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Lot 1173

Barbola Oval Shaped Mirror, decorated with flowers, oval shaped mirror, rectangular shaped gilt mirror, dressing table mirror and firescreen. (5).

Lot 1513

XVIII Century Style Hardwood Silver Table, with a pierced gallery, on tapering legs, with a pierced X stretcher 87cm high

Lot 1008

Dressing Table Ware, Uranium glass candlestick, 1935 Silver Jubilee beaker in aluminium, camera etc in basket

Lot 1314

Walker Hall (Sheffield) Table Cutlery, forks, table spoons, Cooper Brothers knives, cased tea spoons:- One Tray.

Lot 1435

A vintage painted plaster table lamp as a mid XX century spanish lady holding a tamburine on a black base Reg No. 902917, 50cm h.

Lot 1067

Brass Based Oil Lamp, with fluted pink shade and clear chimney marked 'Veritas Lamp Works' converted into a table lamp, brass spirit kettle and a quartz wall clock in frame behind glass (3)

Lot 1141

XIX Century Burleigh Ware, Willow Pattern plates, glass table lamps, etc, glass ware:- Two Boxes.

Lot 1203

Copeland Italian Spode Tea and Table Ware, of approximately fifty five pieces, including coffee and teapot.

Lot 1546

Art Noveau Style Table Lamp, together with one other table lamp, with a leaded glass shade, together with a pair of candelsticks with glass shades. (4)

Lot 1354

Two boxes of assorted Linen to include mainly table cloths and bed sheets,also with some table mats and doily's. 2 Boxes.

Lot 1096

Kitchenware, ladies make up and dressing table ware, telephones, etc:- Three Boxes.

Lot 1196

Royal Albert 'Old Country Roses' Table China, of approximately sixty five pieces, thirty four first quality including teapot.

Lot 1537

XIX Century Ash Pedestal Table, with a circular top, turned pedestal on swept legs 72cm.

Lot 1512

Early XIX Century Mahogany Tea Table, with a fold over top, single drawer, tapering legs, 86cm wide.

Lot 1574

XIX Century Mahogany Folding Library, folio table, with a rectangular top, pivoting on semi circular hoop, pierced with angle adjustment holes, secured by dowls on outswept pad feet,united by rail supports, 75cm wide x 76cm w x 67cm high

Lot 1005

Oriental Items, to include vase converted into a table lamp, tea set comprising teapot, cups, saucers with attached side plate, a box of five Qin Dynasty style terracott model figures, other tea set and French style planter:- One Box

Lot 1226

Shelley Yellow Phlox Table China, of forty nine pieces, including teapot, W12190 shape.

Lot 1511

Dark Ercol side table on three splayed legs, 70cm w.

Lot 1431

An Art Nouveau style table lamp - children seated on a bench under a decrative green/ orange shade.

Lot 1241

Paragon 'Lilac' Teaware, of twelve pieces, Noritake dressing table wareno visible chips, cracks, crazing, slight rub to gilt, general wear

Lot 927

A Victorian mahogany and rosewood side table - the shaped rectangular top on lyre shaped supports joined by a turned stretcher and scroll cabriole legs.

Lot 945

An early 20th century German burr walnut dining suite - in George II style, comprising an extending dining table with four leaf insertions (panelled pine) raised on cabriole legs, length closed 184cm, length extended 427cm, width 122cm, twelve dining chairs, two with open arms and a harlequin set of needlework seats, a bow front sideboard with an arrangement of cupboards and drawers, width 204cm, depth 70cm, height 103cm and a rectangular serving table with two drawers and raised on cabriole legs, length 120cm, depth 64cm, height 78cm.

Lot 950

A Holly Hunt cast concrete table - dark grey, of rectangular annular form, height 42cm.

Lot 566

A 19th century white metal repousse box - with foliate strapwork decoration, width 14cm, together with a cauldron shaped salt, a gilt metal table vesta box and two further small boxes. (5)

Lot 506

An early 20th century German white metal flatware service stamped 800 - 'Fiddle Back' pattern and engraved with the initial S, comprising twelve fish knives and forks, six table forks, five dessert forks, six salad forks, five cake forks, five table knives, seven dessert knives, six butter knives, five tablespoons, five teaspoons, six coffee spoons, a serving spoon, a ladle and six other serving implements, total weighable 3,000g.

Lot 443

An early 20th century Art Deco style doll's dining suite - comprising two sideboards, dining table and two chairs, painted in green and red, together with a similar style three piece suite. (qty)

Lot 904

An Edwardian rosewood and inlaid writing table - the rectangular top with a green leather inset above an arrangement of two drawers, on tapering square legs ending in brass cappings and ceramic castors, width 102cm, depth 54cm, height 73cm.

Lot 912

A George III mahogany and inlay D-shaped card table - the crossbanded top with oval shell inlay to centre and fan spandrels, above a double gate-leg action and tapered square legs, width 80cm, depth 40cm, height 72cm.

Lot 942

A Victorian mahogany sewing table - the octagonal hinged top enclosing a fitted interior and work well on tapering support and tripod base with carved cabriole legs, diameter 40cm, height 73cm.

Lot 984

A Liberty & Co. 'Japanese' carved hardwood occasional table - the square top with foliate decoration on short cabriole legs, 24 x 24cm, height 28cm.

Lot 941

A Victorian mahogany loo table - with a circular top raised on a tapering octagonal support and tripod base with concealed castors, diameter 105cm, height 74cm.

Lot 928

A Georgian tilt top table - the circular top on a columnar support and tripod base with cabriole legs and pointed pad feet, diameter 64cm, height 70cm.

Lot 498

A silver topped cut glass globular dressing table bottle - Birmingham 1906, William Devenport, height 13cm.

Lot 280

A late 19th century Chinese hardwood square low table - bearing remnants of wax export seal, cleated plank top above a pierced shaped apron on turned legs, 58 x 58cm, height 49cm.

Lot 905

A Jacobean style limed oak dressing table - the rectangular top above an arrangement of five drawers, on short square and turned legs joined by stretchers, width 113cm, depth 48cm, height 69cm.

Lot 284

A late 19th century Chinese square table - with wax export seal, the cleated top on shaped square legs joined by peripheral stretchers, 53 x 53cm, height 76cm.

Lot 943

A Regency mahogany tea table - the rectangular top above a turned support and plinth base with short sabre legs ending in claw feet and castors, width 91cm, depth 45cm, height 74cm.

Lot 915

A late Victorian mahogany circular extending dining table - with two leaf insertions, the moulded top raised on turned and fluted legs ending in brass castors, 120 x 120 x 75cm (180cm extended), including winding handle.

Lot 911

A late George III mahogany pedestal Pembrook table - the rectangular top above a peripheral drawer and turned support on quatreform base with sabre legs ending in brass claw cappings and castors, width 99cm, depth extended 91cm deep (extended), height 71cm.

Lot 940

A Victorian mahogany extending dining table - the rectangular moulded top above a winding mechanism, including two leaf insertions and raised on turned and tapering legs ending in castors, closed length 132cm, open length 230cm, width 120cm.

Lot 973

A George IV mahogany pedestal Pembroke table - the rectangular top above a pair of opposing drawers on a tapering square column support and plinth base with short sabre legs ending in claw castors, 90 x 100 x 71cm.

Lot 31

An early 20th century yew stationery box - inlaid with boxwood and mother-of-pearl, width 24cm, together with a brass cribbage board, a small tile tray and silver plated dressing table set. (qty)

Lot 24

WILLIAM KENTRIDGE (B. 1955)Office Love 2001 signed with the artist's signature woven into the reverse; signed, titled, dated 2003, numbered 3/3 and variously inscribed on a label affixed to the reversemohair, acrylic and polyester tapestry341 by 451.6 cm. 134 1/4 by 177 13/16 in. This work was executed in collaboration with Marguerite Stephens in 2003, and is number 3 from an edition of 3 and 2 APs.Footnotes:ProvenanceAnnandale Galleries, SydneyAcquired directly from the above by the present owner in 2004ExhibitedSydney, Annandale Galleries, William Kentridge: Learning The Flute / Automatic Writing, 2004, illustrated on the cover in colourSydney, S.H. Ervin Gallery, 2004: The Year in Art, 2004 Philadelphia, Philadelphia Museum of Art, William Kentridge Tapestries, 2007-2008, p. 65, no. 17, another example exhibited and illustrated in colourSydney, University of Technology Sydney, 2010-2015, work on loan to the University Another example of this edition is held in the permanent collection of the Philadelphia Museum of Art, Philadelphia.Incisively political and yet profoundly poetic, Office Love belongs to a series of tapestries which William Kentridge began in 2001. This present work is from an edition of three that were executed between 2001 and 2005; the first edition of which is held in the permanent collection of the prominent Philadelphia Museum of Art. The monumental scale and intricate execution of this present work, along with the foundations of cultural and historic sensibility, sets Kentridge apart as an artist who has achieved an extraordinary, compelling contribution to the disciplines of 21st century art. Office Love illustrates an intricate map of Johannesburg with almost life size silhouettes dramatically set against the cartographical formality of the chart. The duality of his composition is arresting; the darkness of his silhouettes, or protagonists, as they so boldly encompass the composition, rest atop the delicate pastel threads delicately woven to construct a map of the city, in an almost collaged fashion. The silhouettes depict a stocky businessman with a typewriter for a head, who purposefully approaches three pieces of what one might decipher as 'feminine' office furniture, the largest of which is a transcriber's table. Interestingly, typewriters started to become standardised in the 1890s, shortly after the years in which Johannesburg was founded and developed as a city. It might be considered that everyday objects such as typewriters recall an early 20th-century colonial world as perceived by the artist that would be apparent to a child growing up in the 50s and 60s.  The title Office Love contributes to the assertion of male and female receptivity and possibly contains a more profound meaning; perhaps the depiction of the stocky male advancing is sexual tension or perhaps it is simply progress in today's age. Born in Johannesburg in 1955, William Kentridge has become one of the most highly regarded and sought after living contemporary artists. He has produced a searing interdisciplinary body of work ranging from drawing, film, animation, theatre, sculpture, tapestry and even opera, that explores themes of colonial oppression and social conflict, loss and reconciliation, alongside the transient nature of both personal and cultural memory.  He seeks to transmute sobering political events into powerful poetic allegories that resonate profoundly, still to this present day. Setting his oeuvre in context, Kentridge was the son of prominent anti-apartheid lawyers; Sir Sydney Kentridge and Felicia Geffen. His father famously defended Nelson Mandela during the Treason Trials of 1956 – 1961, and his mother was a highly respected human rights advocate who set up an organisation to provide free legal support to marginalised members of South African society, that is still in service today. This political background and family lineage proved vital to shaping Kentridge's artistic career.  Upon graduating from the prestigious University of Witwatersrand with a bachelor's degree in politics and African studies, Kentridge enrolled at the Johannesburg Art Foundation, where he studied Fine Arts. His interest in African history and politics remained with him and influenced his work. Due to his parents' involvement in South African politics, Kentridge grew up acutely aware of the injustices in the country, and art became a form of expression for him. Reputed perhaps more widely are his compelling animations that reveal the process of their own creation by showing how individual frames have been drawn, adapted, erased, and otherwise transformed from one image to the next; but William Kentridge introduced the medium of tapestry into his repertoire as another way to tell difficult and harrowing stories akin to his native homeland and the period in which he grew up in. Like his animations, Kentridge's tapestries are also developed from his drawings, the first media his artistic practise evolved from. These preparatory collaged drawings conjure shadowy figures from ripped construction paper which he then collaged onto the web-like background of nineteenth-century atlas maps of Europe and Johannesburg. He began making tapestries in collaboration with the Stephens Tapestry Studio, run by the mother and daughter team of Marguerite Stephens and Tina Weavind, whom he would collaborate with for 24 years. The tapestries are woven from mohair harvested from Angora goats farmed in the Eastern Cape, South Africa, and in Lesotho. The raw mohair was processed and dyed in northern Eswatini before being transferred to the looms at the studio in Diepsloot on the outskirts of Johannesburg. The mapping of geography across many South African cities to produce these tapestries, perhaps speaks to Kentridge's heritage and underlying political preoccupations that resonated in his art. Kentridge's tapestries, which included the first edition of Office Love, were the subject of an important exhibition dedicated solely to this medium organised by the Philadelphia Museum of Art in 2007. Exhibited were eleven works from a multiple of series that showcase similar silhouetted figures set against the backdrop of maps, carrying bundles and belongings as they move forward. The backgrounds of the beautifully woven and embroidered maps, along with the juxtaposition of hulking figures couldn't be more direct. The curator of the exhibition, Carlos Basualdo, explained, 'Kentridge initially thought of his tapestries as 'permanent projections. While they evoke the moving image, his tapestries also illuminate the centrality of drawing in his practice. He uses the language of one medium to talk about another medium, while at the same time dealing with societies that are themselves in a state of transition'.  (Carlos Basualdo, William Kentridge Tapestries https://philamuseum.org/calendar/exhibition/notationswilliam-kentridge-tapestries, 19 September 2023). It is plausible to argue that no other South African artist has achieved greater status than William Kentridge. His career has brought him international recognition as one of today's major living artists. This reputation is confirmed by the stature of the global institutions and art museums that have exhibited his work. 

Lot 12

MIMMO PALADINO (B. 1948)Untitled 1985 incised with the artist's signature, dated 1985, numbered 3/3 and stamped with the FONDERIA DI GIACOMO NAPOLI foundry mark bronze 152 by 173 by 82 cm. 59 13/16 by 68 1/8 by 32 5/16 in. This work is number 3 from an edition of 3. Footnotes:ProvenancePrivate Collection, UK Exhibited Monterrey, Museo de Arte Contemporaneo de Monterrey, Mimmo Paladino, 1994, pp. 173, 177, no. 16, another example exhibited and illustrated in black and whiteLiteratureEnzo Di Martino, Paladino-La Scultura 1980-2008, Milan 2009, pp. 55, 408, illustrated in black and whiteMimmo Paladino, a protagonist of the Italian Transavanguardia movement, dedicated the early years of his artistic career to exploring the religious themes and mythological interpretations present in the outstanding sculptural examples presented here.Despite the present works varying styles and dates, the pivotal role of the human figure becomes evident; with motifs clearly inspired by Classical mythology, Christianity, Egyptian and tribal art. Figura con Stella with its bowed head, facing the star displays an act of subordination, further highlighted by the star motif, which represents the heavens or home of the gods. Untitled, which has similar connotations, exhibits seemingly sacrificial objects lying on the table-top alluding to death and sacrifice. Paladino argues that while these themes inspire his work, they don't define it: 'The figures in my paintings, the animals, the masks, the theme of death – I do not want to explain or analyse them. They are the roots out of which the picture develops, but not its content.' (the artist in: Studio International, Mimmo Paladino: Black and White, studiointernational.com, 27 September 2023) Although unmistakably contemporary, Paladino collaborates with the past to make his sculptures timeless and universal. Mimmo Paladino was a key member of the Transavanguardia movement, which is considered one of the most influential movements of post-war Italian art. Coined by the critic Achille Bonito Oliva, Transavanguardia demonstrated an international revival of expressionist painting and sculpture in the late 1970s and 1980s. Directly translated as 'beyond the avant-garde', the movement reacted against the original avant-garde with an aim to return to the traditional act of painting, one that elicited emotion, especially joy, and provided meaning. The movement was marked by five prominent artists, including Paladino, whose artworks drew attention at the 1980 Venice Biennale for their diverse styles and common vision. According to Oliva, Transavanguardia relied heavily on the materialism of techniques and new materials, rejecting conceptual ideas and recuperating the intensity of the image and the narrative. The present works are clear examples of Paladino's take on the Transavanguardia movement, a movement which became an internationally recognised phenomenon and whose works are highly sought after by collectors today.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional 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 13

MIMMO PALADINO (B. 1948)Figura con stella 2000 bronze 95 by 65 by 132 cm. 37 3/8 by 25 9/16 by 51 15/16 in. This work was executed in 2000. Footnotes:ProvenancePrivate Collection, UKMimmo Paladino, a protagonist of the Italian Transavanguardia movement, dedicated the early years of his artistic career to exploring the religious themes and mythological interpretations present in the outstanding sculptural examples presented here.Despite the present works varying styles and dates, the pivotal role of the human figure becomes evident; with motifs clearly inspired by Classical mythology, Christianity, Egyptian and tribal art.Figura con Stella with its bowed head, facing the star displays an act of subordination, further highlighted by the Stella, which represents the heavens or home of the gods. An earlier work, yet with similar connotations, Senza titolo with seemingly sacrificial objects lying on the table-top alluding to death and sacrifice. Paladino argues that while these themes inspire his work, they don't define it: 'The figures in my paintings, the animals, the masks, the theme of death – I do not want to explain or analyse them. They are the roots out of which the picture develops, but not its content.' (the artist in: Studio International, Mimmo Paladino: Black and White, studiointernational.com, 2006) Although unmistakably contemporary, Paladino collaborates with the past to make his sculptures timeless and universal. Mimmo Paladino was a key member of the Transavanguardia movement, which is considered one of the most influential movements of post-war Italian art. Coined by the critic Achille Bonito Oliva, Transavanguardia demonstrated an international revival of expressionist painting and sculpture in the late 1970s and 1980s. Directly translated as 'beyond the avant-garde', the movement reacted against the original avant-garde with an aim to return to the traditional act of painting, one that elicited emotion, especially joy, and provided meaning. The movement was marked by five prominent artists, including Paladino, whose artworks drew attention at the 1980 Venice Biennale for their diverse styles and common vision. According to Oliva, Transavanguardia relied heavily on the materialism of techniques and new materials, rejecting conceptual ideas and recuperating the intensity of the image and the narrative. The present works are clear examples of Paladino's take on the Transavanguardia movement, a movement which became an internationally recognised phenomenon and whose works are highly sought after by collectors today.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional 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 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 Å’uvres 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 6

SALMAN TOOR (B. 1983)Pre-Drinks 2018 oil on panel45.7 by 45.7 cm.18 by 18 in.This work was executed in 2018.Footnotes:ProvenanceAcquired directly from the artist by the present ownerExhibitionLahore, Lahore Biennale, Are you Here?, 2018Recognised for his evocative compositions that combine the present with the art historical past, Salman Toor is considered one of the most exciting emerging artists in the world of figurative painting. Toor creates masterful canvases that depict the convergence of intimate everyday moments set against contemporary, domestic scenes that convey a feeling of warmth, nostalgia, but also that of alienation and contemplation. This present work, Pre-Drinks, was exhibited at the Lahore Biennale in 2018, the year it was executed. The composition wonderfully embodies the artist's fascination and focus on the human form, representations of male identity whilst revealing a sense of mystery and intimacy, to stunning effect. Here the viewer stumbles upon a quiet moment between two young men; it is a moment of contemplation; they are relaxed in their comfortable contemporary surrounding enjoying food and drinks amongst books and magazines. We are reminded that this is a painting of the modern day with the inclusion of a mobile phone or tablet that engages the figure on the right. Toor's works are often imbued with an air of the past mixed with modern life; indeed, upon moving to New York, Toor came into his stride as an artist who crafted hybrid tableaus that sought to marry East and West, perhaps a meditative contemplation on his past and present. He often acknowledges his childhood experiences in Pakistan, particularly in the influences of Pakistani advertisements and glamorous images from his mother's magazines, and here on the edge of the table is a magazine depicting a figure in Eastern attire. Toor's style of painting is easily discernible; his paintings employ a palette of bold colour applied in a painterly Mannerist style, layering the canvases with fluid brushstrokes. Toor incorporates his signature palette of emerald green in the clothing of his male figure; the artist once commented that the glamorous tones of emerald green evoked the nocturnal allure and fantasy of a freely queer life. There is a sense of ease between these two men, they are not actively engaging yet are present and content in one another's company, and as the title suggests this is perhaps just the beginning of their evening together. Toor has often described his figures as undernourished and hairy bodies of colour occupying familiar bourgeois urban spaces. He envisions them as educated and creative individuals perhaps navigating the artist's life in New York City amidst shifting ideas about race, immigration, foreignness, and American identity. These figures sometimes resemble lifestyle images, representing fantasies about himself and his community, he seeks to create imagined scenes in which he and his friends are totally free to be themselves.Born and raised in Lahore, Pakistan, Toor moved to Ohio to study painting before settling in New York. While in Ohio, he studied art history intently and focused on learning the techniques of artists like Caravaggio, Peter Paul Rubens, and the refined Rococo canvases of Jean-Antoine Watteau. 'Instead of moving with the times, I wanted an academic education in painting. I wanted to be as good as the white old masters. In fact, I was happy only when I could pretend that I was a 17th or 18th century painter living in Madrid, Venice or Holland' (the artist in: Ayla Angelos, 'I wanted to be as good as the white old masters': meet painter Salman Toor www.itsnicethat.com, 23 September 2023). Toor's widely acclaimed first solo museum exhibition, How Will I Know, was on view in 2020-21 at the Whitney Museum of American Art in New York City. In late 2022 a major retrospective titled No Ordinary Love, was held at the Baltimore Museum of Art in Maryland and later travelled to the Tampa Museum of Art in Florida, the Honolulu Museum of Art in Hawai'i, the Rose Art Museum at Brandeis University in Massachusetts before closing at M Woods in Beijing earlier this year. Today, Toor's works are held in the permanent collections of the Tate, London, the Whitney Museum of American Art, New York, the Walker Art Center, Minneapolis, M Woods, Beijing and the Museum of Contemporary Art Chicago among others.Throughout his current oeuvre, his compositions of the mundane and the memorable moments of his characters' lives, reveals a deeply relatable existence, ultimately creating an opportunity for empathy and private vulnerability through the language of painting which is beautifully evident in this present work.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 731

VICTORIAN WALNUT SEWING TABLE, LATE 19TH CENTURY the shaped rectangular top over a frieze drawer and sliding compartment, on fluted and carved column supports to ceramic castors56cm wide

Lot 778

WILLIAM IV MAHOGANY EXTENDING DINING TABLE, EARLY 19TH CENTURY the pull out top with two spare leaves and on octagonal baluster supports134cm x 108cm - extended 134cm x 210cm

Lot 758

GEORGE III MAHOGANY SUPPER TABLE, EARLY 19TH CENTURY the circular tilt top with original iron catch on a pillar with tripod supports 78cm diameter

Lot 724a

WALNUT AND BURR WALNUT CIRCULAR BREAKFAST TABLE, EARLY 19TH CENTURY the cross-banded top with moulded rim, raised on tapered column to quadripartite base terminating in brass paw caps and castors135cm diameter In overall good condition. Appears stable, no major wobble. Some chips to the rim and many areas of stressing to the wood. Some surface scratches consistent with age, more visable when light is shined on it. Additional images now available.

Lot 923

OAK REFECTORY DINING TABLE, 18TH/19TH CENTURY with plank top, raised on baluster columns to a single stretcher support 75cm x 257cm x 88cm Using a level, appears to be a minor dip towards centre of table. Condition good to fair. Typical wear as per many years of use. This includes some stable and treated splits to supports. One leg is double stamped OHPS. Some possible worm holes to underside, these don't appear active. Additional images now available.

Lot 852

FINE VICTORIAN COROMANDEL TRAVELLING BOX, SILVER HALLMARKED FOR WILLIAM NEAL, LONDON 1869 the hinged cover with central circular plaque with presentation inscription, the underside fitted with mirror, the interior with engraved white metal mounts and fitted with a series of twelve silver capped faceted glass dressing table jars and five silver mounted manicure tools, all silver with engraved decoration and monogrammed, also fitted with two push buttons, the first for a single side drawer, the second for a front writing slope, the tooled leather slope with hinge opening to reveal a further series of recessesthe box 19cm high, 31cm wide, 21cm deepBox itself with wear to exterior, including some notable scratches to cover. Wear to skiver. Two silver capped scent bottles with splits, one jar with tight cap - won't unscrew, one jars cap doesn't sit flush, handles of scissors somewhat loose. Further minor dings to some silver caps. Wear to bottles commensurate with age and light use. Additional images now available.Hinges all appear to be intact. Additional images now available.

Lot 690A

MOORCROFT, PAIR OF TABLE LAMPS decorated in the Colombine pattern, with tube lined stylised flowers, on a white groundeach 33cm high overall

Lot 708

VICTORIAN WALNUT SEWING TABLE, MID-LATE 19TH CENTURY with hinged circular top, raised on three swept supports46cm diameter

Lot 920

GEORGIAN MAHOGANY SIDE/DRESSING TABLE, LATE 18TH CENTURY with two drawers frieze drawers, raised on pad feet74cm x 123cm Old filled splits to top, quite heavy general wear to top and throughout, no visible worm, crack to apron right side, old repair to rear left support upper section, general abrasions, scuffs etc, further filled holes, however stable but would benefit from cosmetic attention

Lot 841

ART NOUVEAU TABLE LAMP, IN THE STYLE OF TIFFANY, 20TH CENTURY with simulated stained and leaded glass domed shade decorated with foliate designs, over a cast brass base, the tapered column with twin masks suspended with fruiting foliate swags, over a circular base to four claw and bun feet57cm highNo obvious damage, appears in good condition; light general wear and some rubbing to gilt; stands at a slight angle, more so from certain perspectives, and there has been some knocks and misshaping to both the circular base and the feet castings

Lot 838

EDWARDIAN SHERATON REVIVAL INLAID MAHOGANY DEMI LUNE TEA TABLE, with hinged turnover top, raised on tapered square section supports74cm x 101cm wide

Lot 784a

IN THE MANNER OF RILEY, MAHOGANY METAMORPHIC DINING/BILLIARDS TABLE, LATE 19TH / EARLY 20TH CENTURY the oblong top rotating on a central axis to reveal a raised baized lined slate bed table with netted pockets, over four turned and reeded column supports, along side a boxed set of Crystalate billiard balls, a triangle, a score board, three brushes, further accessories, and a set of eight 19th century Chippendale style dining chairs (including two carvers)To see the table action click here: the billiards table approx. 202cm x 99cm cushion to cushion The table is particularly sun bleached to one end, one support has been left as is and is similarly faded, all the others appear to have been stained as they are much darker than the main timber, this appears to have been in different stages as two of these supports demonstrate a notable craquelure in the varnish; table itself appears ok, does demonstrate expected wear and tear from use and age but overall commensurate with what is to be expected. The majority of the chairs are loose including both carvers, the seats are 20th century faux leather, in my opinion they do demonstrate later staining/varnish, at least in certain areas, while others areas are faded, two with breaks to splats  which have been somewhat crudely repaired, further relatively heavy general wear with some chips, scuffs, abrasions etc

Lot 790

BRONZED METAL TABLE STRIKER, 20TH CENTURY modelled as a camel and two carpet vendors, one figure seated atop the camel, the other standing 20cm high

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