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Lot 24
RARE AIGUIÈRE EN POTERIE BLEUE LUSTRÉE KASHAN Perse 12e - 13e siècleEEN ZELDZAME KASHAN GLANZEND BLAUW WATERKAN IN AARDEWERKPerzië 12e-13e eeuw A RARE KASHAN BLUE LUSTRE POTTERY EWERPersia 12th/ 13th Century 18,5 cm (hauteur) Footnotes:Provenance / HerkomstAdolphe Stoclet Collection, acquired in the early 20th century L'aiguière est de forme cylindrique sur un pied court avec une épaule aplatie, un col évasé et une anse en bandoulière, décorée d'un lustre brun doré sur une glaçure bleue cobalt avec des motifs végétaux abstraits et un bandeau avec une inscription sur le bord.De waterkan heeft een cilindrische vorm op een korte voet met afgeplatte schouder, uitlopende hals en handvat met band, gedecoreerd in een goudbruine glans op een kobaltblauw glazuur met abstracte vegetale motieven en een band met inscriptie op de rand.The ewer is of cylindrical form on a short foot with flattened shoulder, flaring neck and strap handle, decorated in a golden-brown lustre on a cobalt-blue glaze with abstract vegetal motifs and a band of inscription to the rimFor further information on this lot please visit Bonhams.com
Lot 59
A 9CT GOLD ABSTRACT PEARL BROOCH, textured abstract brooch set with a single cultured pearl to the centre, measuring approximately 6.7mm, hallmarked 9ct Birmingham, fitted with a brooch pin and safety clasp, approximate dimensions length 55.2mm x width 47.0mm, approximate gross weight 13.6 grams (condition report: general light wear, pin and clasp in working order, would benefit from a gentle clean)
Lot 171
John Hoyland RA (1934-2011) - a limited edition coloured abstract print, 29/100, signed & dated '71 in pencil to the margin, 89 by 119cms.Condition ReportIt is not possible to open the frame to check the edges for page toning, the print is slightly cockled all the way round so the surface to the margins is rippled, signed & numbered to the bottom margin in pencil, frame & mount are in good clean condition
Lot 107
Large hand-built red clay art pottery lamp. Body of lamp is in the shape of an amphora with two handles and a rounded center. Figurative abstract wax relief design with black and green glaze; dipped in white glaze. Fixed to wooden Japanese style base with black finish. Includes light socket and light switch cord. Jacques Pouchain is an institutionally recognized painter, sculptor, and ceramicist and has been featured in many major art museums including the Museum of Modern Art of Paris. He is well known for creating utilitarian art objects and abstracted works. Artist: Jacques PouchainDimensions: 7"L x 14"W x 39"HCountry of Origin: FranceCondition: Age related wear. Untested. Function not guaranteed.
Lot 487
VERSCHIEDENE KÜNSTLER: New York International. Portfolio mit 8 (statt 10) meist farb. Orig.-Graphiken versch. Künstler 1965/66 sowie einer Einführung von Henry Geldzahler. (New York), Tanglewood Press Inc., 1966. Gr.-Fol. Lose (bzw. Plexiglas in Passepartout montiert) in OLwd.-Kassette. Expl. 20/225. Enthält je eine Arbeit von Arman (Boom-Boom, Farbsérigraphie 1966. Otzmeguire/Moreau/Arman 254), Mary Bauermeister (Sketch for Tanglewood Press; Photolitho mit Collage und stellenweisem Farbstiftkolorit 1965), John Goodyear (Two-Sides Movement, Farb-/Sérigraphie auf Vinyl mit separater ausgestanzter Vinylauflage 1965; dazu eine Anleitung zum Hängen), Charles Hinman (Print Collage, Collage aus Farbsérigraphien auf Karton 1965), Allen Jones (Self, Farbsérigraphie 1965. Lloyd 28), Robert Motherwell (Untitled, Lithographie 1966. Belknap 28), Ad Reinhardt (Abstract Print, Sérigraphie auf Plexiglas 1966) und James Rosenquist (Somewhere to Light, Farbsérigraphie 1966. Glenn 16). Im Impressum und sämtlich numeriert (Hinman: Expl. „X“ der mit A-Y bezeichneten 25 Exemplaren für die Künstler, Verleger und Mitarbeiter). Sämtlich signiert (Goodyear auf der Innenseite der gestanzten Auflage) bzw. monogrammiert (Reinhardt), teils mit „65“ datiert (Goodyear, Hinman, Jones) sowie mit dem Drucker-Trockenstempel der Chiron Press (Arman, Jones) bzw. des Irwin Hollander’s Workshop (Motherwell), beides New York. Meist auf kräftigem Vélin. Graphiken in gutem Zustand, nur Collage (Hinman) an den Rändern etwas unfrisch und in einer Ecke geringfügig berieben. Kassette leicht fleckig, am Rücken und Seitenteil leicht beschädigt. [ms]
Lot 331
†JONATHAN COX (born 1953); two shallow lustred stoneware bowls decorated with different abstract designs, painted marks, largest diameter 18cm, and a beaker (3).Condition Report: Shallow chips to base of footring of largest bowl, otherwise appears good with no further signs of faults, damage or restorations.
Lot 43
JEAN COCTEAU (1889-1963)Étude pour 'Hommage à Paul Klee' (recto); Étude pour le portrait de Marie Bell (dans Phèdre) (verso) inscribed 'Herr Pa Klee L'épigone d'Athènes' (upper right) and further inscribed 'Hommage' (lower left); inscribed 'Marie Bell' (on the reverse)coloured felt-tip pen and black pencil on paper (recto); coloured felt-tip pen on paper (verso)65 x 50cm (25 9/16 x 19 11/16in).Executed circa 1962 (recto); executed circa 1960-1962 (verso)Footnotes:The authenticity of this work has been confirmed by Annie Guédras.ProvenanceSéverin Wunderman Collection, Côte d'Azur; his sale, Bonhams, Knightsbridge, 25 January 2011, lot 171.Private collection, London (acquired at the above sale).ExhibitedSapporo, Hokkaido Museum of Modern Art, Exhibition Jean Cocteau, Séverin Wunderman Collection, 19 April – 29 May 2005, no. 57 (later travelled to Tokyo, Kofu, Kobe and Morioka).The front of the present work is an homage to Jean Cocteau's friend Paul Klee, depicting him as a Modern dandy and labelling him as an epigone of Athens. The lively, outlandish motifs, such as the monkey-dog Klee walks and the fish flying by, comprise an unlikely foreground against the distant Acropolis. An enthusiast for the Classical world, Cocteau could here be revering the precision and spiritual force of Klee's compositions, many of which can be interpreted as Surreal and Abstract renditions of Arcadia. The reverse of the sheet depicts Marie Bell, a talented French actress who starred in a number of comedic and tragic roles across theatre and cinema. This drawing was likely executed as a study for a series of posters Cocteau made of Bell in the 1960s, showcasing her performance in Phèdre, Jean Racine's adaptation of the original Roman tragedy Phaedra by Lucius Annaeus Seneca.The present work previously formed part of the illustrious collection of Séverin Wunderman, the famous luxury watch manufacturer, art collector and philanthropist, renowned for developing Gucci Timepieces into a powerful global brand. Perhaps the most notable of his international residences was Chateau Montfort, a 16th century hunting lodge on the Côte d'Azur, which he painstakingly restored, renovated and decorated. A particularly exotic homage to Cocteau existed in the form of a suite in which the entire sitting area and bedroom were covered floor to ceiling in Cocteau works. Chateau Montfort hosted a number of flamboyant events that were fixtures in the Côte d'Azur social calendar, including The White Party and The Tintin Party. Wunderman, who was considered to be the world's largest Cocteau collector before he passed away in 2008, established a museum of Cocteau's work in Menton that was adorned with works from his private collection.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
Lot 120
*GRAHAM SUTHERLAND (1903-1980) Abstract forms signed and dated '59 lower right, mixed media on paper, 15cm x 30cmProvenance: The Collection of the Artist, then passed to his wife Kathleen Frances ('Katharine') Sutherland (née Barry) (1905-1991), who gifted the collection to Dr Frank Tait, a prominent psychiatrist An Artistic Family Collection, Wiltshire
Lot 152
*LEO DAVY (1924-1987) 'Highgate Fog I' circa 1950, oil on board, 119cm x 43cmLeo Davy was born in 1924 in Shipley, Yorkshire, the seventh of nine surviving children to an art teacher and painter father and a mother who was the daughter of a painter. At the age of just ten he won a national drawing competition and in 1939 he studied at the Kingston School of Art, under Reginald Brill, before moving on the Slade School of Fine Art between 1942 and 1945, then evacuated to Oxford due to the Blitz, where he studied alongside such future stars as Kyffin Williams. Davy was included in a mixed summer show at the important contemporary gallery Gimpel-Fils in 1950 alongside avant-garde artists of the day, including Patrick Heron, William Gear, Alan Davie and William Scott. Davy was strongly dedicated to the development of abstraction. It was through his panel paintings and works on paper that he reduced and refined scenes of everyday life into his own carefully considered abstract vision, applying thinck paint and washes to form blocks of colour, often quite angular. He settled in a dilapidated cottage in North Cornwall in 1968 with his wife, where he lived and worked until his sudden death in 1987. Davy was a self-imposed outsider, as David Duncan remembers: Davy was 'a man of very few words, in fact would only speak if spoken to'. Although Davy's main intent was to isolate himself and to follow an independent line of philosophical enquiry through his painting, his art was an essential means of communication to the rest of the world. As Davy proclaimed in 1946, at the age of 20, 'I only want to paint what only I can paint.'
Lot 97
*FRANCIS PICABIA (1879-1953) 'Effets de neige, bords de l'Yonne' snow settling on the banks of the river, Villeneuve-sur-Yonne, signed and dated 1906 lower left, oil on canvas, 65cm x 92cmProvenance: An Artistic Family Collection, WiltshireFrom 1903 onwards Picabia frequently painted in and around Moret-sur-Loing near Fontainebleau, which was home to Alfred Sisley from 1880 until 1899. Painted in 1906, 'Effets de neige, bords de l'Yonne' depicts a view of Villeneuve-sur-Yonne, about an hour south of Fontainebleu, and shows the Yonne river calmly passing under the 18th century bridge that connects the town, with the tower of the Church of Notre-Dame visible beyond. The flock of birds flying overhead almost suggesting that the bells may just have rung.Born in Paris in 1879 into a wealthy Franco-Cuban family, Francis Picabia brimmed with confidence and naturally embraced the avant-garde. He studied at the Ecole des Beaux-Arts with Fernand Cormon and attended the Ecole des Arts Décoratifs from 1895 to 1897, but by 1904 had sloughed off the dark palette of academic painting to engage with Impressionism. He was particularly influenced by the work of Camille Pissarro, a political free-thinker constantly open to new artistic influences, and by that of Alfred Sisley, with his intense and highly personal response to nature. Sisley's impressionist period would swiftly come to an end by the end of the decade and by 1911 he joined the Puteaux Group and met artists such as Marcel Duchamp, Jean Metzinger and Fernand Leger. He actively introduced modern art to the United States by exhibiting his proto-Dada works, travelling there several times from 1913-15. In 1916, he began a periodical on the Dadist style, but in 1921 he broke away from the movement, turning to figurative painting. Before the end of World War II, he returned to Paris where he resumed abstract painting and writing poetry. A large retrospective of his work was held at the Galerie René Drouin in Paris in the spring of 1949. Francis Picabia died in Paris in 1953 and was interred in the Cimetière de Montmartre.
Lot 265
ZHOU BROTHERS (ShanZuo and DaHuang Zhou) (b. 1952 and 1972) A large stylised figural sculpture signed "Zhou B. 97" to the reverse of the naturalistic base, wood with red stain, 205cm highThe Zhou Brothers are Chinese contemporary artists ShanZuo and DaHuang Zhou. ShanZuo was born in Nanning, Guangxi Province, China in 1952 and DaHuang was born in Wuming, Guangxi Province, China in 1957. They were both educated and trained in China and together they started their art career in 1973 and have been working collaboratively since. The Zhou Brothers moved to the United States in 1986 after having been at the cutting edge of the contemporary art movement in China in the 70’s and 80’s. The style of the Zhou Brothers’ work is often very abstract and has roots in the images of Chinese cave paintings. Later in their career they incorporated more Western influences into their work. The Zhou Brothers have gained many awards and honours in their career in both the United States and abroad.
Lot 154
*LEO DAVY (1924-1987) 'Seated Figures I' 1952, oil on board, 54.5cm x 30cmLeo Davy was born in 1924 in Shipley, Yorkshire, the seventh of nine surviving children to an art teacher and painter father and a mother who was the daughter of a painter. At the age of just ten he won a national drawing competition and in 1939 he studied at the Kingston School of Art, under Reginald Brill, before moving on the Slade School of Fine Art between 1942 and 1945, then evacuated to Oxford due to the Blitz, where he studied alongside such future stars as Kyffin Williams. Davy was included in a mixed summer show at the important contemporary gallery Gimpel-Fils in 1950 alongside avant-garde artists of the day, including Patrick Heron, William Gear, Alan Davie and William Scott. Davy was strongly dedicated to the development of abstraction. It was through his panel paintings and works on paper that he reduced and refined scenes of everyday life into his own carefully considered abstract vision, applying thinck paint and washes to form blocks of colour, often quite angular. He settled in a dilapidated cottage in North Cornwall in 1968 with his wife, where he lived and worked until his sudden death in 1987. Davy was a self-imposed outsider, as David Duncan remembers: Davy was 'a man of very few words, in fact would only speak if spoken to'. Although Davy's main intent was to isolate himself and to follow an independent line of philosophical enquiry through his painting, his art was an essential means of communication to the rest of the world. As Davy proclaimed in 1946, at the age of 20, 'I only want to paint what only I can paint.'
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65026 item(s)/page