We found 65027 price guide item(s) matching your search

A collection of a Philadelphia Mint Silver Dollar with the obverse design depicting a soldier gripping a rifle, and the reverse side with abstract poppies on barbed wire. Also includes a West Point Army Medal with the obverse side depicting two soldiers in the battlefield, and the reverse side featuring the United States Army emblem. Each piece are in a protective case and displayed in an original US Mint box. The box is approximately: 6"L x 3.5"W x 0.75"H. Artist: LeRoy Transfield, Don Everharta and Emily DamstraIssued: 2018Dimensions: See DescriptionManufacturer: United States MintCountry of Origin: United StatesCondition: Age related wear.

A duplicate of the gold medal honoring the men and women who perished in September 11, 2001 terrorist attacks in New York City. The obverse side depicts the abstract perspective of the World Trade Center. The reverse side depicts a single rose over the inscription: WE HONOR THE THOUSANDS OF INNOCENT PEOPLE FROM MORE THAN 90 COUNTRIES LOST AT THE WORLD TRADE CENTER IN THE ATTACKS THAT SHOOK THE WORLD ON SEPTEMBER 11, 2001. MAY THEIR MEMORY INSPIRE AN END TO INTOLERANCE. A bald eagle perched on a branch of laurel. The medal is in a protective packaging: Packaging is approximately: 2.75"L x 2.5"W. The medal measures: 1.5" dia. Issued: 2014Dimensions: See DescriptionCondition: Age related wear.

ALFREDO AVELLA (Italian, 1924-1982), 'Abstract View of Harbour', oil on board, 47cm x 58cm, signed, framed.

Ca. 2000 - 1000 BC.An elegant Mesopotamian duck-shaped gold bead. The bead depicts an abstract sleeping duck, with its long-beaked head turned to rest upon its rounded body. The hole is placed lengthways through the bead.Size: 15mm x 8mm; Weight: 9gProvenance: Private UK collection, acquired from the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1970s on the UK art market. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Ca. 4000 - 3000 BC.A carved alabaster idol that has an abstract form. It has a wide trapezoidal body, sloped shoulders and a slender neck surmounted by an enormous pair of drilled circular eyes. The body has a roaring animal incised on the frontal side. Size: 31mm x 25mm; Weight: 15gProvenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. AD 300 - 600.A collection of three pottery Levantine oil lamps, each mold-made.The lamps have an extended wick spout, an annular fill hole, a raised conical solid handle, a convex shoulder with an abstract relief design and a ring-formed base. The lamp, in the middle, has a cross and four protruding pellets on the bottom.Size: 90-95mm x 55-70mm; Weight: 255gProvenance: Private UK collection; previously acquired on the German art market in the 1990s.

Ca. AD 500 - 600.An collection of four pottery Levantine oil lamps, each mold-made. The lamps have an extended wick spout, an annular fill hole, a raised conical solid handle, a convex shoulder with an abstract relief design and a ring-formed base.Size: 75-80mm x 50-50mm; Weight: 200gProvenance: Private UK collection; previously acquired on the German art market in the 1990s.

Ca. AD 300 - 600.A collection of five pottery Levantine oil lamps, each mold-made. The lamps have an extended wick spout, an annular fill hole, a raised conical solid handle, a convex shoulder with an abstract relief design and a ring-formed base.The first lamp, on the left, has an elongated body and convex shoulders framed by a laurel crown. The second lamp has a round body with concave shoulders framed by a laurel crown and small handle at the back. The third lamp has an elongated body with a stamped decoration on the top. The fourth lamp has a round body with a short handle on the back. The fifth lamp has a round body with long spout and high shoulders.Size: 80-90mm x 50-60mm; Weight: 305gProvenance: Private UK collection; previously acquired on the German art market in the 1990s.

Ca. 14th-13th century BC.A large decorated tan coloured pottery vessel, with a round tapered body and two thin handles connected to the rim of the vessel. The body of the vessel has a front tapered cylindrical spout. The vessel is decorated with brown concentric rings and abstract linear elements around the shoulder. There are light surface deposits scattered over the surface. The vessel has been restored over the break lines and had some areas of resurfacing. For similar see: MET Museum Accession Number: 07.263.1.Size: 260mm x 215mm; Weight: 1.7KgProvenance: Property of a London Art gallery; formerly in NYC collection; Ex. F. F. collection, NYC; Ex. pre-2000 US collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot.

Ca. 400 - 350 BC.A red-figure volute krater in the ornate style with handles depicting Medusa. The intricate scenes on the krater include female figures, naiskos and symbolic offerings. Decorative elements, such as palmettes and abstract designs, adorn the neck and sides. For similar see: Cf. Greek section, Civic Archaeological Museum, Milan. Inv. No. St. 135026.Size: 650mm x 360mm; Weight: 7.9KgProvenance: Property of a central London Gallery; formerly in a South English estate collection; acquired in the 1990s from Andre de Munter, Brussels, Belgium; previously in and old European collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Ca. 1200 - 800 BC.A Western Asiatic cast-bronze sceptre depicting a mysterious figure known as the master of animals. The master stands with bowed legs atop a narrow base while grasping the throats of two abstract avian creatures. This demonstrates his mastery over the living world. The bottom component is shaped like a bell to accommodate several sizes of standard poles. For similar see: MET Museum Accession Number: 1996.82.1.Size: 365mm x 68mm; Weight: 510gProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.

Ca. AD 300 - 600.A collection of three pottery Levantine oil lamps. The first lamp, on the left, and the third lamp are mold-made. The first and third lamp have an extended wick spout, an annular fill hole, a raised conical solid handle, a convex shoulder with an abstract relief design and a ring-formed base. The second lamp has a round body with recessed shoulder, a large annular fill hole and a short handle on the back.Size: 80-100mm x 55-65mm; Weight: 205gProvenance: Private UK collection; previously acquired on the German art market in the 1990s.

Ca. AD 500 - 600.An attractive collection of five pottery Levantine oil lamps, each mold-made. The lamps have an extended wick spout, an annular fill hole, a raised conical solid handle, a convex shoulder with an abstract relief design and a ring-formed base. The fifth lamp on the right has a sigillum stamped three times on the bottom.Size: 78-80mm x 50-55mm; Weight: 260gProvenance: Private UK collection; previously acquired on the German art market in the 1990s.

An abstract bronze figure. 62 cm high.

Peter Copeland (British, 20th century), Autumn Sky, Light Series, a pair of mixed media abstract compositions, signed, inscribed verso, dated 'Newquay ‘83', 49cm x 39cm, framed and glazed, together with an Inuit limited edition print dated 1981 (3)

Belinda King, 20th century, abstract landscape, signed mixed media, 17 x 14cm, together with various pictures (4)

Mixed selection of vintage black and white crockery, to include two bowls by Myott Ricardo, abstract and linear plates by Broadhurst and Elijah Cotton, Lord Nelson ware, four 'Nature Study' by Midwinter abstract leaf saucers and accompanying four black cups, Parisienne graphic bowl, three saucers and four side plates, 'Ducks in Flight' Crown Ravensdale plate, salt and pepper shakers and a black jug. (1 box)

Two mid century large Verceram decorative fruit bowl ceramic pockets marked 'V' 6758 and 6756 to base together with an abstract wave form glass centre piece in clear glass

Selection of hand painted tiles to include Dorincourt tiles, commemorative items, Alice in Wonderland, tropical birds, abstract houses, fruit and fly fishing designs, including framed examples

Modern school, portrait of a woman in abstract, oil painting, 50 x 36cm, framed

Wilkinson (20th century school) - Abstract Study - oil on canvas, unframed, 53 by 43cms.

A Bjorn Wiinblad for Rosenthal mid-century modern design pottery table lamp with abstract design on a yellow ground, 56cms high.Condition ReportIt is in good condition with no chips cracks or repairs, the shade is somewhat grubby and a bit stained around the rim which may or may not wash out (as per images) 

An abstract print, indistinctly signed, framed

Silver Baltic amber abstract design ring, stamped 925Condition Report:Size N

Abstract portrait of a woman 39cm x 49cm

Gabbeh-design tribal pale ground rug, central diamond-shaped medallion with geometric motifs in pastel shades of pink, blue, and beige, field of stylised animals and abstract patterns, bordered by a series of narrow stripes with traditional motifsDimensions: Length/Width: 278cm  Depth/Diameter: 194cm

WILLIAM KENTRIDGE (B. 1955)Promised Land: Horse Series with the signature 'Kentridge' (in the weave, on the reverse) and further signed twice, extensively inscribed, dated and numbered 'Promised Land: Horse Series 2008 1/6' (on the artist's label on the reverse)mohair, acrylic and polyester tapestry380 x 426cm (149 5/8 x 167 11/16in).This tapestry was executed by The Stephens Tapestry Studio under the direction of Marguerite Stephens in 2008, and is number 1 from an edition of 6.Footnotes:ProvenanceAnnandale Galleries, Sydney.Acquired from the above by the present owner. ExhibitedSydney, Annandale Galleries, Telegrams From The Nose, 11 June - 19 July 2008.Naples, Museo di Capodimonte, Streets of the city (and other tapestries), 14 November 2009 - 20 January 2010.Johannesburg, Wits Art Museum, William Kentridge Tapestries in Johannesburg, 19 November - 14 December 2014.Bentley, The John Curtin Gallery, Invisible Genres, 21 September - 4 December 2016.Monumental and incisively profound, Promised Land: Horse Series exemplifies William Kentridge's masterful ability to interweave art, history, politics and literature. The scale and intricate execution, 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.This present work belongs to the artist's 'Horse Series'. The motif of the horse in Kentridge's work is multi-layered and symbolic, representing themes of power, movement, war, and displacement. The horse, somewhat fragmented or abstract in form, could be suggestive of the fractured history of South Africa and the complex, often violent, colonial legacies of the land. Through Kentridge's use of black and white contrasts, reminiscent of his iconic charcoal drawings, the tapestries evoke a sense of history unfolding, with elements of uncertainty and unresolved tensions. In a rather comical and playful manner, the horse is being ridden by a 'nose'. William Kentridge often included a nose in his art as a reference to Nikolai Gogol's satirical short story The Nose, which explores themes of absurdity, identity, and power. Kentridge, influenced by this tale depicts the nose as a humorous yet profound symbol for the challenges of self-perception, authority, and the breakdown of rational order, often tied to broader social and political critiques. This is further emphasised by the horse portrayed as moving through space or frozen mid-action, which recalls the colonial past of South Africa, where horses were often associated with the military, conquest, and authority. The map in the background of this present work is based on the original 16th-century design by Christiaan van Adrichom, and later updated in the early 18th century by Pierre Mortier, of the Holy Land. This map played a significant role in shaping the European understanding of the Holy Land, as van Adrichom's blend of theological history and geography profoundly influenced how the region was perceived for centuries. Kentridge's use of historic maps in his works creates a powerful sense of alienation. As we search these maps for familiar places, we encounter a disjunction: historical events have irrevocably altered the regions we know. Over time, boundary lines, place names, and even locations themselves shift, rendering the past both unfamiliar and estranged from our contemporary sense of geography.Born in Johannesburg in 1955, Kentridge's practice is deeply tied to the broader political and social landscape of post-apartheid South Africa. He seeks to explore the scars left by apartheid, the legacy of colonialism, and the ongoing struggles for equality and justice. 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.William Kentridge introduced the medium of tapestry into his repertoire as a way to tell difficult and harrowing stories akin to his native homeland and the period in which he grew up in. Kentridge's tapestries are 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 historic maps. 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. Moreover, the medium of tapestry itself is significant: tapestry has a long history as a form of storytelling, often used in medieval Europe to depict battles and historical events. By choosing this medium, Kentridge draws a parallel between the act of weaving and the construction of history, suggesting that both are processes that involve the layering of multiple, often conflicting, narratives. The tactile nature of the tapestries, with their rich textures and physical presence, emphasises the materiality of history; how it is not just an abstract concept but something that can be touched, felt, and experienced. Promised Land: Horse Series represents a remarkable fusion of art, memory, and political commentary. Through the motif of the horse and the nose, Kentridge taps into powerful symbols of history, migration, and displacement, while the medium of tapestry allows him to weave together the fragmented narratives that characterise our complex past. This work stands as a testament to the enduring power of art to reflect on history while also creating new meanings and interpretations, Kentridge invites viewers to consider the ways in which history is constructed and remembered, and how a different medium of art can play a role in unravelling its complexities.The present lot along with two works by Auguste Herbin and a work by Jean Pougny, all of which are being offered in the Impressionist & Modern Sale (Lots 102-104), hail from the prestigious Morgan Collection in Perth, Australia. Amassed for over 25 years it encompasses an eclectic range of both international and Australasian art, and Bonhams are honoured to present these four works for sale.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

LAWRENCE CALCAGNO (1916-1993)Rio Grande signed and dated 'Larry Calcagno 1972' (lower right)oil and mixed media on paper56.5 x 76.2cm (22 1/4 x 30in).Executed in 1972Footnotes:ProvenancePrivate Collection, New Mexico.203 Fine Art, Taos, New Mexico.Acquired from the above by the present owner.The abstract expressionist, Lawrence Calcagno held his first solo show at the famed Martha Jackson gallery in 1955, and the artist went on to hold approximately eighty solo exhibitions and feature in a total of nine Whitney Biennials. Even with such a storied pedigree, the artist's career is only now receiving it's due.Hailing from the Bay Area, Calcagno studied at the California School of Fine Arts where he found his personal style of bands of bold colours, suggestive of the horizon. Whilst studying at CSFA, Calcagno was instructed by, and interacted with, some of the most prominent figures in the Abstract Expressionist movement, including Clyfford Still, Mark Rothko, Ad Reinhardt and Richard Diebenkorn, all of whom significantly influenced Calcagno's development. Visiting Paris in the 1950s, the artist became an intimate of Beauford Delaney, and relationship that would continue for decades. And their work too enjoyed a relationship, abstracts investigating the almost mystical nature of painting.The 1970s represented a period of artistic maturity and refinement for Calcagno, where he fully embraced the abstract expressionist style that he had been developing over the previous decades. His works from this era are marked by an intense focus on colour, light, and space, which often conveyed a sense of spiritual depth and emotional resonance, beautifully evidenced in this present work. While many of his earlier works had direct references to nature and the landscapes of the American West, by the 1970s, his paintings became increasingly abstract. Rather than depicting specific places, his work sought to capture the feeling or essence of the landscape. His pieces evoke the expansiveness of the desert or the vastness of the sky without literal representation. Calcagno's work during the 1970s also reflected his belief in art as a pathway to understanding life's deeper mysteries. He often spoke about how his paintings were less about depicting the external world and more about an inner exploration of his thoughts and emotions. His work is frequently described as 'spiritual abstraction,' and he was influenced by his travels to the American Southwest, where he found inspiration in the landscape's vastness and quiet beauty.Today, Calcagno's work can be found in numerous museums and institutions, including the Museum of Modern Art, (MoMA), the Whitney Museum of American Art, the Smithsonian Institution, the Boston Museum of Fine Arts and the Carnegie Museum of Art, among others.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

A selection of art glass; Large Czech glass abstract vase, pair of art glass candle sticks, Carlo Moretti style vase & art glass bowl

Joyce A Timpany , Abstract shapes, mixed media on paper, signed and dated '97 bottom right, in a glazed gilt frame. (50cmx69cm)

Scott Irvine, a striking burr elm carved wooden bowl inset with art glass to centre with abstract designs and aventurine inclusions (marked verso, h- 14cm, w- 31cm)

Four art glass vases, comprising a William Walker example, of baluster form, with abstract pink, green and brown decoration upon a white ground, with signature to base, a clear Simon Moore goblet example, a clear Jack in the Pulpit glass vase and a conical footed frosted glass bowl, signed Glassworks, tallest H28cm

Abstract marble sculpture upon a craved base, H61cm

Gillies Jones of Rosedale oversized wine glass, decorated with white abstract decoration, together with a smaller Gillies Jones of Rosedale trumpet shaped wine glass with applied coloured glass ribbon to stem and a Deborah Fladgate purple fluted glass dish, all signed to base, tallest H24.5cm

Pauline Solven, studio glass bowl decorated with abstract circular pattern upon blue and orange grounds, H11cm, D15cm

A collection of pictures, to include a modern abstract oil on canvas, 100x75cm, framed prints by Spencer Coleman, a Gustav Klimt 'Mother And Child' reproduction print on canvas, 90x90cm, framed railway prints, and a Howard Vincent map of the British Empire, 64x56cm.

R & F Mo (aka MARYCLARE FOÁ - British b.1956) oil on panel - 'What Spring Does', abstract with verse by Pablo Neruda, inscribed and dated verso '91, 120 x 149cmsProvenance: private collection MonmouthComments: ready to hang

A 9 Carat Gold Sapphire and Diamond Cluster Ring, of abstract form, comprising of marquise cut and round cut sapphires and eight-cut diamonds, finger size N; Another Ring, of similar design, unmarked, finger size Q1/2; A 9 Carat Gold Sapphire and Diamond Basket Form Pendant, measures 2.5cm by 1.6cm (a.f.); and A 9 Carat Gold Diamond Cluster Pendant, measures 1.6cm by 0.8cmGross weight 8.6 grams.

Iain Morris (Contemporary)Abstract colour blocksInscribed and dated verso Jan (20)19, acrylic on canvas; Together with three further abstract works by the same hand 76cm by 101.5cm (4) (unframed)

Iain Morris (Contemporary)Pair of abstract colour block stripesInscribed and dated verso, Sat 11 - Sun 12 July 2015 and Tue 21 - Th 23 July 2015 respectively, acrylic on canvas; Together with two further abstract works by the same hand 102cm by 76cm and 91.5cm by 70.5cm respectively (4) (unframed)

Iain Morris (Contemporary)Abstract colour blocksInscribed and dated verso Mar (20)18, acrylic on canvas; Together with two further abstract works by the same hand 76cm by 101.5cm (3) (unframed)

Adri mid 20th century Danish chrome framed coffee table, decorated with tiled ceramic top and abstract floral sprays. Approx. 41 x 125 x 47cms used condition a few of the tiles have small chips

ALEXANDER CALDER (1898-1976)Cantilever signed with the artist's monogram and dated '73' (on the red element)sheet metal, wire and paint 86.3 x 162.4 x 28.4cm (34 x 63 15/16 x 11 3/16 in).Executed in 1973 Footnotes:This work is registered in the archives of the Calder Foundation, New York under application no. A08148.ProvenancePerls Gallery, New York. Acquired from the above by the present owner in 1974.ExhibitedPalm Desert, Heather James Gallery, Alexander Calder: Painting the Cosmos, 2 March - 12 August 2022.On the greatest of cosmic scales, down to the atomic bonds of every element, equilibrium is the constant that allows the fabric of this reality to remain. For with every action in nature, there is an equal and opposite reaction. There is surely no greater, more poetic demonstration of these immutable laws than Alexander Calder's standing mobile sculpture Cantilever from 1973. Elegantly poised and masterfully constructed to counterbalance the weight of a single red plate against that of six others, Cantilever is elongated and grand, reminiscent of Edmund Husserl's notion that the present possesses a 'width.' Simultaneously interconnected and individual, parts of a whole, three outstretched metal and wire forms arc into space, capturing the eloquence with which Calder discussed his practice as a manifestation of the dynamism of the universe and the disparate qualities of forms and masses. Seemingly rooted in a Derridean experience of the now, Cantilever has an ingrained flow that moves in response to its surrounding environment, changed by the slightest breeze or a trailing touch; a room's air flow becomes an active participant with the art object.It is inconceivable to imagine that any artist could attempt to create a sculpture that suspended objects in perfect balance, poised between delicate armatures and simple joins, without living long in the shadow of Alexander Calder. Indeed, such is the scope and impact of his career and place centre-stage on the arc of Modernism, there is little in the way of comparable feats of artistic accomplishment. Duchamp coined the term 'mobile' to describe Calder's kinetic sculptures; the artist deeply attuned to how subtle, intermittent, and entirely unpredictable motion could induce a psychic experience in its viewers, resisting the urge towards past or future. The modernist master's emphasis on movement is not merely an aesthetic choice but rather a manifestation of his relational approach—by creating sculptures that are in constant motion, he creates a sense of temporal fluidity and change: his mobiles can never be viewed or captured the same way twice, forever evolving, suggesting that everything in the universe is subject to change and impermanence.Cantilever boasts a wonderful variety of motion. Whilst the rotational qualities of its trailing limbs with delicate white elements at their tips are more sweeping and gestural, the subtle and robust passage of the red mass delivers a fantastic compositional counterpoint. Beyond the overwhelming visual impression of its scale and structure, the spectator is titillated in an almost haptic, phenomenological sense. Approaching the feeling of vertigo, Cantilever impresses upon us the appearance of an object at the very limits of its existence – testing the universal laws that permit it to freely stand, suspend, and stretch across the space it occupies. In doing so, it divides space – shifting as it does – with the slender black lines of wire and places the panels of sheet metal in red, yellow and white, squarely against its surroundings. Discussing his aesthetic rationale as it pertains to colour, in 1962 Calder explained that colour is really secondary and he wanted 'things to be differentiated. Black and white are first – then red is next – and then I get sort of vague. It's really just for differentiation, but I love red so much that I almost want to paint everything red. I often wish that I'd been a fauve in 1905' (the artist quoted in Katharine Kuh, The Artist's Voice: Talks with Seventeen Artists, Illinois 1962, online). In Cantilever we see the typical black and white elements, wonderfully contrasted against the foundational elements in red that support the entire work, from its darting prop to open ballast. Adding a single yellow element, however, Calder heightens the visual impact of the piece. Colour was, for Calder, not a representational concern, but an emotional one. Calder's choice of bold colours and their juxtaposing reflects a singular and intuitive approach to sculpting. His interest in Abstraction was first piqued when he visited Mondrian's studio in Paris in 1930, where he was impressed not by the paintings but by the environment. He remarked about the visit, 'I was particularly impressed by some rectangles of colour he had tacked on his wall in a pattern after his nature. I told him I would like to make it oscillate - he objected' (Calder, 'What Abstract Art Means to Me,' The Museum of Modern Art Bulletin 18, no. 3, spring 1951).Although unrelated, Mondrian's sublime abstractions can be seen as very closely tied to Calder's works. The fine lines of wire connecting each coloured element can be compared to the black dividing lines of Mondrian's paintings. The white voids in the paintings tantamount to the negative space surrounding the elements of Calder's sculptures. Both of the artists' works convey fine lyrical qualities, but it is only Calder's standing mobiles that are able to express such a sublime sense of movement combined with a delicate balance of structure and colour. The addition of yellow to the typical red, black and white, imbue Cantilever with an even more intense ethereal quality that, when confronted from either up close or afar, present an almost divine vision of artistic perfection.By creating kinetic sculptures that interact with their surroundings, Calder sought to convey a deeper understanding of the nature of reality and our place within it, blurring the boundaries between the artwork, its viewers, and its surroundings. Not simply geometric abstraction, Calder's standing mobiles benefit from a rich interplay with the kinetic art movement as well, inspiring new forms of sculpture. A type of sculpture that incorporates movement into its design, creating a dynamic and ever-changing experience for the viewer, it emphasizes interactivity and engages with new technologies and materials, breaking down traditional barriers between art and its audience. Its ongoing influence can be seen in a wide range of contemporary art and design practices today.Presented here, Cantilever is undoubtedly one of the finest standing mobiles to come to market. Drawn across the space, whilst mechanically planted on an achingly elegant base in Calder's iconic red, it has all the hallmarks of the finest works by the artist. Instantly recognizable, and utterly unrepeatable, Calder's standing mobiles demonstrate his artistic aim with a technical rigor and physical beauty that makes Cantilever a true masterpiece of its time.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

ETEL ADNAN (1925-2021)Untitled signed and dated 'Adnan 14' (on the reverse)oil on canvas30.4 x 24cm (11 15/16 x 9 7/16in).Painted in 2014Footnotes:ProvenanceWhite Cube, Hong Kong, no. JJ53893.Acquired from the above by the present owner in 2015.ExhibitedLondon, White Cube, Etel Adnan, 8 October - 16 November 2014.Etel Adnan was a pioneering artist, poet, playwright and essayist, whose work is imbued with the places she lived - most notably Beirut, Paris, and the San Francisco Bay area. Although widely known for her contributions to literature, including the highly acclaimed novel Sitt Marie Rose from 1977, it is her late-blooming stellar career in the visual arts that has recently gained immense recognition, solidifying her place as a key figure in modern and contemporary art history. Adnan's later works, including the present lot Untitled from 2014 were painted from memory. Intimate in scale and meditative, four distinct sections of vibrant reds, yellow and green present the essence of a rich landscape full of depth and lyricism, despite its inherent minimalist construction. It is left to the viewer to experience the work in their own way, just as these images are filled with more than one point of inspiration for the artist. 'For her, 'vision is multidimensional and simultaneous', and these (...) paintings are the meeting place for many images, coalesced into one sensorial experience.' ('Inside the White Cube: Etel Adnan.' White Cube. www.whitecube.com/gallery-exhibitions/etel-adnan-2014. Accessed 25 September 2024.)Born in 1925 in Beirut - then under French mandate - to a Syrian father and a Greek mother, she was deeply influenced by her multicultural heritage and the multiple languages spoken around her. Whilst the family language was Turkish, her mother would speak Greek with her. Arabic was forbidden and considered shameful in the in the French school she attended. Today, Adnan's work which spans multiple genres is celebrated for its exploration of themes such as exile, identity, and memory, all of which are framed by her philosophical background and profound engagement with the natural world. Adnan's journey into the visual arts began relatively late. She started painting in her mid-30s, using a palette knife to apply oil paint directly onto canvas. This technique became one of her hallmarks, allowing her to create vibrant, abstract landscapes characterized by bold, geometric forms and radiant blocks of colour. Her visual language was heavily influenced by her surroundings and extensive travels. The landscapes she encountered, particularly Mount Tamalpais in Northern California, which was visible from home in Sausalito, became a recurrent subject in her paintings. This mountain held a near spiritual significance for Adnan, and she often depicted it in simplified, luminous compositions that verge on abstraction. Adnan's art historical influences were diverse and ranged from Islamic art and Arabic calligraphy to modernist painters such as Paul Klee and Nicolas de Staël. However, her bold, saturated colour fields, simplified abstracted forms and deeply personal relationship with nature also recall the emotional and colouristic vibrancy of Vincent Van Gogh's oeuvre.Adnan's beautifully balanced composition and use of vibrant colours in this painting is a wonderful example of just one area of the artist's extensive creative output – an accomplished visual artist, novelist, and poet among many other talents. Adnan has been repositioned as a leading figure in a reappraisal of global modernism that includes female artists.For further information on this lot please visit Bonhams.com

JEAN DUBUFFET (1901-1985)Mire G 146 (Kowloon) signed with the artist's initials and dated 'J.D. 83' (lower right)acrylic on paper laid on canvas135.2 x 100.2cm (53 1/4 x 39 7/16in).Painted on 10 October 1983Footnotes:ProvenanceThe artist's estate, Paris.Isalmina Dubuffet collection, Paris (the artist's daughter, by descent from the above).Waddington Galleries Ltd., London.Galerie Baudoin Lebon, Paris, no. BL 7395.Acquired from the above by the present owner. LiteratureM. Loreau, Catalogue des travaux de Jean Dubuffet. Fascicule XXXVI: Mires, Paris, 1988, no. 149 (illustrated p. 71). Predominantly self-taught, Dubuffet didn't enter the art world until he was in his forties, following a successful career as a wine merchant. From the outset, he heralded a reversal in the conventions of painting, turning to the work of children, the mentally ill and marginalised cultures to create a new aesthetic which he would come to champion. Rejecting the elitism and intellectualism that had long dominated artistic discourse, this raw and unadorned aesthetic, which came to be termed Art Brut, saw Dubuffet tackle a variety of subjects across an array of different media, from the orthodox to the unprecedented. His work was defined by his rejection of the established set of values that governed art, and throughout his creative career, he derived inspiration from individuals who chose to express themselves outside of the formal realms of training – including tattooists and graffiti artists – in his quest for an instinctive pictorial language. His oeuvre stands as a defiant rebuke to the rigid traditions of Western culture, a cri de Coeur for the liberation of artistic expression from the shackles of academic art history. He sought to liberate art from its ivory tower, to reconnect it with the spontaneous and the unvarnished. The Mire series, derived from the Spanish verb 'mirar' meaning 'to look' or 'to see', marks a significant shift in Dubuffet's artistic output. This renewed perspective saw Dubuffet's subject matter transition away from depictions of the bustling life Post-War Paris in the 1960s and 1970s, and his work became increasingly psychological and less figurative. He began to paint more permissively, generating creative ideas based on dynamisms and impulses, resulting in an emotionally charged atmosphere in his paintings. Through the lens of Art Brut, he began to delve into how people perceive subjects differently, and assign disparate meanings to different objects, colours and scenes. He expanded his use of distinct cells to isolate figures and images from any wider context or narrative. The significance of these works was very quickly acknowledged; only a year after the painting was executed, pieces from the Mire series were exhibited in the French pavilion at the Venice Biennale. Shortly after Dubuffet's death in 1985, a major exhibition of his late work was held at the Galerie Nationale du Jeu de Paume in Paris. Challenging the very premise of what constituted art, his artistic rebellion extended beyond mere material and techniques, Mire G 146 (Kowloon) is a seminal example of his profound avant-garde meditations on the very nature of art itself, its potentials and possibilities, inspiring generations to come. Reflecting upon his all-encompassing, comprehensive vision, Dubuffet said 'I want to free myself from the old nomenclature that I was led to believe catalogued reality. I want to transport my vision of what is around us in a different register, I want to live in an alternative reality.' (J. Dubuffet quoted in M. Loreau, Catalogue of Works by Jean Dubuffet, issue XXXVI: Mires, Paris, 1988, p. 98). In his Mire series, Dubuffet embodies this sense of boundlessness, breaking free from the banal conventions of what he believed to be a stagnant pictorial narrative. Each piece is subtitled - in this case 'Kowloon' – a title which alludes to the Chinese walled citadel demolished in the early 90s. The bright yellow backgrounds that characterise the series evoke of the colour and aesthetic of the bright Hong Kong store signs and Mandarin procession banners, while the chaotic and arbitrary nature of the lines in the painting capture the dynamic and bustling atmosphere of the city. The title 'Mire' itself questions the act of viewing an artwork. Here, figuration begins to break down, resulting in a rhythmic, and almost kaleidoscopic amalgamation of colours and forms. The whimsical and childlike dynamic of the composition in the present work, reflects Dubuffet's preoccupation with Art Brut, yet the work also exudes confidence with vigorous brushstrokes and layers of paint in intertwining patterns on a large scale, immersing the viewer in its captivating labyrinth of lines and colours. The web-like structure formed by the blue lines, adds to the complexity and textural richness of the piece, further enhancing its ambiguity. The painting employs rich primary colours and abstract forms, provoking powerful reactions in its viewers as they observe this unique and provocative melange of colour, that vibrates with a frenetic energy. His lack of premeditation in his strokes and seemingly chaotic arrangement of shapes and forms, reflect his liberation from traditional artistic conventions. Thus, each viewer's interpretation is unique, evolving over time, making Mire G 146 (Kowloon) a quintessential example of how we absorb images.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

FRANK AUERBACH (B. 1931)Catherine Lampert Seated oil on canvas 51 x 41cm (20 1/16 x 16 1/8in).Painted between 1991-1992 Footnotes:ProvenanceMarlborough Fine Art Ltd., London, no. 40603.6.Acquired from the above by the present owner. LiteratureW. Feaver, Frank Auerbach, New York, 2009, no. 688 (illustrated p. 316).W. Feaver, Frank Auerbach, New York, 2022, no. 688 (illustrated p. 358).Frank Auerbach is one of Britain's most distinctive and celebrated painters. An artist for whom the creation of a raw, living image made in response to the presence of a seated model has for over fifty years been a fundamental, ongoing preoccupation throughout his remarkable oeuvre. Renowned especially for his heavy application of paint that masterfully fills his compositions, Auerbach is credited with making some of the most impressive, vibrant, and intuitive portraits of the post-war years. His first exhibition was held at London's Beaux Arts Gallery in 1956 and since then his paintings have become some of the most internationally collected of living artists. Painted between 1991 and 1992, Catherine Lampert Seated is a vibrant portrait of Auerbach's close friend, biographer, and muse, Catherine Lampert. He first met Lampert in 1978 when she was working on his retrospective at the Hayward Gallery in London, and had conducted an extensive interview with him for the catalogue. Lampert would later become Director of the Whitechapel Gallery in 1988 before later curating Auerbach's major retrospective exhibition at the Royal Academy in 2001. Over the ensuing years, she visited his studio up to twice a week, becoming the subject of more than seventy portraits that continued the explorations initiated by his earlier muses Stella West (E.O.W.), Juliet Yardley Mills (J.Y.M.), and his wife Julia. He was profoundly influenced by artists that spanned history, from Rembrandt to Soutine, through to Giacometti and de Kooning. Therefore, it is unsurprising that art historians also became fundamental to his oeuvre, including also William Feaver, the author of the most comprehensive monograph on Auerbach to date.The present work is a compelling display of expressive brushwork and impasto technique featuring a vibrant amalgamation of colours and texture, with thick, layered paint that adds a sculptural quality to the composition. Seated only meters away from his easel, Lampert acknowledged how 'Auerbach moves noisily around the room, looks at the painting in the mirror, turns the canvas, stands back, and then rushes up, and like darts or writing on the blackboard fairly brutally tries the next throw or cancels the previous one. He is continuously active, drawing in the air, talking to himself, hardly pausing.' (Catherine Lampert, Frank Auerbach Paintings and Drawings 1954-2001, exh. cat. Royal Academy of Arts, London, 2001, p. 62).  His vigorous and sweeping brushstrokes create a dynamic sense of movement and energy. The application of rich impasto is particularly built up in the lower and central passages, where opulent reds, earthy browns, and vibrant yellows converge, giving the work a tactile, almost three-dimensional illusion. The head and body of Lampert are rendered in a swirling sweep of brushstrokes and accumulation of pigment, projecting dynamically from the thinner areas of paint that render the background. Lampert's facial features have been executed with almost singular strokes or daubs of the brush with every gesture, shape, and colour imbued with the essence of life. As Lampert herself asserted, the moments spent with Auerbach felt as though time was suspended; 'that odd limbo, not an unpleasant state, of drifting from practical self-reminders into daydreams and unquantifiable desires.' (quoted in William Feaver, Frank Auerbach, New York, 2009, p. 21).   Auerbach's method of execution was methodical and perpetual, he scrapes back his paintings in progress, continuously recreating the evolving image. This process is shaped by continual, intensive observation and the gradual accumulation of empirical information. Thus, the resulting portraits are steadily infused with an inexplicable vitality. Although a largely figurative painter, Auerbach's intensive and unique style renders his portraits fundamentally abstract, and they appear to reflect the artist's emotional and psychological state as much as they do of the sitter. His technique conveys not just the physical presence of the sitter, but also a profound emotional connection, evident in the intense and intimate depiction of the subject. As William Feaver once stated, 'Auerbach's heads are conceived not as busts or cameos but as presences' (William Feaver, ibid., p. 20). Frank Auerbach is widely recognised as one of the most inventive and influential painters of the post-war era. Along with his 1978 retrospective at London's Hayward Gallery, the artist was also honoured in 2015 by London's Tate Britain, in partnership with Kunstmuseum Bonn, with another major retrospective of his work. Today, his paintings reside in the prestigious permanent collections of the Tate Gallery in London, the National Portrait Gallery in London; The Metropolitan Museum of Art in New York; and the Museo Nacional Thyssen-Bornemisza in Madrid, among many others. Through brilliant colour and a faultless execution of Auerbach's charismatic and established painterly gesture, Catherine Lampert Seated carries a powerful and emotional charge. The result encapsulates a seminal exposition of the artist's thoroughly inimitable and compelling portraiture which is excitingly fresh to the market. Refer to department for Lot Estimates.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

Tribal Art - a Teke moon shaped mask, typically carved with abstract geometric motifs, 41cm diam, Democratic Republic of Congo

Tribal Art - a Mumuye figure, of typical elongated form, ovoid head with stylised abstract features, concave midriff, 83cm high, Nigeria

Tribal Art - a Fon fetish figure, of typical abstract stylised form, cord-bound, 26.5cm high, Benin; a Senufo figure, 17cm high, Ivory Coast; others (7)

Tribal Art - a Mumuye figure, of typical elongated form, stylised head with abstract features and oversize earlobes, concave midriff, 99cm high, Nigeria

Tribal Art - a Mossi antelope mask, decorated with abstract motifs in kaolin, and red and brown earth pigments, 56cm long, Burkina Faso

[Oldys (William)] The British Librarian: Exhibiting a Compendious Review or Abstract of our most Scarce, Useful, and Valuable Books..., lacking advertisement f. at rear, title working loose, a few ink inscriptions to front endpapers, some light browning and spotting, contemporary calf-backed boards, spine in compartments, one lettered "24" in gilt, damp-stain to lower cover, extremities quite worn, upper joint split but holding firm, for T. Osborne, 1738 § Akenside (Mark, editor) The Museum: Or, the Literary and Historical Register, 3 vol., titles in red and black with engraved vignette, vol. 3 with 19th century ink ownership stamp to front free endpaper, vol. 1 A2-3 & 3I1 with small hole affecting a few letters, some scattered spotting, lightly browned, vol. 1 & 2 lower hinges cracked with a few leaves working loose, modern half calf over marbled boards, red morocco spine labels, rubbed, for R. Dodsley, 1746-47, first collected editions, book-label of J.O. Edwards; and others 19th century, including James Savage's journal The Librarian (1808-09), 8vo (7)   *** Both mentioned first published in parts.

Gold diamond abstract design pendant / brooch, rubover set diamonds set amongst larger claw set diamonds, markers mark LP, stamped 18ctCondition Report:Approx 23.1gm, stamped 18ct but tested 21ct, white gold back pin tested 18ct, pendant bail fitting to reverse, dimensions = 50mm x 42mm, good condition, diamonds bright,m well matched, good colour approx G-H, largest diamond diameter = 3mm

14ct gold blue bead bracelet, silver enamel abstract ring and two similar necklaces, hallmarked, pair of gold hoops and locket, both 9ct, silver amethyst and marcasite bracelet and two pairs of silver marcasite pendant stud earringsCondition Report:14ct approx 2.1gm, 9ct approx 3gm, silver approx 80gm gross

Gold opal and diamond abstract flower head cluster ring and a gold single stone smoky quartz ring, both hallmarked 9ctCondition Report:Approx 7.3gm, opal size M-N, max depth = 18.8mm, quartz size O

A collection of 925 silver jewellery. To include an Italian hollow abstract brooch, signed GIANO, width 55mm, an ID bracelet dated 1944, three brooches and an abstract pendant necklace, total weight 89g.

A collection of gilt-metal costume jewellery. To include a mesh bracelet, a mid-century abstract design bracelet stamped 'GROSSE GERMANY 1966', a Sigrid Olsen necklace, a paste set large hinged bangle, etc.

Yram Allets (Mary Stella) Edwards (1915-2009) A portfolio of ten Abstract studies / coastal scenes / floral studies, mostly works on paper, the largest measuring 25cm x 35cm, (10).

Benjamin John Carrivick (Modern Cornish School, bn. 1980), a series of seven abstract studies, signed, oils on board, each measuring, approx. 20cm x 13cm, (7).

Benjamin John Carrivick (Modern Cornish School, bn. 1980), a series of seven portraits, and abstract studies, 'Homage to Egon Schiele', signed, oils on board, each measuring 18.5cm x 12cm, (7).