Sofia Krook Anonymity, 2023 Oils (gesso for priming) Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Sofia makes paintings based on childhood photographs of herself or her friends. By studying and recreating these images, she considers how identity is formed, looking to the past as a way of navigating the future. She uses both figurative and abstract elements to represent the body and the mind. "I have been struggling these past two years to find myself within my neurodivergence, going from not understanding why I've always felt so different to accepting the why. It's similar within my art...With my squares in my work, my portraits, I feel like I am finally beginning to find that balance of what I want to do, combining it with my love for the flat surfaces and abstractness together with the figurative." - Sofia You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
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Europa. Deutschland. Schachfiguren nach Edward Kienholz aus Metalldraht. Eine Partei in weiß, die andere in schwarz. Produktion aus der Zeit um 1997. Höhe König 10,0 cm; Bauer 3,4 cm.(54) * Spiel Nr. 100 von 150 Exemplaren für Verkauf mit eigenhändiger Unterschrift von Nancy Reddin Kienholz; die Gesamtauflage betrug 200. Der abstrakt und modern gestaltete Figurensatz ist vollständig. "Chess" wurde nach dem von Edward Kienholz gefertigten Gesamtentwurf um 1997 unter Aufsicht von Nancy Reddin Kienholz hergestellt. Die Figuren sind zusammen mit einem gefalteten Schachbrett und einem Erläuterungsblatt in einer bezogenen Kassette. Die Schachfiguren sind original verplombt im Samtsäckchen. "Chess" wurde vom Förderverein Berlinische Galerie aus Anlass der Kienholz Retrospektive 1997 in der Berlinischen Galerie, Landesmuseum für Moderne Kunst, Photographie und Architektur im Martin - Gropius - Bau herausgegeben. Edward Kienholz (1927 - 1994) war Objekt- und Installationskünstler und arbeitete u. a. in Berlin. Zustand: Mit benutzungsbedingten Alterungs- und Schabspuren, sowie kleineren Defekten am gefalteten Schachbrett und der bezogenen Kassette. Seltenes und gesuchtes Sammlerstück. / Europe. Germany. Chessmen made of metal wire after Edward Kienholz. One party in white, the other in black. Produced around 1997. King height 10.0 cm; Farmer 3.4 cm. Game No. 100 of 150 copies for sale autographed by Nancy Reddin Kienholz; the total edition was 200. The abstract and modern chess set is complete. "Chess" was made to the overall design by Edward Kienholz circa 1997 under the supervision of Nancy Reddin Kienholz. The figures are in a covered case along with a folded chessboard and an explanation sheet. The chess pieces are originally sealed in the velvet bag. "Chess" was published by the Berlinische Galerie association on the occasion of the Kienholz retrospective in 1997 in the Berlinische Galerie, state museum for modern art, photography and architecture in the Martin - Gropius - Bau. Edward Kienholz (1927 - 1994) was an object and installation artist and worked e.g. in Berlin. With usage-related signs of aging and scraping, as well as smaller defects on the folded chess board and the covered cassette. Rare and sought-after collector's item.
An Edward VII silver monteith, mark of Edward Barnard & Sons Ltd., London 1904, of traditional form, the panelled sides with repoussé decoration around abstract cartouches, two with presentation engraving, two lion mask and swing ring handles, raised on a gadroon edged spread foot, 35cm diameter, 17cm high, 41.9oztOverall in good condition with no obvious signs of damage or repair. Some surface scratches and very minor dents and dings as to be expected and commensurate with age. Stands firm on a flat surface with no wobble. Would benefit from a clean and polish.
A Victorian silver swing handled fruit basket, mark of Thomas Hayes, Birmingham 1895, of oval form, gadrooned lower and pierced upper with gadrooned rim, the field with an abstract and vacant scroll edged cartouche, part marked cast and pierced swing handle, raised on a gadrooned short pedestal foot, 29 x 24cm with the handle down, 22oztOverall in good condition with no obvious sign of damage or repair. Some minor surface scratches, as to be expected and commensurate with age and use. Hinges a little loose - the handle will not stand upright unsupported. Hallmarks clear and readable. A minor wobble when on a flat surface.
A Victorian silver pocket purse, mark of George Unite, Birmingham 1900, of rectangular form, lavishly decorated all over with foliage and scrolls around two abstract monogrammed cartouches, interior in brown leather with compartments for notes and slots for coins, together with a pencil and cream-coloured writing sheet, 10 x 7.5cm, 3.7ozt gross
Two 19th century silver vinaigrettes, both Birmingham marked and of rectangular form with gilded interior and hinged and pierced grille; the first with mark of William Simpson, 1830, decorated all over with engine turned designs and with reeded edge, the cover with a cast foliate border and central vacant rectangular cartouche, suspension chain to the top; the second with mark of Edward Smith, 1852, scalloped edged and engraved all over with foliage and scrolls, the cover with a monogrammed abstract cartouche (2)
A 19th century silver vinaigrette, together with three miniature examples, all Birmingham marked with gilded interior and hinged and pierced grille; the larger with mark of Cocks & Bettridge, 1806, of octagonal and somewhat convex form, decorated all over with bright cut engraving; the first miniature example with mark of Thomas Freeman, 1829, decorated all over with bright cut engraving, the cover with a central vacant oval cartouche; the second with mark of David Pettifer, 1849, decorated all over with engraved foliage and scrolls, the cover with a vacant abstract cartouche; the third with mark of John Lawrence & Company, 1817, decorated with bands of engine turned engraving, the cover with a monogrammed rectangular cartouche (4)
A late 20th century 18ct gold ruby and diamond cocktail dress ring, abstract floral design, with a central claw set round brilliant cut diamond, estimated approximate weight 0.25ct, surrounded by six claw set round faceted rubies, approximate diameter 3.5mm, approximate size M, hallmarked London, 18ct gold, weight 27.7g
An Edward VII silver three-piece tea set, mark of Charles Westwood & Son, Birmingham 1905, the teapot of oval form with cut edge parapet, central band of repoussé decoration with two abstract scroll edged vacant cartouches, part marked hinged and domed cover with matching decoration topped with a black finial, black handle, the two handled sugar bowl and milk jug, both with gilt washed interiors, to match, 25.9ozt gross (3)
A Victorian silver three-piece tea set, mark of Charles Stuart Harris, London 1899, the teapot of oval form, lower with repoussé foliate and scroll decoration around an abstract scroll edged vacant cartouche, part marked hinged and domed cover topped with a brown fluted finial, brown handle, the two handled sugar bowl and milk jug (1900) to match, 30.7ozt gross (3)
Michaela Frey - A necklace, ear stud, bangle and ring suite, first, the necklace with a half-moon centrepiece enamelled in a multicoloured abstract pattern, suspended from multiple strands of black cord, bolt ring clasp with extension chain, total length 48cm, cased; second, the matching pair of octagonal ear studs with hinged clip fittings, diameter 1.7cm; third, the hinged cuff style bangle with two enamelled panels, inside diameter 5.7cm, width 2.2cm; fourth, the oval shaped ring with plain tapered shoulders, size L½ (4)
Dublin- An early 20th century silver dish ring, mark of Edmond Johnson Ltd.,1906, of traditional circular form, the concave side decoratively pierced featuring foliage, scrolls, stags and hinds around a vacant abstract cartouche, 19-23cm diameter, 11cm high, 13.1ozt, presented with a clear glass liner
An abstract tri-colour gold ruby and diamond ring with alternating panels of yellow, rose and white gold, set with ten round brilliant cut diamonds, and five baguette cut rubies, unmarked assessed as approx 18ct, ring size O1/2, total gross weight approx 6.1g *good condition, all stones and settings intact, wear and tear commensurate with age
Three pairs of cufflinks and a charm; including a pair of oval panel cufflinks in 18ct yellow gold, engraved with a crest consisting of wheat sheaf and Catherine wheel, London hallmarked and struck with maker's mark 'GT' for Geoffrey Turk; a pair of rectangular panel cufflinks engraved with monograms within foliate borders, stamped '14k'; a pair of Modernist style cufflinks with abstract textures, set with green hardstone possibly verdite, stamped '14K'; and a charm in the form of a Greek temple; Total weight of items 37.9 grams. (4)
A Vacheron Constantin 18k automatic gentleman's wristwatchModel: 7390Serial: 512967Year: approx 1979Case Material: 18k yellow goldCase diameter: 30mmDial: gold with abstract woven designNumerals: batonMovement: AutomaticCalibre: 21cStrap: black crocodileBuckle: yellow gold stamped 750no box and paperwork The watch appears to be in good working order, no long-term tests have been performed and accuracy cannot be guaranteed, a full service is advised on all watches and pocket watches once purchased. Surface scratches & wear consistent with age The online condition report may not mention mechanical replacements or imperfections to the movement, case, dial, pendulum, separate base(s) or dome.Watches with water-resistant cases may have been opened to examine movements, but no warranties are given regarding their water resistance.It is also important to note that we cannot guarantee the authenticity or originality of individual components, such as wheels, hands, crowns, crystals, screws, bracelets, and wrist bands, since subsequent repairs and restoration may have changed the original components. Also, we cannot guarantee the authenticity or originality of any engraving or re-engraving on watch cases, case backs, bracelets, straps or internal movements.
A collection of jewellery comprising a turquoise and seed pearl pendant in an abstract lavaliere design marked '9ct' to the reverse and measuring 48 x 15mm, with a fine chain measuring 40.5cm, marked '9C' to the barrel clasp, an early Victorian seed pearl, ruby and emerald ring with a carved and engraved scrolling foliate design around the circumference of the ring, ring size M, and a paste cluster ring stamped '9ct', ring size M. Total combined weight 7g (3)
Ivon Hitchens (British, 1893-1979)Two Boats on Summer Water signed 'Hitchens' (lower left); further signed, titled and dated ''Two Boats on Summer Water'/1962-63./by Ivon Hitchens' (on an artist's label attached to the stretcher)oil on canvas51.4 x 116.8 cm. (20 1/4 x 46 in.)Footnotes:ProvenanceThe Artist, from whom acquired directly by the family of the present ownerPrivate Collection, U.K.Following the outbreak of war and subsequent bomb damage inflicted upon his Hampstead studio in 1940, Ivon Hitchens left London along with his wife Mollie and young son John for the countryside. Fortunately, the artist had recently purchased a tranquil area of Sussex woodland spanning six acres and the family found relative safety within a caravan which was towed onsite by horses. Their home became known as Greenleaves and would grow substantially over the following decades with the addition of a studio and latterly a house. The seclusion and calmness of the woodland, comprising a mixture of oak, larch, birch and chestnut, would provide him with abundant material in the years ahead and had an immediate impact on his practice. As Peter Khoroche has commented, his pictures following the move are 'painted with unprecedented assurance and vitality, an uprush of energy – a renewal through contact with nature' (Peter Khoroche, Ivon Hitchens, Lund Humphries, Farnham, 2014, p.72).Alongside the rich array of woodland flora and fauna that provided inexhaustible subject matter throughout the changing seasons, Hitchens was also drawn to water. Greenleaves itself would eventually include four artificial ponds, which although small, were used as inspiration for works such as Boathouse, Early Morning (1956), in which a much larger expanse of water is suggested. Hitchens had always been fond of the river and enjoyed fishing as well as being fascinated by painting the effects of light on water. At the artist's first exhibition with the Waddington Galleries in 1960, Hitchens presented a series of works painted on the Warnford Estate in Hampshire, which explored the tree-fringed lake and clear trout streams with their rich vegetation, glaring light and rippled water. Other popular and secluded spots which the artist frequented included Woolbeding, an old house near Midhurst, where a placid River Rother passed through alongside an old wheelhouse and boatshed. Two Boats on Summer Water dates to 1962-3, a time at which the artist was afforded a Tate Gallery retrospective as a mark of recognition, including 154 oil paintings, and finishing with seven versions of the same subject, Foliage by Water, hanging beside each other. In the present work, two boats rest peacefully on the banks of the bending water in what would appear to be a perfect English summer day, as reflected by the rich blue and green palette. Light filters through the arcing trees and foliage onto the surface of the water, which ripples in the foreground. On the right-hand side of the composition dynamic brushwork is employed along with superimposed patches of colour to create space and movement in a more abstract and gestural manner.We are grateful to Peter Khoroche for his assistance in cataloguing this work.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Dame Barbara Hepworth (British, 1903-1975)Intersection signed and dated 'Barbara Hepworth 1946' (lower right)pencil and gouache on gesso-prepared board26 x 37.7 cm. (10 1/4 x 14 3/4 in.)Footnotes:ProvenanceThe Artist, from whom acquired bySerge and Barbara Chermayeff, thence by family descent to the present ownersPrivate Collection, U.S.A.ExhibitedLondon, The Lefevre Gallery, Barbara Hepworth: Sculpture and Drawings, October 1946, cat.no.23To escape the onset of war Hepworth and Ben Nicholson left London for Cornwall with their three young children in late 1939. They initially stayed with the painter Adrian Stokes but by the end of the year had moved into their own house in Carbis Bay near St Ives. The house was small and the lack of space, combined with the wartime scarcity of raw materials and family demands, meant that Hepworth produced no sculpture between 1940 and 1942. Instead, she turned her attentions to drawing.Remembering the early 1940s, Hepworth would describe: 'In the late evenings, and during the night I did innumerable drawings in gouache and pencil – all of them abstract, and all of them my own way of exploring the particular tension and relationship of form and colour which were to occupy me in sculpture the later years of the war' (quoted in Herbert Read, (ed.), Barbara Hepworth: Carvings and Drawings, London, 1952). In 1943, Hepworth started carving again, exploring in sculpture what she had studied in her 1940-42 drawings. Works such as Intersection, executed in 1946, provided further means of exploring new sculptural forms and expanding the research begun at the outbreak of the war. Instead of being self-contained, the forms explored in this later group of drawings expand to the exterior, perusing the boundaries between space and object, surface and surroundings. In their pure geometry and dynamism, they pay homage to Hepworth's friend and artist Naum Gabo, who had also lived in St Ives in the 1940s. Meanwhile her use of colour recalls Piet Mondrian's gridded compositions, with whom Hepworth again enjoyed an engaging discourse.Speaking of the drawings executed after the Second World War, Hepworth explained:'Abstract drawing has always been for me a particularly exciting adventure. First there is only one's mood; then the surface takes one's mood in colour and texture; then a line or curve which, made with a pencil on the hard surface of many coats of oil or gouache, has a particular kind of 'bite' rather like incising on slate; then one is lost in a new world of a thousand possibilities because the next line in association with the first will have a compulsion about it which will carry one forward into completely unknown territory. [...] Suddenly before one's eyes is a new form which, from the sculptor's point of view, free as it is from the problems of solid material, can be deepened or extended, twisted or flattened, tightened and hardened according to one's will, as one imbues it with its own special life'. (Ibid).Intersection appears as a play of equilibrium between overlapping lines and curved arcs. The forms, which develop in a space that is abstract and purely geometrical, seem to be fixed in a precarious state of balance, ready to swing back into movement. Executed in pencil and gouache on gesso prepared board, Intersection is sparsely coloured with sections of sky blue and yellow, echoing in its restraint Hepworth's approach to colour in her sculpture whilst the two central fanned sections of lines also bring to mind her stringed works in the round.The present work enjoys distinguished provenance, having been acquired directly from the artist (a close friend) by Serge and Barbara Chermayeff. Serge Ivan Chermayeff (1900 – 1996) was a Russian-born architect, industrial designer, writer, and co-founder of several architectural societies, including the American Society of Planners and Architects. In 1928 he took British citizenship and with Paul Follot headed the Modern Art Studio at Waring and Gillow department store in central London, where he ensured that Ben Nicholson and Christopher Wood were given prominence in their exhibition rooms. Sculpture mattered greatly to him and figured in buildings he designed and lived in – indeed he commissioned the 1938 Recumbent Figure in green Hornton stone (now Tate Collection) by Henry Moore for his own 1935—38 house overlooking the South Downs (Bentley Wood, near Halland, East Sussex). Serge opened an architectural practice in 1930 and three years later, arguably one of Germany's most famous Modernist architects, Erich Mendelsohn, arrived in London fleeing racism. Chermayeff recognised the power of the moment and went into partnership with him and their projects together were De La Warr Pavilion, Cohen House and Shrubs Wood. He is also credited with the design of Shann House and the headquarters and factory complex of Gilbeys Gin in Camden, London. In 1940 Serge moved to the United States where he worked briefly as an architect before becoming an academic, first as the Chairman of the Art Department of Brooklyn College and then teaching at the California School of Fine Arts. In 1946 upon the recommendation of Walter Gropius, he became President of the Institute of Design in Chicago. In 1953 he moved to Massachusetts where he opened a practice with Haywood Cutting in tandem, he also took up the role of Professor of the Architecture Department at Harvard School of Design until 1962 when he moved to Yale (where Sir Norman Foster was one of his students), retiring in 1971.It is easy to see how the sculptural qualities of the present work would have appealed to him and given the date of execution (1946), it was painted after Serge and Barbara had left England for the US, therefore likely acquired on a return visit to England. A testament to their enduring friendship.We are grateful to Jenna Lundin Aral and Sophie Bowness for their assistance in cataloguing this lot.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
William Scott R.A. (British, 1913-1989)Still Life No. 1 signed and dated 'W. SCOTT 70' (lower right)watercolour and gouache58.4 x 77.1 cm. (23 x 30 3/8 in.)Footnotes:ProvenanceWith Gimpel Fils, LondonWith Kerlin Gallery, DublinWith Bernard Jacobson Gallery, LondonSale; Phillips, London, 28 November 1988, lot 223With Annandale Galleries, Sydney, 20 May 1999, where acquired by the present ownerPrivate Collection, AustraliaExhibitedDublin, Kerlin Gallery, William Scott, 11 October-9 November 1996, cat.no.5 Sydney, Annandale Galleries, William Scott Paintings and Drawings, 11 May-12 June 1999, cat.no.8The passion William Scott held for still life can be traced back to some of his earliest recorded works and it is a theme that pre-occupied him throughout his celebrated career. Scott was one of the first British artists to become aware of Abstract Expressionism from his time spent in the USA during the 1950s and his friendship with pioneers such as Mark Rothko and Willem de Kooning were both unique and informative. Alongside contemporaries such as Patrick Heron, he was able to absorb the lessons of the movement and translate it within the European tradition to create a uniquely British style. Dating to 1970, Still Life No.1 demonstrates the purity of the artist's vision with the simplicity of the delineated forms and clean, graphic lines. The picture surface, with frying pan and mug, is flat and the rich ochre colour dominant, enhancing the sense of reduction and placing the work towards abstraction yet grounded in reality. The present work is registered in the William Scott Archive as number 1294 and we are grateful to the William Scott Foundation for their assistance in cataloguing this work.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
ANTHONY THEAKSTON (BRITISH, b.1965-), BARN OWL II, modelled as an abstract owl over a detatchable square cover and base, signed to baseAdditional images now available. There appears to be old sellotape or similar substance adhered to the base of the cover, looks to have been present for sometime, we do not want to remove for caution lest any damage to glaze occur, please be aware of this, close up images added; similar to top of stand, obviously intended to keep cover securely attached at some point; some surface dirt and light marks but no actual damage to note21.5cm high
Theodoros Stamos (Greek/American, 1922-1997)Three Kings, 1949 signé et daté 'T.Stamos 49' (en bas à gauche); titré, signé et daté 'THREE KINGS'/Stamos/1949' (au revers)huile sur masonite74.6 x 95.5 cm (29 3/8 x 37 5/8in).signed and dated (lower left); titled, signed and dated (on the reverse)oil on masoniteFootnotes:ProvenanceAndré Emmerich Gallery, New York.Acquired from the above sale in 1961 by J.D. Murchison.Galerie Pudelko, Bonn (1990-2010).ExpositionsCentro Culturale Candiani, Mestre, Italy, Jackson Pollock: The Irascibles and the New York School, March 23–30 June 30, 2002.Hollis Taggart Galleries, New York, Why Nature? Hofmann, Mitchell, Pousette-Dart, Stamos, October 30–December 6, 2014.Octavia Art Gallery New Orleans, Pop Abstraction, August 6–September 24, 2016.Hollis Taggart Galleries, New York, Theodoros Stamos: Contemplations on the Universal, January 26–March 4, 2017, no. 5.Hollis Taggart, Southport, CT, Line, Shape, Color, and Form, November 6–December 11, 2021. LittératureBruno Alfiere and Achille Bonito Oliva, Jackson Pollock: The Irascibles and the New York School (Milan: Skira, 2002), p. 221.Why Nature: Hofmann, Mitchell, Pousette-Dart, Stamos (New York: Hollis Taggart Galleries, 2014), pl. 16. Theodoros Stamos: Contemplations on the Universal (New York: Hollis Taggart Galleries, 2017), pl. 5.Ratcliff, Carter, 'Living Color,' Art & Antiques, November 2017, illus., cover and p. 72.Theodoros Stamos explored myriad nature-based interpretations throughout his career, ultimately developing a modern aesthetic that celebrated the sublime supremacy of this subject. Recognized as one of the 'Irascibles' featured by Life Magazine in 1951, Stamos was the youngest of this first generation of Abstract Expressionists.Throughout his career Stamos explored the rich potential of primeval forms, rendering evocative paintings such as Three Kings, an early primitivizing image that demonstrates the artist's fascination with inchoate forms and primordial forces. The dark shapes suggest geologic strata, simultaneously organic and archaic. Three Kings evokes a modern investigation of ancient ideas surrounding cycles of birth, death, and growth–both biological and spiritual. The title suggests Christian heritage; Stamos was an enthusiastic student of the world's belief systems and would visit Jerusalem three decades later. He was also interested in natural history; as he explained in a 1947 article in the journal Tiger's Eye, 'I am concerned with the Ancestral Image which is a journey through the shells and webbed entanglements of the phenomenon. The end of such a journey is the impulse of remembrance and the picture created is the embodiment of the Ancestral World that exists on the horizon of mind and coast.'1 Through the materials of painting, Stamos aimed to capture vivid, momentary sensations. In 1936, at the age of 14, Stamos was awarded a scholarship to study sculpture at the American Artists' School in New York. Through his early training there, Stamos was introduced to many active artists in New York, such as Mark Rothko, William Baziotes, and Adolph Gottlieb, all of whom were founding members of the avant-garde group known as 'The Ten.' By 1939 Stamos had dedicated himself to painting, entirely self-taught, and displayed an early interest in the American artists Milton Avery and Arthur Dove.To support himself in the early years of his career, Stamos worked in a frame shop on 18th street, from 1941-1948, which offered exposure to the art of Paul Klee and Arshile Gorky in addition to well-known contemporary artists practicing in Manhattan. Although his work from the forties bear a striking resemblance to the biomorphism of Gorky or of Joan Miró, Stamos emphasized his admiration for the early American abstractions of Dove whom he saw as a 'spiritual father.' Noted art dealer Betty Parsons discovered Theodoros Stamos in 1943 and offered him his first solo show at the Wakefield Gallery at the age of 21, with Barnett Newman writing the introduction. He would go on to exhibit at the Betty Parsons Gallery from 1947-1956, a key venue for contemporary American art. The artist's early works reflected an expanding interest in natural history and eastern ideas. With bookshelves populated by Seaside Studies in Natural History and The Wisdom of the East, Stamos emphasized oneness with landscape, both an American and an Eastern idea, in his 'memory pictures.'The late 1940s was an important period for Stamos. The Museum of Modern Art purchased his painting Sounds in the Rock in 1947, and Betty Parsons included Stamos in her exhibition, The Ideographic Picture, organized by Newman the same year. Along with Newman, Stamos was shown alongside Hans Hofmann, and Mark Rothko. Included in the show were Stamos's paintings Sacrifice and Imprint, both titles addressing the themes of ancient growth and primitive impulses suggested in Three Kings. As Newman wrote in the introduction for the catalogue accompanying the younger artist's solo exhibition at Betty Parsons that same year: 'Stamos redefines the pastoral experience as one of participation with the inner life of the natural phenomenon...One might say that instead of going to the rock, he comes out of it.'2Betty Parsons echoed this association with the earth, describing Stamos as 'very, very intrigued with everything that came out of the earth or went into the earth.' 3A lover of travel, in 1947 Stamos travelled throughout the United States, visiting New Mexico, California, and the Northwest. During this period he painted watercolours filled with stones and plant clippings observed in his travels. In 1948 he sailed for Europe, visiting France, Italy, and Greece. In Paris he met many of the renowned modernists including Picasso, Brancusi and Giacometti. Always sensitive to the particularities of light, mood, and colour of specific locales, Stamos's paintings are indexes of his responses to different places. Later in his career, he devoted several series of paintings to sites including Jerusalem, Delphi, and Lefkada, an island in the Ionian Sea and birthplace of his father. These later works continue the early flattening of space and simplification of form evident in Three Kings. 1 Theodoros Stamos, 'Artists Statement,' Tiger's Eye (1947), quoted in Lisa M. Messinger, 'Twentieth Century Art,' The Metropolitan Museum of Art Bulletin, Vol. 49, No. 2 (Autumn, 1991), 63.2Barnett Newman, 'Introduction,' The Ideographic Picture (New York: Betty Parsons Gallery, 1947), 1.3 Barnett Newman, Stamos (New York: Betty Parsons Gallery, 1947) in Barnett Newman: Selected Writings and Interviews, ed. John O'Neill (Berkeley: University of California Press, 1990).This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Beattie (James, 1735-1803). Scottish poet, moralist, and philosopher. Three manuscript volumes of Beattie’s philosophy lectures, plus Natural Philosophy lectures or notes from other sources, copied or transcribed by George Milne, Aberdeen, c. 1774-75, Volume 1 covering Beattie’s Lectures on Moral Philosophy, Simple Ethicks (including foundation of Particular Virtues, The Duty we owe to God), Jurisprudence (including Authority and Law, State of Nature, Absolute Duties), Oeconomicks (including the Relation of Husband and Wife, Parent and Child, Master and Servant, Slavery), Politicks (including Democracy, Aristocracy, Monarchy, Despotism), Logik (including Mathematical Evidence, the Evidence of Christianity), 5, [1], 256 pp.; Volume 2 covering lectures on Psychology, Of External Sensations (including Taste and Smell, Touch, Seeing, Universal Grammar), Of Internal Sensations (Dreaming, Memory), Of our Speculative Powers (including Taste, Novelty, Harmony, Elegance, Beauty, Purity), Of our Active Powers (Liberty, Passions), Natural Theology (including Unity, Spirituality, Omnipotence, Eternity, Wisdom, Justice), 5, [1], 256 pp; Volume 3 with Introduction (signed ‘George Milne, 10 January 1774’), followed by a ‘Summary of the First Book of Cicero’s Offices by James Beattie LLD’; the volume concluding with material from one or more other spoken or written sources concerning post Newtonian natural philosophy of the period: Introduction to Natural Philosophy, Natural Philosophy (including Attraction, Repulsion, Motion, Wheels, Pendulum, Hydrostaticks, Fluids, Electrick and Non Electrick Bodies, Vision, Optical Instruments), 5 pen and ink plates (numbered I to V), 12, 35, [1], 38, [1], 125 pp; mid-19th-century polished calf (Seton & Mackenzie name stamp to front pastedowns) with contrasting spine labels for ‘Philosophy’ and volume number, rubbed, title spine labels of volumes 2 & 3 damaged, 4to (220 x 185 mm)QTY: (3)NOTE:James Beattie (1735-1803) was a major figure of the Scottish Enlightenment. A philosopher and poet, he spent his entire academic as Professor of Moral Philosophy and Logic at Marischal College in Aberdeen. His best known philosophical work, An Essay on The Nature and Immutability of Truth in Opposition to Sophistry and Scepticism (1770), affirmed the sovereignty of common sense while attacking David Hume (1711-1776). ‘In October 1760 he was appointed professor of moral philosophy and logic at Marischal College … One sequel to his appointment was his election to the Aberdeen Philosophical Society, where he was able to sharpen his ideas by discussion with men of intellectual distinction, such as Thomas Reid, George Campbell, John Gregory, and Gerard. Much of Beattie's prose work, on philosophy and literature, was first presented there. Beattie held the chair until his death despite tempting and lucrative offers in the 1770s of a chair at Edinburgh and of two rich livings in the Church of England. He was a gifted and conscientious teacher, as shown by the surviving notes taken in his lectures by his students, by a journal he kept of exactly what he had taught in each session over a thirty-two-year period, and by testimonials from those whom he had taught, such as Alexander Chalmers. Beattie gave about 300 lectures annually to the arts class, in the final year of their four-year course, when the students were aged about seventeen. These discourses ranged widely over psychology, ethics, literary criticism, and natural religion. Elements of Moral Science (2 vols., 1790–93) is an abstract of his lecture course.’ (ODNB online)The Elements of Moral Science offers a more in-depth exploration of several topics only lightly touched upon in the Essay (e.g. perception, natural theology, and immortality), and offers sustained coverage of several areas, such as political philosophy and economics, that are not meaningfully discussed in the Essay. The identity of George Milne, whose name appears in the manuscript here, has not been ascertained and no lecturer or student by that name is known to have been at Marischal College during this period. It seems likely that Milne was therefore an amanuensis, transcribing or copying these lectures for someone else. Whether they were intended for publication, lecturing purposes or private use is not clear, though the pencil ownership signature of George Milne on the flyleaf of ‘volume 1’ suggests they were for himself, and neatly presented as it all is there are curiously no title-pages to front each volume.The content of the first two volumes bears a close relationship to the text and headings of The Elements and there can be no doubt that these are Beattie’s lecture notes. The spine label numbers appear to be wrongly assigned: volume 1 ends with ‘Finis, 1775’ and volume 2 with ‘vol. 1st’. The conclusion at the end of volume 1 [i.e. volume 2] gives suggestions of which authors to study from the Greek and Latin classics to his own times. David Hume’s name is conspicuous by its absence, while Thomas Reid and Francis Hutcheson get favourable mentions.The ‘third’ volume begins with an introduction and ‘Summary of the First Book of Cicero’s Offices by James Beattie LLD’ before continuing with another introduction and longer section on Natural Philosophy. This last part would not be taken from Beattie’s lectures and it is not clear whether these are lecture notes or original articles or copies of what would have been standard post-Newtonian science to be readily found in textbooks and encyclopedias of the time.The University of Aberdeen Special Collections owns a number of manuscripts of Beattie’s philosophy lectures, abstracted or transcribed by various students in the 1760s-1790s: GB 231 MS M 185 - 187; MS M 405; MS 30/1 - 53; MS 555; MS 2065; MS 2901; MS 3256; MS 3294; MS 3486; MS 3522.Important information: These manuscripts were loaned to the University of Aberdeen by the owner in 1985 and further information has now come to light from the correspondence with the deceased owner. George Milne was an alumnus of Marischal College, where he attended the second year of the Arts Course in 1775-6. The natural philosophy notes are from the lectures of Patrick Copland (1748-1822). In 1774 George Skene, Marischal’s professor of natural philosophy who had taught Copland as an undergraduate, made Copland his assistant. A year later, when Skene took on the professorship of Civil and Natural History, Copland stepped up and remained a professor at Marischal until he died in November 1822.
DONALD WELLS (BRITISH, 1929-2014): A 'TREEFORM' PATINATED BRONZE SCULPTURE20th Century The green patinated abstract form, with smooth tapering trunk terminating in a textured canopy, on integrated oval base, upon a black marble plinth, 27cm high including base ARRProvenance:Label to the underside states it was purchased from the Keith Chapman Gallery in October 1989.
DALE MARSHALL 'VERMIN' (BRITISH, B. 1974)Untitled, Abstract composition oil on canvas-board 22 x 26.5cm ARR Provenance Art-ElCondition ReportThe board is sound. Minor abrasions to paint surface off the upper and lower central border, otherwise good, clean condition overall. No sign of retouching under ultraviolet light.
BRIAN WILLSHER (BRITISH, 1930-2010)Untitled, Abstract composition signed and dated 'Brian Willshire 1994' (to underside of base) wood sculpture 77.5cm high ARR Provenance Belgrave Gallery, Englands Lane, London; Private collection, UKCondition ReportThere is an approximately 30cm vertical crack running up one side of the sculpture and another, approximately 10cm vertical crack running from the top of the sculpture; otherwise some old marks and scratches but otherwise sound.
EDWARD H. ROGERS (BRITISH, 1911-1994) (3)Reclining Figure, No.24; Abstract Composition, No.65; Abstract Composition, No. 91 a set of three, each signed, titled and numbered 'Rogers' (verso) and respectively dated, '23/2/60'; '6/6/1960'; '30/6/1960' pencil, watercolour and acrylic two 7.5 x 12cm; one 12 x 7.5cm (3, all unframed) ARR Provenance Private collection, UK
KEITH VAUGHAN (BRITISH, 1912-1977)Untitled, Abstract composition with white figure signed and dated 'K Vaughan / 43' (lower right) watercolour and gouache 10 x 15cm ARR Provenance Private collection, UKThe sheet has deckled edges and is sound; strong colour throughout; under glass and held in modern frame in good condition; ready to hang.
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