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Lot 637
DEIRDRE HENTY-CREER (1928-2012) STILL LIFE STUDY OF FLOWERS, flowers and foliage in a bronzed urn, signed and dated 1937 bottom right, oil on canvas, approximate size 46cm x 56cm, together with an unsigned watercolour depicting a rural cottage, Condition Report: oil has two patched repairs verso, craquelure in places, unframed (artist resale rights apply) (2)
Lot 349
1976 Norton 828cc Commando 850 MkIII Electric StartRegistration no. VAA 611RFrame no. 334407Engine no. 334407• One owner from new• Only 2,623 miles from new at time of cataloguing• Last used on the road in 1999• Regularly serviced• Exceptional originalityDesigned by engineers Bernard Hooper and Bob Twigg - supervised by Norton Villiers' Director of Engineering, Dr Stefan Bauer - the Commando's vibration-beating Isolastic frame enabled the company successfully to prolong the life of its ageing parallel twin. Launched in 1967, with production commencing in 1968, the Commando used the preceding Featherbed-framed Atlas model's 750cc engine and AMC four-speed gearbox, and was an instant hit with the motorcycling public, being voted Motor Cycle News 'Machine of the Year' for five consecutive years. It might have been a little down in top speed compared to rivals such as BSA-Triumph's 750cc triples and Honda's CB750 four, but the Commando more than made up for this minor deficiency with superior mid-range torque and steadier handling. So called because of its streamlined seat cowl, the sole model available initially became the 'Fastback' when the range was extended by the addition of a more sporting, though conventionally styled, 'S' version in 1969. Introduced in 1973, the 850 (actually 828cc) featured a larger bore, through-bolted cylinder block, stronger gearbox casting and all-metal clutch among a host of other, more minor improvements. The extra capacity provided the 850 with even more mid-range urge, and the model would continue as the sole Commando after 1975 when the electric-start Mark III was introduced. This outstanding Commando MkIII has been with the same owner since new and has been cared for lovingly its entire life. For much of that time it has been kept in the owner's private museum as part of a large collection of classic motorcycles. According to the vendor, it is still to all intents and purposes 'as new' and mint. The machine comes with the original purchase receipt from Thruxton Motorcycles and the original (pouched) pristine owner's handbook, and has covered 2,623 miles (certified). Last used on the road in 1999, it has been regularly checked and appropriately serviced by the owner and has just had a complete brake fluid and seals change. Described as running beautifully, this exceptional Commando is offered with old/current V5/V5C documents; MoT to April 2024; sundry bills; and all of its original purchase paperwork. Keys present.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com
Lot 383
The Dave Degensc.1955 AJS 7R/Matchless G45 498cc Racing MotorcycleFrame no. 1673Engine no. G/45 163•Built by Dave Degens using all original parts•Raced by Dave at the Goodwood Revival in 2008•Requires re-commissioningThe prototype of what would become the G45 first appeared at the '51 Manx Grand Prix ridden by Robin Sherry, eventually finishing 4th after a promising debut. In fact, the G45 was not an entirely new design but essentially a hybrid comprised of AJS 7R-based cycle parts and a tuned Matchless G9 roadster engine. The engine's bottom-end remained more-or-less stock G9 but above the crankcase there was a new aluminium-alloy cylinder barrel and 'head. Fuel was supplied by a single Amal TT carburettor and exhausted via short, megaphone-ended pipes. In 1952 the prototype G45 garnered much valuable publicity, and not a little controversy, when Derek Farrant - later an AJS works rider - won the Senior Manx Grand Prix after leading from start to finish. Strictly speaking, a works prototype had no business running in an event for amateurs riding over-the-counter machines, but AMC quickly announced that a production G45 would be available for 1953. Although still based on that of the G9, the production version's engine incorporated a different camshaft, which opened the valves via roller-ended followers, and breathed via a pair of Amal GP carburettors mounted either side of a central float chamber. Claimed power output was 48bhp at 7,200rpm, increasing on later models to 54bhp at 7,400 revs. Apart from revised valve gear and the eventual adoption of a forged crankshaft, the G45 changed little over the course of its life. Production ceased in 1957 after around 80 machines had been built, of which approximately half are believed to survive worldwide today. Before then, the works team's best result at international level with the G45 had been Rod Coleman's 2nd place in the 1954 Ulster Grand Prix.Built using all original parts, the machine we offer is very similar to the Matchless G45 that Dave Degens raced in the 1960s. It was built using an original AJS 7R purchased at Bonhams' Stafford sale and an original G45 engine. The latter features Amal GP carburettors; lightweight valves; new big-ends and con-rods; and an upgraded oil pump and feed. The G45 was ridden by Dave at the Goodwood Revival in 2008 where he diced with Chas Mortimer on a 500 Manx Norton. Following a period of inactivity, the machine will require re-commissioning and thus is sold strictly as viewed. Included in the sale is the original AJS 7R engine ('7R/1673') and some spares. It is hoped that supporting documentation will be available at time of sale. Key not required.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com
Lot 41
The David Dixon Photographic ArchiveDavid Dixon 1933-2013From 1958 to 1971, David Dixon was a staff writer and photographer working on The Motor Cycle magazine under its long-term editor, Harry Louis. Dixon was reckoned to be the first European journalist ever to ride a Honda, and he tested many more exotic models, including top 'works' machinery, as well as being a successful motorcycle racer in his own right.The Dixon family has a wonderful photograph of David, aged 5, perched on his uncle's works Royal Enfield '500', grinning at the camera outside the King's House in Chapelizod, Dublin in 1938. It is tempting to think that that was the moment he fell in love with motorcycles. The eldest of four brothers, David once dug a ditch at the back of his father's orchard to practice his trials riding, much to his dad's annoyance. He went on to develop a love of circuit racing and looked up to Ireland's stars of the day: riders like Ernie Lyons and Joe Dunphy. The lure of a 'proper' job in England saw David arrive off the boat from Ireland in the 1950s. Like any new arrival, he had a burning passion to be successful. He held down a dull insurance job for a couple of years, dreaming of a career in journalism. Then, in 1958, he had a stroke of luck; he received a letter from Harry Louis, editor of The Motor Cycle magazine, offering him a job. Joining TMC, he quickly earned a reputation as a perceptive, analytical writer who involved readers in the experience of road testing.He was also a great photographer, equipped with a Zeiss camera, and loved reviewing all the new bikes and travelling to race meetings in the UK, Isle of Man, and Grands Prix in Europe.He would do his home work, like Murray Walker, and knew all the best positions trackside to take dramatic action shots. And his Irish silver tongue got him into the paddocks to capture images of top stars like Giacomo Agostini and Mike Hailwood. David once told a story about how, when on assignment for The Motor Cycle, he photographed the first race, jumped on his bike to compete in the next race, and then, still in his leathers, photographed the final event. Then, in the early 1970s, he teamed up with the legendary Tommy Robb to form the Dixon-Robb Race School. Together, they ran a busy race school, teaching the next generation the best racing lines and track craft and, above all, safety. Bikes were getting faster and technology developing, so safety was a big thing at the race school. David continued to work as a freelance journalist/photographer in between his race school duties. He was well known in Sweden for his freelance reviews in MC Nytt, and he also wrote for the Italian magazine, Moto Ciclismo.By this time David had two small children, and the race school income was insufficient to pay all the bills. So with the opportunity to tap into the Japanese invasion of Honda, Suzuki, Kawasaki and Yamaha products, he decided to open his first shop in Farncombe, Surrey: Dixon Racing Ltd was born. The opening ceremony saw a large crowd in attendance to see 'Dr Who', Jon Pertwee, who was guest of honour.David recognised the superior reliability and performance of Japanese motorcycles. This was a major selling point and David became a UK main dealer. As the business boomed it outgrew the Farncombe shop, so he moved to larger premises in nearby Godalming. David became the sole UK distributor for Pops Yoshimura's hugely popular product range.David Dixon's extensive archive of historic photographic material is presented in six large ring-binders of negatives and transparencies totalling over 5,000 images. These are mostly 35mm format and black-and-white, with some 6x6cm material and some in colour. They start with David's visits to various Continental Grands Prix in 1965 and to the Isle of Man TT in 1966, '67 and '68. Binder 2 is devoted entirely to 1969, when David's job took him to several GPs and the Isle of Man TT, and also involved road-testing the new Kawasaki Mach III and Honda CB750, the latter pitted against a Münch Mammut at the Nürburgring. Covering 1970, Binder 3 contains images of more GPs and that year's TT; the International Thruxton 500-Mile endurance race; and a road test of a Suzuki-powered Difazio with hub-centre steering. But racing was still in his blood, so alongside these ventures in the 1970s, David ran a racing team at the Isle of Man TT, which was the family's our annual holiday! In his eventful life, David also visited the stunning GP track at Monza to set a speed record on one of Paul Dunstall's tuned machines. In the early 1980s he teamed up with Phil Read to set a UK speed record of 164mph on a modified roadster. There was also the excitement a new venture: importing Bimotas from Italy. In 1984, David entered his Manx Norton in the Brighton Speed Trials, which was yet another a wonderful day out for the family.Bonhams is honoured to offer The David Dixon Photographic Archive with his extensive archive of historic photographic material being presented in six large ring-binders of negatives and transparencies totalling over 5,000 images. These are mostly 35mm format and black-and-white, with some 6x6cm material and some in colour. They start with David's visits to various Continental Grands Prix in 1965 and to the Isle of Man TT in 1966, '67 and '68. Binder 2 is devoted entirely to 1969, when David's job took him to several GPs and the Isle of Man TT, and also involved road-testing the new Kawasaki Mach III and Honda CB750, the latter pitted against a Münch Mammut at the Nürburgring. Covering 1970, Binder 3 contains images of more GPs and that year's TT; the International Thruxton 500-Mile endurance race; and a road test of a Suzuki-powered Difazio with hub-centre steering. For a full list please contact andrew.barrett@bonhams.com. A once in a lifetime opportunity to acquire a most extraordinary archive of the bygone era of motorcycle racing. This photographic archive is sold entirely without copyright. Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com
Lot 647
English school, 19th century, still life of game, oil on canvas, together with the companion, a pair, each 15 x 20cmDirty. Crazing within the surface. Some rubbing to the surface in places. No visible signature. Frames are old, but quite marked with losses. Collected from a local house move, so unrestored.
Lot 16
REMEDIOS VARO (1908-1963) WITH POSSIBLE ADDITIONS BY ÓSCAR DOMÍNGUEZ (1906–1957) & ESTEBAN FRANCÉS (1913–1976)Composition surréaliste (tableau collaboratif) bears the signature and date 'Ó. Dominguez 1935' (lower left), further indistinctly signed (lower left) and indistinctly signed and dated (upper right)oil on copper20.4 x 13.9cm (8 1/16 x 5 1/2in).Painted circa 1935Footnotes:We are grateful to Dr. Salomon Grimberg for his assistance in cataloguing this work, with regards to the artistic input of Remedios Varo. We would also like to thank the Asociación en Defensa de Óscar Domínguez, including Mélodie Bonnat, and Josefina Alix for their assistance cataloguing this work.ProvenancePrivate collection, Paris; their sale, Blanchet & Associés, Paris, 19 October 2022, lot 43.Acquired at the above sale by the previous owner. Acquired from the above by the present owner.On a warm August evening in a Montparnasse studio, a lively gathering of artists was taking place. The year was 1938 and the studio belonged to Óscar Domínguez, an exuberant young painter from Tenerife. He and his guests were acolytes of a vanguard cultural movement known as Surrealism. Its tenets promoted the omnipotence of dreams, the sovereignty of collaborative experimentation, and sexual freedom as a precondition to unbridled artistic expression. In attendance were the artists Yves Tanguy and Georges Hugnet, as well as the writers Paul Éluard and Benjamin Péret. The centre of the group's attention had turned to the vivacious and attractive Remedios Varo, a vigorously talented Spanish artist who lived an openly polyamorous lifestyle. Somewhat unsurprisingly for a strong-willed woman in a predominantly male setting, her romantic and sexual life became the topic of debate. The antagonist was Esteban Francés, a Catalan artist six years her junior, whose adoration of Varo was sometimes marred by his complicated and jealous persona. He openly criticised her for her multiple relationships, despite the fact that he was part of one such ongoing tryst. Domínguez - another of Varo's lovers - rose gallantly to defend her, but he swiftly lost control and flew into a towering rage. Suddenly concerned, their friends intervened in the ensuing tussle. Victor Brauner - a Romanian artist with whom Varo would later reside – restrained Francés' arms. The strong and thickset Domínguez twisted free from his own captors, grabbing a glass and launching it at Francés. But in the chaos, the glass struck the face of the unfortunate Brauner and ripped his eye straight from its socket.The complex layers of this group dynamic form a necessary backdrop to understanding the total enigma which is the present work. Spontaneous, disturbing and eerily auspicious, Composition surréaliste (tableau collaboratif) is a painting partially authored by Varo, and for which one can surmise possible contributions from both Francés and Domínguez. Completed around two years before the shocking incident in Montparnasse, this small painting on copper is psychically charged, foreshadowing the love, violence and strife that would descend upon its creators. Indeed, the artists of the Surrealist milieu possessed an uncanny knack for artistic divination. Domínguez had, around seven years prior to the brawl, completed a disturbing self-portrait in which his hand was mutilated, his arm veins severed. Twenty-seven years later, after an unsuccessful exhibition, he was discovered in the bathtub of his Montparnasse studio, having slit his wrists. (Brauner, too, completed a captivating and gruesome self-portrait around seven years prior to his injury, with a gaping hole in place of his right eye. This was one of his many artistic explorations of one-eyedness from the early 1930s).Varo believed wholeheartedly in such premonitions. She approached her art and her life constantly attuned to magic and mysticism, with a dash of psychoanalysis mixed into the heady cauldron of her stimuli. For Varo and her friends, the spontaneity and surprise of collaborative compositions conjured up the magic of the unexpected, resulting in fascinating works that are iconic to the story of Surrealism. The present work is key in this regard. Upon the shifting tectonic folds of a barren volcanic landscape, distorted, nude, puppet-like figures engage in sexual and sadistic behaviour. Their jagged, jaunty stances and smiling faces generate a sinister hue of contradictions - the true elixir of Surrealism. Blood-red biomorphic gourds menstruate and sprout wriggling, sperm-like, sinuous roots, evoking a twisted mix of gore and desire. To the centre, a nude woman, possibly pregnant, is showered in droplets of white liquid, the bars of her figurative prison cell suspending her over a gaping abyss. At the base of the scene, an embryonic form within a drop of liquid rises from a seashell like a child of Venus, cowering in anguish at the terrifying realm it has entered. In the foreground, the severed head of Gerardo Lizarraga, Varo's husband, looks on passively, encased in a perilously hanging box. Although the scene lacks a cohesive narrative, its vignettes generate the rhythm and flow of a hallucinatory vision, one that gains its vitality through its juxtapositions. This engrossing disjointedness arises in part from the work's collaborative nature. Collective creativity was core to the Surrealists' toolkit, as they believed such collaborations could release the individual from the biases of conscious thought, thereby accessing a shared subconscious realm. This ideal came to fruition in the summer of 1935 in Barcelona, a critical chapter in the story of Surrealism and a catalyst for the present work. During that time, Varo, Francés, Domínguez and their fellow Surrealist Marcel Jean devoted themselves to the game of cadavre exquis ('exquisite corpse'). A game of words that the Surrealists transformed into a visual exercise, cadavre exquis involved one player creating a collage or drawing, obscuring their design and passing the paper to the next player, who would add their own image. This resulted in a fascinating series of works, many of which were composed vertically so as to generate the head, body and limbs of a quasi-humanoid form. The vitality of these spontaneous works led the group to evolve related exercises allowing for fuller, more cohesive compositions that were still grounded in hasard objectif ('objective chance'). Thence grew the jeu de dessin communiqué ('game of shared drawing'), whereby a player would draw an image and show it to the next participant for a brief instant, who would then interpret it in their own spontaneous composition, inviting contributions from the ensuing players. The imagery that Varo and her friends thus conjured would often comprise biomorphic entities with zoological and humanoid features, sometimes in erotic or tortuous positions, who were somehow connected to the features and objects of their surrounding terrain. On rare occasions, paintings would be created in this fashion, started by one artist and then re-worked or even partially erased by the ensuing collaborators. The present work is a unique token of this fervent period, offering a privileged glimpse into this captivating artistic methodology. Many of the group's paintings and drawings from this time have been lost, due in part to the surrounding turmoil of the Spanish Civil War, as well as their free circulation among other artists by post and itinera... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 5
GIORGIO DE CHIRICO (1888-1978)Vita silente signed 'G. de Chirico' (lower right); signed, inscribed and dated 'Opera eseguita nel 1931 a Parigi Giorgio de Chirico' and further signed 'Giorgio de Chirico' (on the reverse)oil on canvas38.3 x 55.5cm (15 1/16 x 21 7/8in).Painted in Paris in 1931Footnotes:ProvenanceGalleria d'Annunciata, Milan, no. 1908 (probably acquired directly from the artist in the 1940s).Private collection, Italy (acquired from the above in the 1950s).Galleria Bergamini, Milan.Galleria Gussoni, Milan.Anon. sale, Brera Galleria d'Arte, Rome, 16 December 1964, lot 241.Private collection, Rome (acquired at the above sale).Private collection, Rome (by descent from the above).LiteratureC. Bruni Sakraischik, Catalogo Generale Giorgio de Chirico, Vol. III, Opere dal 1931 al 1950, Milan, 1983, no. 180 (illustrated; incorrect dimensions).Vita silente presents assorted fruits; apples and lemons stand alongside a ripe tomato and a clementine, delicately arranged on a white cloth. The bed of ivory fabric accentuates the contrast of this chromatic range of warm colours, with a diffuse light that crosses the work, casting soft shadows. The work is a harmony of yellow, red and orange hues, enhanced by a complementary blue woven softly into the background and foreground through classically Impressionistic strokes.Painted in Paris in 1931, the present work stands testament to the renewed interest for the still life genre from twentieth century Italian painters and it remained an important subject for artists until well into the 1960s. Arguably Giorgio de Chirico and Giorgio Morandi were at the forefront of this revival and the style's most prolific protagonists in Italy, however, the subject was also widely explored by many fellow Italian artists such as Carlo Carrà, Gino Severini, and Renato Guttuso. Despite this modern revival of the subject, de Chirico sought to draw inspiration from the past more than from his contemporaries. When he settled in Rome in 1918-1919, he spent his time in museums, copying and studying the works of Old Masters. Thus when he returned to Paris in 1925, his technique was imbued with the influences of the Baroque and the Renaissance, which reveal themselves through his luxurious brushwork, dramatic stage settings and grandiosity in sumptuously elaborated paintings. Nevertheless, despite de Chirico's negative opinion of the Impressionist group, his pared down composition in the present work is brighter, and his technique tends more to their handling, particularly through the thin strokes of complementary colours etched into the background. His focus on volumes standing out on the white cloth also recalls one of the masters of still life and of the modern painting genre, Paul Cézanne. The most unequivocal reference here however, is to Pierre-Auguste Renoir. One of the few Impressionists de Chirico openly admired, he once wrote that: 'Renoir [was] the only French painter to hold his own without camphor oil injections or oxygen tents, [...] because his painting pleases and because he was a real painter.' (G. de Chirico, 'L'eterna questione', in L'Ambrosiano, Milan, March 1938). Following Renoir's example, de Chirico applied vibrant strokes of paint, using diagonals to his advantage while playing on the convolution of folds, and combining the broken lines of the cloth with the circular volumes of the fruit. Another of Renoir's greatest talents was his masterful use of coloured shadows, which de Chirico subtly implements here, with soft blue shadows tucked into the folds. As with his contemporary Giorgio Morandi, whose almost vocational pursuit of the still life sculpted some of the most renowned pieces of twentieth century Italian painting, for de Chirico, a still life was more than a simple exercise in style and technique, hence his peculiar choice of title: Vita silente rather than 'natura morta', the Italian translation of 'still life'. As much a painter as a theorist, he wrote extensively on the subject: 'In the German and English language 'natura morta' has another name that is far more beautiful and correct. Its name is Still leben and Still life: 'vita silenziosa' (silent life). It refers to a painting, in fact, which represents the silent life of objects and things, a calm life, without sound or movement, an existence that expresses itself by means of volume, form and plasticity.' (G. de Chirico, 'Le Nature morte', in L'Illustrazione Italiana, Milan, 24 May 1942). This form of inner life, hidden beyond reality, is the essence of what metaphysical painting was all about. Indeed, the term 'metaphysical' refers to the painter's perpetual search for the hidden meaning of objects. De Chirico's work was always guided by the idea that there was meaning hidden behind the surface of the objects represented. Thus, the subject of the silent life is not so far removed from de Chirico's imagined impossible landscapes, his juxtapositions of objects, and his oneiric scenes that seem to come directly from the subconscious and go beyond physical reality. As he explained in a 1919 text: 'every object has two appearances: one, the current one, which we nearly always see and which is seen by people in general; the other, a spectral or metaphysical appearance beheld only by some rare individuals in moments of clairvoyance and metaphysical abstraction, as in the case of certain bodies concealed by substances impenetrable by sunlight yet discernable, for instance, by X-ray or other powerful artificial means' (G. de Chirico, 'Sull'arte metafisica', in Valori Plastici, April-May 1919, p. 16).Despite the apparent simplicity of Vita silente, the composition illustrates de Chirico's mastery of both practice and theory. While referring to a traditional subject inherited from the Old Masters, later reinvented by Impressionists, he gave it new meaning while subtly showing that the genre also belonged to the metaphysical dimension. As J.M. Faerna writes: 'throughout his long career [de Chirico] spoke with different voices [and] he entered and left different spheres with freedom; but in some sense, the Metaphysical realm was the domain of all his paintings.' (J.M. Faerna, De Chirico, Barcelona, 1995, p. 14).Aside from its rich heritage among de Chirico's oeuvre, the present work comes from the family of the artist's notary, who compiled an eminent private collection of carefully curated Italian Novecento works, assembled during the twentieth century. Having since descended through the family to the present owners, Vite Silente has not been seen publicly since its acquisition in the 1960s.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 52
NICOLAS TARKHOFF (1871-1930)Trois tournesols stamped with the artist's signature 'N. Tarkhoff' (lower left)oil on paper 42.6 x 26.1cm (16 3/4 x 10 1/4in).Painted circa 1920-1925Footnotes:The authenticity of this work has been confirmed by Dr. Oscar Ghez. This work will be included in the forthcoming Nicolas Tarkhoff catalogue raisonné, currently being prepared by the Nicolas Tarkhoff Committee. We are grateful to Guy Abot, Director of the Nicolas Tarkhoff Committee, for his assistance cataloguing this work.ProvenanceDr. Oscar Ghez Collection, Geneva, no. 14368.Private collection, Geneva (acquired from the above in 1989).Private collection, Geneva (by descent from the above).ExhibitedGeneva, Musée du Petit Palais, 1980 - 2000.San Francisco, Harcourts Gallery, Nicolas Tarkhoff, A retrospective exhibition, September – November 1989, no. 25.Nicolas Tarkhoff moved to Paris in 1899 where he attended the École des Beaux-Arts, and soon after, started exhibiting his paintings at the Salon des Indépendants and the Salon d'Automne. His artwork was regarded as pioneering and extremely desirable, and Tarkhoff was granted solo exhibitions at Galerie Ambroise Vollard (where Cézanne, Gauguin, and Renoir had all exhibited) in 1906 and Galerie Drouet in 1909. As early as 1910, an extraordinary list of collectors had acquired his work, including Sergei Shchukin and Sergei Diaghilev. The artist kept ties with Moscow and participated in several exhibitions in Russia; his pictures were included in the Mir Iskusstva (World of Art) exhibitions of 1899, 1911 and 1913. He also exhibited seventeen paintings in Sergei Diaghilev's landmark exhibition of Russian art, Two Centuries of Russian Painting and Sculpture, in October 1906 at the Grand Palais in Paris.Tarkhoff's distinct style aligned him closely with the Fauves, a style indebted to Impressionistic canons as it often stressed varying qualities of light, visibly broad brushwork and an exploration of pure colour. He was continually influenced by Van Gogh and Post-Impressionism, as evidenced by his oft chosen themes of rural landscapes and floral still-life compositions. In particular, Tarkhoff held a fondness for sunflowers, utilising them as a constant vibrant environment through which to develop his Impressionistic style. In this, Tarkhoff was influenced by the writings of Edmond Duranty, who wrote in his 1876 article 'La Nouvelle Peinture': 'Painters must try to capture the motion... and render the shaking of the leaves, the glistening of the water and the vibration of the sun-soaked air...' (Duranty quoted in N. Tarkhoff, Impressions of a Russian Painter in Paris, Ahlen, 1999, pp. 65-66).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 3006
§ Alan Kingsbury (British, b. 1960), 'Still Life with Ballet Dancer', oil on board, monogrammed lower right and inscribed with title and signature to the reverse, 57 x 72cm, framed and glazed.Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information.
Lot 3014
§ Darren Baker (British, b. 1976), 'Summer Salad', still life with wine and salad, pastel, signed lower right, 23 x 17cm, framed and glazed, W. H. Patterson label to the reverse.Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information.
Lot 8
2004 Aston Martin Vanquish 5.9 litre 2+2 Coupe No Reserve Estimate £40,000 to £60,000 Registration: YA04VZL Odometer: 32,850 Colour: Meteorite Silver Fuel Type: Petrol Engine Size: 5900cc Transmission: Automated manual MOT: 31st January 2024 -- Last of the hand built Newport Pagnell cars -- Represent great value today -- Original factory build sheet -- Important Sports Dynamic Pack Outside -- Stunning meteorite silver which presents excellently with no dents or corrosion -- There's a very small area on the satin black area of the off side a pillar where the door glass has rubbed approximately 10mm of the paint off, probably been left with a flat battery as the door glass drops when opening -- Being over critical, one of the aluminium wiper arms is showing some signs of corrosion -- Immaculate and un marked diamond cut face alloy wheels, shod with near new Michelin Pilot Sport 4's all around Inside -- Black cherry leather trim looks in excellent condition with only the slightest sign of wear to the drivers seat bolster -- Ivory alcantara headlining is in perfect order -- Heated electric seats -- Perfect Aston interior which is a wonderful place to be Mechanicals -- Extensive history file is evidence that this car has been pampered all its life -- Legendary Aston V12 engine starts well and soon settles into a nice idle -- The automated manual gearbox shifts well through the gears, both in manual and automatic modes -- A joy to drive everything feels tight and well screwed together with no undue knocks or bangs coming from anywhere -- History file details a new clutch fitted at 20,000 miles -- Sold with Aston trickle charger and 2 keys History -- Supplied new by JCT 600 Aston Martin agent in Leeds -- V5C shows 9 previous owners, history file includes copies of every V5 and details each owner from new -- File also shows the car was owned by retired footballer Ian Edward Wright from 2010 to 2012 -- Supplied to current registered keeper by Tom Hartley Cars in 2018 for £80,000, purchase invoice on file -- Build sheet included shows the following options 2 plus 2 seating configuration sports dynamic pack front stone guards grey brake calipers body coloured door release sports heated front seats colour keyed/leather steering wheel heated front screen rear park distance sensors Sat nav system Powerfold exterior mirrors Telephone - Integral system -- There is no service history book present however we have correspondence from Aston Martin stating the vehicle has a full main dealer history from 2004 to March 2008 (7 services including the PDI) by which time the car had covered 13,438 miles -- The next evidence of service is by Aston Service London in December 2011 at 19,329 miles -- From this point onwards the car has had regular services and repairs carried out by Aston Martin Works, Aston Service London, Christian Lewis and Nicholas Mee -- Notable works include a new clutch assembly replaced by Aston Martin Works at 20,000 miles the engine wiring Harness was replaced at the same time with the total cost for these works coming to £15,000 -- The last service was carried out by Aston Service London on 6th May 2021 with a mileage of 31,045 Our Opinion One of the very few collectors cars that values have dropped in the past 3 years, we believe the Vanquish is still a modern classic for many many reasons and we can only see the values increase from this point. Its clear that this car has been pampered throughout its life and the service and parts invoice's on file show it has wanted for nothing. A wonderful and unique driving experience, if a Vanquish has ever been on your radar, now's the time to get one of these very special cars bought before buyers start to realise the importance of their place in Aston Martin history and values start to climb again.
Lot 102
LE CARRE (John): 'Smiley's People', 2nd impression, 1980: inscribed in black ink to title and opposite page 'For Rick Churchill with my sincere good wishes from John Le Carre on a beautiful autumn day in Hampstead - Nov 5th 1981, and a smell of woodsmoke coming off the heath..' adding 'the picture on the back is still said by those who know me to be the best..': 'The Pigeon Tunnel..stories from my life': Viking, 2006 FIRST EDITION: inscribed to title page 'Dear John and Anthea, I'm in your debt: chapter 36 on page 302...with much love to you both David aka John Le Carre 26/X/17: with 19 others by Le Carre, including 2 inscribed copies and 2 signed Franklin Library first editions, all but last 2 mentioned in dustjackets, VG, 8vo. (21)
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