. - "The French (and original) edition of the classic Acrobats and Mountebanks... The illustrations drawn from actual and painstaking studies in action, capture the true spirit of the circus" (Toole St.). - Breitrandiges Ex., stockfleckig, hs. Besitzverm. "Etienne Biai Föglein" u. St.a.T.
Lot 176
Full title: A pair of Chinese famille verte 'Emperor Yang' dishes, KangxiDescription:Dia.: 34,5 cm Provenance:- By repute, from the Collection of Duchess Isabella Lubomirska (nee Czartoryska) (1736-1816), Lancut Castle, Poland.- The Counts Potocki, Lancut Castle, Poland, until circa 1944.- Paul-Louis Weiller (1893-1993), and thence by descent.- An important European private collection. Ref.: - Jeffrey P. Stamen and Cynthia Volk with Yibin Ni (2017), A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection, pp. 30-33.- Emperor Yang of the Sui dynasty (éš‹ç‚€å¸, r. 606-18) is known for many achievements, such as linking the Yellow and Yangzi Rivers with the man-made Grand Canal, leading successful military campaigns expanding the Sui territory, and being accomplished in the arts. Despite those, Emperor Yang is also considered to have brought disaster to the country and misery to the people late in his life with his unwise rule and decadent and debauched lifestyle with his concubines. In the West Park, outside Luoyang, his consorts (wives who ranked lower than his primary wife, the empress) often organised his concubines to do equestrian performances and variety shows to entertain the emperor and please his inflated ego. One of the best known of these vignettes was the procession of Lady Wang Zhaojun (王æ˜å›, c. 52 – c. 15 BCE) in a moonlit night. (Lady Wang Zhaojun was one of the legendary Four Beauties of Ancient China. She had been in the harem of Emperor Yuan of the Western Han dynasty [汉元å¸, 206 BCE – 8 CE]. He eventually sent her off by horseback in a procession to marry a Central Asian tribal chieftain.) The elderly Emperor Yang is often depicted enthusiastically observing his elegant court ladies showing off their riding skills in the spirit of Lady Wang, while anticipating further antics to follow. This scene has often been mistaken as ‘female generals of the Yang family’(æ¨é—¨å¥³å°†) by many art historians. However, Dr Yibin Ni has found that historical woodblock illustrations such as that of the novel Romance of Sui and Tang (éš‹å”演义), and New-Year prints such as Wang Zhaojun’s Galloping Horses (新彩æ˜å›è·‘马) bear similar scenes with clear written titles which reveal that the scene is actually meant to be a cautionary tale for rulers. Chu Renhuo (褚人获)’s Romance of Sui and Tang fictionalises the historical events leading to the fall of the Sui dynasty and the subsequent rise of the Tang. (source: tutuhaoyi.com)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 66
LESLIE MARR (BRITISH 1922-2021) Leslie Marr (lots 66-75) Introduction Leslie Marr, born in Durham into a family of engineers and shipbuilders, studied Engineering at Cambridge. But while serving with the RAF in the Middle East during the Second World War discovered a burning inclination to paint. Short on supplies he procured some brushes and paint and purportedly used his kit bag as canvas to depict the landscape around him. On his return to London he enrolled in art school in Pimlico. Uninspired by the conventional approach the school offered, however, a chance encounter with David Bomberg’s stepdaughter, Dinora Mendelsohn, led Marr to seek the more vivacious and anything but ‘run-of-the-mill’ teaching style that Bomberg espoused at Borough Polytechnic in South London. Bomberg’s innovative non-academic approach to painting centred around discovering what he called ‘the spirit of the mass’. It was a method that had been fuelled by his pre-War painting expeditions to far flung and isolated destinations: the rugged landscapes of Palestine, the volcanic gorges of Ronda in Spain, and the mountains of Cyprus. And his ideas had a profound influence on a number of his students, Leon Kossoff (1926-2019) and Frank Auerbach (b.1931) amongst them, as well as Marr himself. Bomberg’s non-conventional style spawned The Borough Group, founded in 1946 by Cliff Holden (1926 -2020). Among its members were Bomberg himself, his wife Lillian Holt (1898-1983), Dinora Mendelson (1924-2010), Dorothy Mead (1928-1975), Edna Mann (1926-1985), Miles Peter Richmond (1922-2008), Dennis Creffield (1931-2018) and Marr. After marrying in 1946, Marr and Dinora travelled to Cyprus with Bomberg. Painting there together Marr’s work flourished, and he would later describe his time in Greece as the point at which he achieved the ‘enlightened’ state. But with the break-up of the Group in 1950 Marr turned to other interests, including as a photographer, film maker and Formula 1 driver before returning to painting after Bomberg’s death in 1957. Re-connecting with Bomberg’s original approach, Marr travelled far and wide to seek out wild and isolated landscapes – as far afield as New Zealand - and used extreme contrasts and thrusting diagonals to depict untamed Nature. In the present sale these landscapes include Stiper Stones, Shropshire (lot 67); Scotland (lots 73 & 74) and Exmoor, Devon (lots 68 & 70) where he lived for a number of years. But Bomberg’s nervous energy can equally be seen in Marr’s charcoal of Venice (lot 69), which combines a massing of architectural elements with an unnerving air of instability. A later influence in Marr’s work was Chaim Soutine, as evident in the two still-lifes in the sale (lots 72 & 75).LESLIE MARR (BRITISH 1922-2021)RECLINING NUDEsigned Marr lower left; dated 19 Nov.'71 lower rightwatercolour55 x 75cm; 21 1/2 x 29 1/2 in77.5 x 98cm; 30 1/2 x 38 1/2in (framed)ARR may apply
Lot 214
A MONUMENTAL BRONZE HEAD OF BUDDHA, LAN NA, NORTHERN THAILAND, 14TH-15th CENTURYExpert's note: Thai bronzes of this size and preservation are exceptionally rare, particularly those that are over 500 years old. It's challenging to imagine the immense scale of the complete sculpture to which this head belonged, standing at well over 2 meters tall. Only a few works of similar magnitude have endured the test of time, and this magnificent head is among the largest privately owned examples. Despite centuries passing, it has retained all its spirit, a near-magical presence, a sense of tranquility, and, above all, its ability to inspire.Buddha's slightly elongated oval face with outlined smiling lips, aquiline nose, neatly incised heavy-lid downcast eyes below finely arched eyebrows in relief, his ears with extended pierced earlobes, the hair arranged in rows of snail shell curls, surmounted by an ushnisha.The bronze heavily cast and with a rich naturally grown patina, showing distinct malachite encrustations. The surface with natural wear overall, resulting from centuries of worshipping.Provenance: From an old private collection in Palm Beach, Florida, USA. Sotheby's New York, 23 March 1995, lot 101. A private collection in New Jersey, USA, acquired from the above, and thence by descent within the family.Condition: Superb condition, commensurate with age, showing extensive wear, weathering, and expected casting flaws. Some losses, nicks, and scratches. The interior of the head with a filling used to mount the head to the stand. The wood base with age cracks and flaking to lacquer.Weight: 24.7 kg (excl. stand)Dimensions: Height 40.5 cm (the head) and 60 cm (incl. stand) Mounted on a wood base, dating from the 20th century. (2)The present bronze bears distinctive features of the Sukhothai style, evident in its oval shape, hairline, and aquiline nose. A closely related example from the Sukhothai tradition is a bronze head now housed in the Sawanvoranayok National Museum (see literature comparison). However, there are slight variations in the facial treatment, such as less upswept eyes and fuller lips. The face also shows arched eyebrows, an upward turn at the sides of the mouth, and an oval marking on the chin. The flowing curves of these features come together harmoniously, making this sculpture an excellent representation of the neighboring Lan Na Kingdom's artistic style. Lan Na was a powerful state in Northern Thailand and actively promoted Buddhism, shaping their Buddhist sculptures with influences from the Sukhothai kingdom.During the late 13th century, Sukhothai reached its peak under King Ram Khamhaeng's reign. However, after his death, the kingdom declined, and various tributary states began to break away rapidly. Lan Na annexed Tak, an ancient town in Sukhothai, and other regions to the north and west asserted their independence. By the 14th century, Sukhothai had diminished to a local power and eventually became a tributary state of the Ayutthaya Kingdom, a neighboring Thai polity. In 1438, after the death of Borommapan, Ayutthaya annexed Sukhothai, bringing an end to its independent existence.Literature comparison:Compare a closely related Buddha bronze head, dated to the 14th-15th century, from Wat Mai, Sukhothai, now in the Sawanvoranayok National Museum, illustrated in Ancient Sukhothai: Thailand's Cultural Heritage, Dawn F. Rooney, 2008, pp. 198-99. Compare closely related Buddhas, held in Thai temples, illustrated in Stratton, Buddhist Sculpture of Northern Thailand, Chiang Mai, 2004, pp. 163-179, & figs. 7.50-7.58. Compare the fragmentary example held in the National Museum, Lamphun, published in Bowie (ed.), The Sculpture of Thailand, New York, 1972, p. 94-5, no. 55. Compare a closely related Buddha head at the National Museum of Bangkok and published in J. Boisselier, La sculpture en Thailande, Fribourg, 1987, pl. 111.Auction result comparison: Type: Closely relatedAuction: Bonhams, Paris, 25-26 October 2022, lot 83Price: EUR 176,775 or approx. EUR 182,000 adjusted for inflation at the time of writing Description: A copper alloy head of Buddha, Thailand, Sukhothai School, Kampheng Phet, 14th centuryExpert remark: Compare the closely related manner of casting and modeling with similar features. Note the similar size (43 cm).Auction result comparison: Type: Closely relatedAuction: Christie's, London, 11 May 2016, lot 82Price: GBP 60,000 or approx. EUR 101,000 adjusted for inflation at the time of writing Description: A monumental bronze head of Buddha, Thailand, Lan Na period, 15th centuryExpert remark: Compare the closely related manner of casting and modeling with similar features. Note the slightly larger size (45 cm).
Lot 217
A BRONZE FIGURE OF GANESHA, ANGKOR PERIOD, KHMER EMPIRE, 11TH-12TH CENTURY OR EARLIERSeated in dhyanasana on a double lotus base, clad in a short sampot elegantly tied with a butterfly tang to the back. The deity is richly adorned in floral jewelry, a headdress and conical crown, holding modaks in his two hands, Ganesha's favorite dish, his face with a long trunk flanked by large ears. Superb naturally grown patina with smooth malachite and cuprite encrustations.Provenance: A noted private collection in Bavaria, Germany. A copy of a certificate dating the present lot as early as the 7th-8th century, signed by Dr. Hoang Anh Tuan, Director of the Ho Chi Minh City Museum of History, dated 11 May 2018, accompanies this lot. A collector's label to the base, 'Tp Ho Chi Minh, Bao Tang Lich Su 1979'.Condition: Good condition with minor ancient wear, casting irregularities, small losses, tiny nicks, and minor dents. Weathering and traces of erosion.Weight: 190.1 g Dimensions: Height 9.2 cm The matching double lotus throne is cast separately and neatly incised with numerous lotus petals in high relief. (2)God of wisdom and remover of obstacles both visible and invisible, the elephant-headed Ganesha is invoked at the commencement of any new undertaking or journey. As the deity's spirit was thought to reside within its likeness, this small bronze statue would thus constitute a perfect traveling companion, guiding its owner towards wise decisions and safe paths.Literature comparison: Compare a closely related figure of Ganesha, dated to the 12th-13th century, in the collection of the Minneapolis Institute of Art, accession number 99.216.11.Auction result comparison:Type: Closely related Auction: Christie's New York, 25 March 2004, lot 167 Price: USD 8,963 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: A rare bronze figure of Ganesha, Khmer, Angkor period, Baphuon style, late 11th centuryExpert remark: Note the identical size (9.2 cm).
Lot 245
A BRONZE BHUTA CULT MASK OF NANDI, SOUTH INDIA, LATE 18TH TO EARLY 19TH CENTURYHeavily cast, the ritual mask in the form of a bull's head with two long curved horns, each decorated with raised rings and incised with lotus petals at their bases. The face of the bull with a beaded halter, two large almond-shaped eyes with round pupils and neatly incised lashes, pierced nostrils, and two separately cast funnel-shaped ears, the mouth open revealing large incised teeth. The back with a circular attachment loop.Provenance: English trade. Condition: Very good condition with expected old wear and casting flaws. Light scratches, minor nicks, and small dents.Weight: 4,742 g Dimensions: Length 45.4 cm This cult mask has a totemistic connection to a culture of farming where plows are pulled by bulls and where cow milk is one of the main sources of proteins. The link with Hinduism is also easily established through Nandi, the mount of Shiva. Nandi, “the one who brings happiness" in Sanskrit, incarnates the interior strength brought by the control of violence. Its four legs represent truth, purity, compassion, and generosity. The act of touching its tail is meant to relieve people from any kind of impurity.The bhuta (spirit) is invoked in a highly stylized version of the ritual dance (bhuta kola) of the spirit impersonator during a theatrical production in which a world of supernatural beings is created by dancers adorned in colorful costumes including masks, such as the present lot, depicting various divine beings. Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 25 April 2020, lot 448 Price: EUR 7,584 or approx. EUR 9,200 converted and adjusted for inflation at the time of writing Description: A Bhuta cult mask of a bull, late 18th - early 19th century Expert remark: Compare the related form. Note the size (51 cm).
Lot 267
A PAIR OF REPOUSSE SILVER VASES, YANGQINGHE MARK, LATE QING TO REPUBLIC PERIODChina, c. 1850-1935. Each with a baluster body raised on three floral feet above a waisted base and surmounted by a gently flaring neck with a foliate rim. Neatly engraved with prunus and peony blossoms borne on leafy stems, the body with five beaded panels enclosing inscriptions, four of which contain auspicious characters while one is a passage from Journey to the West. (2)Inscriptions: Maker's mark to the base of each, 'Yang Qinghe'. Each vase is inscribed with a passage from Journey to the West: 'Even the wind through the pines and the moon in the water are not as pure as Master Xuanzang. The heavenly morning dew and pearls are not as crystal clear as Master Xuanzang. He is wise, carefree, and has a clear mind. But he does not show this.'Provenance: London trade. Condition: Good condition with some old wear and manufacturing irregularities, light tarnishing, small scratches, minor nicks and minimal warping.Weight: 102.9 g and 104.6 g Dimensions: Height 15.5 cm and 16.1 cm The earliest records of the silver atelier known as Yangqinghe date to 1775 in Shanghai. By the end of the Qing dynasty, it had the reputation as being the best silver workshop on the Shanghai bund. Not only did they make decorative items, but also accessories and jewelry, popular among the Shanghai elite. After 1850, the atelier divided into three separate branches, Jiuji, Faji, and Fuji, and passed to the ownership of Shao Youlian's family.Shao was a statesman who had served as the Qing court's charge d'affaires at St. Petersburg, had been a past governor of Taiwan and acting governor of Hunan. After his death in 1901, his family did not immediately divide up his estate, but his second son Shao Heng, gradually assumed ownership of the Jiuji branch of Yangqinghe. Shao Heng was known as a spendthrift and tended to neglect the business. Jiuji eventually ceased operation in 1935.Journey to the West (Xiyouji), is an epic 16th-century novel fictionalizing the actual journey of the historical figure of Xuanzang (602-664) who made a pilgrimage to India to collect Buddhist sutras. During the eventful trip accompanied by Sun Wukong, the honest but hapless monk encounters a tempestuous and powerful monkey king recently released from a supernatural prison, Zhu Bajie, as well as a greedy pig-like demon and Sha Wujing, a quiet and sensible river spirit. The troupe suffer a series of increasingly dangerous trials but eventually prevail, finally bringing the true word of Buddha back to the Tang imperial court. Auction result comparison: Type: Related Auction: Sotheby's New York, 15 September 2018, lot 1479 Estimate: USD 5,000 or approx. EUR 5,600 converted and adjusted for inflation at the time of writing Description: A silver 'dragon' ewer, late Qing dynasty Expert remark: Compare the related Yangqinghe mark. Note the different form, dragon motifs, and the size (26.5 cm). 清末民初一對卷蓮口錘鍱銀瓶中國，約1850-1935年。卷蓮口，長頸，豐肩，五瓣瓶身，三如意足。頸部雕刻卷葉紋。器身五瓣分別開光，塊串珠板，內刻。 (2) 款識： 松風水月，未足比其清華；仙露明珠，詎能方其朗潤。故以智通無累，神測未形。 楊慶和 來源：倫敦古玩交易。 品相：狀況良好，有一些磨損和製造不規則、輕微變色、小劃痕、輕微刻痕和輕微翹曲。 重量：分別102.9克與104.6克 尺寸：分別高 15.5 厘米與16.1 厘米 拍賣結果比較: 形制：相近 拍賣：紐約蘇富比，2018年9月15日，lot 1479 估價：USD 5,000（相當於今日EUR 5,600） 描繪：清末銀開光龍紋龍柄執壺《上》《楊慶和》款 專家評論：比較相近的楊慶和款。請注意不同的外型，龍紋主題和尺寸(26.5 厘米)。
Lot 319
A JADE FIGURE OF A HORSE, SONG TO MING DYNASTYChina, 960-1644. The boulder is carved in the round depicting a horse contorting its body to face its rear, the mane and tail finely incised, the legs tucked under the horse's body, with an aperture underneath the horse's head and another between its legs and body. The translucent stone of a green color with distinct clusters of russet veins.Provenance: From an English private collection.Condition: Very good condition with minuscule nicks, the stone with natural fissures, some of which may have developed into small hairline cracks. Nice, smooth feel overall, from centuries of handling.Weight: 286.7 gDimensions: Length 9 cm The horse has a long history as a symbol of power, energy, and prestige in China. Jade carvings of horses are thought to originate in the Tang dynasty, reflecting the powerful stone sculptures of horses found on Spirit Roads and the pottery horses found in tombs.Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 27 November 2018, lot 112Price: HKD 125,000 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: A small yellow and russet jade horse, Song dynastyExpert remark: Note the size (4.2 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 November 2017, lot 3056Price: HKD 500,000 or approx. EUR 63,500 converted and adjusted for inflation at the time of writingDescription: A jade recumbent horse, Ming dynastyExpert remark: Note the size (9.4 cm).Auction result comparison: Type: RelatedAuction: Christie's London, 13 May 2011, lot 1219Price: GBP 10,000 or approx. EUR 18,500 converted and adjusted for inflation at the time of writingDescription: A celadon and brown jade carving of a horse, Ming dynasty, 1368-1644Expert remark: Note the size (8.5 cm). 宋至明玉馬中國，960-1644年。臥馬倒地嬉戲，兩耳圓潤，肢體健碩，骨肉豐滿，回首向背。半透明的綠色石頭，帶有明顯的赤褐色紋理。 來源：英國私人收藏。 品相：狀況極好，有微小的刻痕，玉料有天然裂隙，其中一些可能已經發展成細小的裂紋。經過幾個世紀，表面光滑。 重量：286.7 克 尺寸：長 9 厘米 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2018年 11月27日，lot 112 價格：HKD 125,000（相當於今日EUR 16,500） 描述：宋黃玉滾地馬 專家評論：請注意尺寸(4.2厘米)。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2017年11月29日，lot 3056 價格：HKD 500,000（相當於今日EUR 63,500） 描述：明代玉臥馬 專家評論：請注意尺寸(9.4厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2011年5月13日，lot 1219 價格：GBP 10,000（相當於今日EUR 18,500） 描述：1368-1644年明代青棕玉馬 專家評論：請注意尺寸(8.5厘米)。
Lot 14
A Great War ‘Western Front’ D.C.M., M.M. group of six awarded to Battery Sergeant-Major H. F. Conway, Royal Field Artillery Distinguished Conduct Medal, G.V.R. (960008 B.S. Mjr: H. F. Conway. 7/Lond: Bde. R.F.A.-T.F.); Military Medal, G.V.R. (772 B.S. Mjr: H. F. Conway. A.237/Bde: (Lond:) R.F.A.-T.F.); 1914-15 Star (772. Sjt. H. F. Conway, R.F.A.); British War and Victory Medals (772 W.O. Cl. 2. H. F. Conway. R.A.); Territorial Force Efficiency Medal, G.V.R. (960008 B.S. Mjr: H. F. Conway. R.F.A.) light contact marks, otherwise good very fine (6) £1,600-£2,000 --- D.C.M. London Gazette 1 January 1918; citation published 17 April 1918: ‘For conspicuous gallantry and devotion to duty. He has displayed marked courage and coolness, particularly on one occasion when the wagon lines were bombed and shelled by the enemy. His example and fine soldierly spirit are invaluable in his battery.’ M.M. London Gazette 14 September 1916. T.F.E.M. Army Order 167 of 1 February 1919. Horace F. Conway was a native of Uxbridge, London, and served with the London Brigade R.F.A. in France from 18 March 1915.
Lot 265
Salt glazed stoneware - a 19th century jug, intertwined serpent handle and fanciful bird spout, c.1850; a Doulton Labeth salt glazed talon jug; an unusual 19th century court tankard moulded in relief with merry topers; a 19th century inverted baluster snuff or tobacco jar, moulded with the royal coat of arms and vacant banner; a large spirit flagon for TC Sowter, Wine and Spirit Merchant, Castle Donnington, etc (14)
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