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PETER BEARD (New York, 1938-2020)."Peter Beard, Scrapbooks from Africa and beyond".Mixed media (collage, ink and paint). Artist's intervention on the inside front cover. Publisher: Empire Editions, New York, 2006.Includes DVD with film.Dimensions: 27 x 35 x 2 cm (painting); 27 x 17 x 2 cm.Peter Beard was an American artist, photographer, chronicler and writer who lived and worked in New York City, Montauk and Kenya. His photographs of Africa, African animals and the journals that often integrated his photographs have been widely shown and published since the 1960s. Beard began writing diaries as a child and taking photographs, as an extension of the diaries, at the age of 12. A graduate of the Pomfret School, he entered Yale University in 1957, intending to pursue pre-med studies, but changed his major to art history. At Yale, he participated in the secret society Scroll and Key. His mentors at Yale included Josef Albers, Richard Lindner and Vincent Scully. Beard graduated with a B.A. in 1961. Inspired by earlier trips to Africa in 1955 and 1960, Beard travelled to Kenya after graduating. Working in Tsavo National Park, he photographed and documented the disappearance of 35,000 elephants and other wildlife, which would later become the subject of his first book, The End of the Game. During this time, Beard acquired Hog Ranch, a property near the Ngong Hills adjacent to the coffee estate owned by Karen Blixen, which would become his lifelong base of operations in East Africa.Beard's first exhibition was at the Blum Helman Gallery in New York City in 1975 and throughout his career he has had landmark museum exhibitions at the International Center of Photography in New York City in 1977 and at the Centre National de la Photographie in Paris in 1997. Gallery exhibitions followed in Berlin, London, Toronto, Madrid, Milan, Tokyo and Vienna. Beard's work is included in private collections around the world.

ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009).Untitled, 1967.Mixed media and collage on wood.Signed and dated in the lower right corner.Measurements: 52 x 52 cm .Painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He began in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on atmospheres, themes, objects or graphics from everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.

RICHARD MEIER (Newark, New Jersey, 1934).Untitled, 1987.Mixed media and collage on paper.Signed and dated in the lower area.The paper has damp stains in the margins.Size: 14 x 14 cm; 19 x 19 cm; 22 x 22 cm (frame).Richard Meier is an outstanding architect and abstract artist, author of houses and museums such as the MACBA in Barcelona or the Getty Foundation in Los Angeles. His buildings are clearly recognisable by their orderly, luminous style and use of the colour white. He is considered one of the most important active architects, having been awarded the Pritzker Prize and the Gold Medal of the American Institute of Architects, among others. Other representative works include: The High Museum of Art (Atlanta), the Douglas House (Harbor Springs, Michigan), the Museum of Decorative Arts (Frankfurt, Germany), the Atheneum Building, the Tourist Information Center (New Harmony, Indiana), the Bronx Center for the Mentally Handicapped (New York), the Elementary School (Clifty Creek, Indiana), the Shamberg House (Chappaqua, New York), the Art Center, second extension (Des Moines, Iowa), the World Trade Center (New York), the Beverly Hills Museum (Los Angeles), the Hypobank International Building (Luxembourg), the Daimler-Benz Research Center (Ulm, Germany), the Jubilee Church (Rome) Seminary and the Teaching Building (Hartford, Connecticut), among others.

ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012).Untitled, from the Suite Olympic Centennial, 1992.Lithograph on 270 grams Vélin d'Arches paper, copy 110/250.Signed and numbered in pencil.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 63 x 89'5 cm.Antoni Tàpies was initiated into art during his long convalescence from a lung disease. He progressively devoted himself more intensely to drawing and painting, and finally gave up his law studies to devote himself entirely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit at the Salones de Octubre in Barcelona, as well as at the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Galerías Layetanas, he travelled to Paris in 1950, with a grant from the Institut Français. In those years he began to take part in the Venice Biennale, exhibited again at the Layetanas and, after a show in Chicago, in 1953 he had a solo exhibition at Martha Jackson's gallery in New York. Since then he has exhibited his work, both in group and solo shows, all over the world, in leading galleries and museums such as the Guggenheim in New York and the Musée d'Art Moderne in Paris. He has been awarded prizes such as the Prince of Asturias, the Praemium Imperiale of the Japan Art Association, the National Culture Prize, the French Grand Prix for Painting, etc., and anthologies have been dedicated to him in Tokyo (1976), New York (1977 and 2005), Rome (1980), Amsterdam (1980), Madrid (1980), Venice (1982), Milan (1985), Vienna (1986) and Brussels (1986). He is represented in major museums all over the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MOMA in New York and the Tate Gallery in London.Tàpies' work falls within the framework of Informalism and the material aspect is fundamental to it; the scribble, the brushstroke full of pictorial matter, the collage... But the symbolic aspect is also fundamental to Tàpies' work. Over the years the artist created a significant imaginary in which elements such as crosses are essential, in a sense that goes beyond their link with Christianity, the X, as an allusion to the crossroads, real or vital, or numbers such as 8, the symbol of infinity.The Olympic Suite is made up of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The chosen artists are defined by different movements and pictorial trends.

PABLO RUIZ PICASSO (Malaga, 1881-Mougins, 1973)."Sujet Colombe", 1959Ceramic, copy 154/500.Numbered on the base, with the stamps Edition Picasso and Madoura Plein Feu.Measurements: 14 x 22 x 10 cm.Glazed ceramic vase with blue and black on white, in the shape of a dove, a bird that inspired a good number of Picasso's drawings and paintings, as well as ceramic pieces such as the one in question.The creator of Cubism together with Braque, Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso held his first solo exhibition at the café "ElsQuatreGats". Paris was to become Pablo's great goal, and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had met or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. Painting in these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colours and strange shapes. Picasso is represented in major museums around the world, including the Metropolitan, MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofia in Madrid.

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Fundació Joan Miró", 1975.Lithograph, copy 21/99. Avant la Lettre print run.Signed and justified by hand.Work published in the catalogue raisonné "Miró Litógrafo. 1972-1975", Vol. V, Maeght Editeur, p. 140, ref. 1031.Size: 70 x 50 cm; 87 x 67 cm (frame).Joan Miró was one of the great international figures of 20th century art. He trained in Barcelona, first at the Escuela de la Lonja and later at the Academia Galí, with a more renovating spirit. At that school and at the Cercle Artístic de Sant Lluc, also in Barcelona, the young Miró met some of his great friends, such as the critic Sebastià Gasch, the poet J.V. Foix, the painter Josep Llorens Artigas and the art promoter Joan Prats. Thus, from his formative years he was in direct contact with the most avant-garde circles in Barcelona, and as early as 1918 he held his first exhibition in the Dalmau Galleries in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. These were the crucial years of his artistic career, during which Miró discovered his personal language. In Paris he became friends with André Masson, around whom the so-called Rue Blomet group, the future nucleus of Surrealism, was grouped. Thus, under the influence of the Surrealist poets and painters, with whom he shared many of their theoretical approaches, his style matured; he tried to transpose Surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. From the 1930s onwards Miró established himself as one of the leading figures on the international art scene and one of the key artists of the 20th century. It was precisely at this time that the artist, a non-conformist by nature, entered a phase he called the "murder of painting", in which he voluntarily renounced being a painter and experimented with other media, such as collage, drawing on paper of different textures and the construction of "objects" with found elements, his first approach to sculpture. Thus, although he soon returned to painting, Miró never abandoned his desire to experiment with all kinds of materials and techniques, including ceramics, bronze, stone, graphic techniques and even, from 1970, tapestry. He returned to Spain in 1941, and that same year the Museum of Modern Art in New York devoted a retrospective exhibition to him, which was to be his definitive international consecration. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington and the MNAM in Paris.

Miró, Joan - - André Frénaud. Le miroir de l'homme par les bêtes. Mit 3 Aquatinta-Radierungen und 2 Carborundum-Radierungen von Miró. Paris, Maeght éditeur, 1972. Folio. Lose Lagen in OUmschlag. In Kassette. (Umschlag teils minimal unfrisch). Cramer, Miró, livres illustrés, 159. - Im Druckvermerk von Miró und Frénaud handsigniert. Eindrucksvolle Originalausgabe des Gedichts von André Frénaud, das von Miró wunderschön illustriert wurde. "Das Gedicht von André Frénaud und die begleitenden Radierungen von Joan Miró stellen nach der Absicht der Autoren eine freie Hommage an das Genie von Hieronymus Bosch dar" (letzte Seite des Buches). Prachtvolles Künstlerbuch. Der Einband ist auf beiden Deckeln mit einer Collage aus metallisierten Papieren in drei Farbtönen illustriert worden. Der Band beinhalten zudem 8 Seiten aus metalisiertem Papier (grün, hartblau, silbern, golden und rot) mit Spiegelwirkung des Textes. Wenige Seiten mit leichtem Abklatsch. Die farbkräftigen Radierungen von Miró im Format 44 x 32,5 cm und wohlerhalten. With 3 aquatint etchings and 2 carborundum etchings by Miró. Paris, Maeght éditeur, 1972. Loose layers in orig. wrappers. Folio. In cassette. (Cover partly minimal unfresh). - Signed by Miró and Frénaud in the imprint. - Impressive original edition of the poem by André Frénaud, beautifully illustrated by Miró. "The poem by André Frénaud and the accompanying etchings by Joan Miró constitute, according to the authors' intention, a free homage to the genius of Hieronymus Bosch" (last page of the book). Splendid artist's book. The cover has been illustrated on both covers with a collage of metallised papers in three shades. The volume also contains 8 pages of metalized paper (green, hard blue, silver, gold and red) with mirror effect of the text. Few pages with slight rubbing. The colourful etchings by Miró in the format 44 x 32,5 cm and well preserved.

Tedja Suminar, Bali (1936-2016) "Faces of Bali," pastel, collage of head studies of Bali People, approx. 48cms x 56cms (19" x 22"), inscribed on reverse, cloth and gilt tipped mount. (1)

Ulrico Schettini (b.1932) collage - abstract, signed and dated 1959, 24cm x 36.5cm behind glass, framed. Provenance: By descent from Douglas Shepherd (1922-1989), a designer and architect working on public houses for the brewery firm Ind Coope. He was heavily influenced by and was a serious collector of Arts and Crafts and Art Nouveau, including leading designers and artists such as Charles Ashlee and Jessie M King. He assembled a large collection from the 1950s to 1970s. His book collection was subsequently sold through Sotherby’s and in 2013 his magnificent silver collection by Archibald Knox and others was sold through these rooms.

A Leica 1 Model A, circa 1925 Please note this is a Leica model I circa 1930 not 1925 as previously catalogued. Black enamelled finish has been worn away from most of the baseplate and around the edges of the top plate. All exposed metalwork is oxidised and worn. Eyepiece has lost its glass internals but for the back glass. A blob of near matching black enamel has been placed over the number and green foil stuck below it (and also at one end). Spools and shutter working. A few notes on the Leicas' history from the vendor.WW1, my grandfather, graduated from Osbourne house ( pre Dartmouth naval collage ) in 1915 took command of a H Class submarine - the squadron was based Great Yarmouth. The photo showing Jolly Roger is him returning after sinking the heavy cruiser ' Deutschland, the other the submarine itself. Few months later, he himself was attached by U Boat; ensuing zig zag, his boat was hit: there were only 3 survivors - my grandfather was one. The U Boat surfaced, picked up the survivors. At that time, German army guarded POWs' treated airmen and submariners badly. The U Boat commander decided to keep my grandfather in ' close quarters ' at the Wilmshaven naval base.My grandfather & the German commander became friends. Grandfather remained here for rest of war - the Admiralty were not told, my grandmother received telegram advising ' lost in action,' ( I have the telegram ) Some 11 months later she received a letter via red cross advising he was alive and well....The German commander was on of the Neuirecher wine family.Post WW1 the two families retained contact: this included visits of the children of both families. About 1935 / 36 Frau Neuirecher gave my father the Leica. He and his brother, both graduated from Dartmouth - also becoming submariners. My father kept the camera with him throughout, to include his time on Dorchester in the Bismark action: two of his paintings of the sinking are at Imperial war museum.He continued to S Boats and XCraft - for action against Tirpitz & Bergen. Somewhere I have photos taken by the Leica of these times.Post war, my father & his brothers took control of German windfall yachts, bringing them over to Portsmouth. One was Marabu, Goring's yacht.They camaigned Marabu to include fitting a mizen mast. One photo is of Marubu tuning the mizen. My uncle is at the helm wearing white submariners pullover & cap. The photo was taken by my father using the Leica.The other photos were also taken with the Leica of various family activities.In 1956 my uncle sailed to Bemuda in Marabu for the first post war Onion Patch sailing series versus US Navy. He borrowed the Leica - took reels of film - including a severe storm under bare poles: problem - he forgot to pull the lens out to activate...I can remember my father using the Leica - I was never allowed to go near it: it stayed in a drawer following his death in 1993.I have never used it as by then the SLR was the mode.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Lawrence Charles Weiner (American, 1942-2021) 'Steel pennies don't come from or go to heaven'printed paper and collagesigned and dated '93, and inscribed 'For Robert', Henry Moore Sculpture Trust, 199327 x 20.5cm**CONDITION REPORT**Overall good condition, some very slight undulation in the paper to the right side, one small pin hole lower left, not framed or mounted.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

'Composition des Barques' collage by Alexit? 1971. Inscribed to the rear and signed to the front. Frame size 59cm x 45cm, canvas size 50cm x 36cm approx. 

Kurt Schwitters (1887-1948)-attributed, collage with metal, paper, partly painted on cardboard, framed, on the reverse remains of signature, 28x13.5cm

French artist 20th century,moon window, with paper collage, described bottom right, on the reverse gallery stamp, framed, 30x25cm

Joyce Conwy Evans 'Nanki- poo, The Mikado at Charterhouse'conté crayon and collagemonogrammed48 x 32cm

FRITZ KÖTHE (1916 Berlin - 2005 ebenda) - Farboffsetlithografie, ¨Collage (Badenixe und Radspeichen)¨, unten rechts in Bleistift signiert ¨FKöthe¨, Ex. 238/300, Motivmaß ca. 58,5x44cm, gerahmt (75,5x59,5cm), Papier leicht gewellt

FRITZ KÖTHE (1916 Berlin - 2005 ebenda) - Farboffset, ¨Collage (Kussmund mit Strohhalm und Schriftzug-Fragment)¨, unten rechts in Bleistift signiert ¨Fritz Köthe¨, Ex. 45/90, Druckmaß ca. 57,5x49,5cm, gerahmt (83x74cm)

ABC Kinderzimmer-Collage - 26 farbig lithografierte ABC-Tiermotive mit englischer Bezeichnung, je ca. 28x17cm, hinter (Museums-)Glas gerahmt, gewischter Holzrahmen, ca. 120x130cm

FRITZ KÖTHE (1916 Berlin - 2005 ebenda) - Farboffsetlithografie, ¨Collage (Akt und Auspuff)¨, unten rechts in Bleistift signiert ¨FKöthe¨, Ex. 239/300, Motivmaß ca. 58,5x44cm, gerahmt (75,5x59,5cm), Papier leicht gewellt

RICARDO SEGURA TORRELLA (1927 A Coruna - 2000 ebenda) - Mischtechnik/Collage auf Papier, ¨Finisterre¨ (1964), unten links signiert ¨Segura Torrella¨ und datiert sowie ortsbezeichnet, ca. 51x73cm, ungerahmt, Ränder teilweise minimal bestoßen, Schmutzaufrieb, am linken Rand fleckig, Ecken mit Spicklöchern

The Beatles Story coin and stamp collage.

A framed and glazed collage - The Golden Anniversary collection of Queen Elizabeth II.

Marianne Hellwig John (b.1930) - Cardigan Bay 1989 - A vintage 20th Century mixed media on paper land / seascape painting depicting the English coastline. Signed to the lower right with paper label to the verso. Framed and glazed. Measures approx; 65cm x 66cm.    Hellwig is a painter, especially in acrylic, collagist, teacher and poet, born in Breslau, Germany (now Wrocław, Poland), who moved to Scotland in 1939. She was married to the sculptor David John. Studied at Liverpool School of Art, for sculpture with Karel Vogel, 1945–50; St Martin’s School of Art, with Frederick Gore for painting, 1950–1; and at London University Institute of Education, with William Newland for pottery. Worked in administration for overseas students and the editorial section of the British Council, 1968–88, for nine years in the 1960s and 1970s teaching painting to adults at Woodley Hill House, near Reading. Hellwig John began painting abstracts in the 1960s, creating collage in the 1990s.  COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .

Ruoff, Fritz: Collage. (1906 - 1986), u.re. signiert, u.li. 1976 datiert, blaufarbige Komposition. 24 x 24 cm, unter Glas gerahmt. Zustand I-II

JULIÁN GRAU SANTOS (Canfranc, Huesca, 1937)."Sunset in Cuenca".Oil on canvas.Signed on the lower right. Signed, titled and located on the back.With Sala Parés label on the back.Measurements: 73 x 60 cm; 101 x 88 cm (frame).Julián Grau Santos was linked from a very young age to the city of Cuenca, where he lived in the sixties at the height of the effervescence of abstract art, although his painting was figurative in nature. Grau Santos, especially known for his portraits, landscapes and still lifes, and to whom the writer Raúl Torres dedicated the book 'La Cuenca de Grau Santos', has never considered himself a classical painter, but "modern, because I live, and I like all painting of good taste, abstract painting and painters such as Mondrian, Matisse, Bonart, Picasso. I have always been very open-minded".Son of Emilio Grau Sala and Ángeles Santos Torroella, he trained in Barcelona. In 1949 he made several trips to Paris, where he had the opportunity to see first-hand works by Sisley, Van Gogh and various Impressionists and Post-Impressionists. He held his first solo exhibition at the Sala Libros in Saragossa in 1957. Since then he has held solo exhibitions at the Syra, Rovira and Vayreda galleries in Barcelona; Alas, Abril, El Cisne, Collage and Biosca in Madrid; Justin Lester in Los Angeles, Art Roman in Tokyo, etc. Since 1966 he has exhibited regularly as a solo artist at the Sala Parés in Barcelona, and in 1968 he took part in the Salon des Artistes Français at the Grand Palais in Madrid. His work, linked to expressionism and very much based on colour, is characterised by a very elaborate technique and a profound knowledge of drawing. He also produced numerous drawings, which were published in various newspapers and magazines. His awards include the La Rambla Prize (Barcelona, 1961), the Ramón Rogent Medal (Salón de Mayo, Barcelona, 1962), the medal of the Fine Arts Exhibition (Madrid, 1961), the 3rd Sant Jordi Prize and Van Gogh Prize (Barcelona, 1963), the City of Barcelona Medal (1965), the Huesca Painting Biennial Prize (1976), the Countess of Barcelona Medal (Madrid, 1983) and the Medal of Honour in the BMW Competition (Madrid, 1987). In recent years he has participated in the ARCO fairs in Madrid and ARTEXPO in Valencia, Barcelona, Basel, New York, Chicago, Miami and Hong Kong. In 1993 the Mapfre Vida Foundation in Madrid dedicated a retrospective exhibition to him.

John Piper (1903-1992), lithograph in colours on paper, Welsh Chapel, 1935, from a collage, 20cm x 16.5cm, mounted, framed and glazed. Printed onBasingwerk Parchment by Shenval Press for Image Quarterly under thecsupervision of Robert Harling, 1949

British School 20th century collage with the initials JV and continental print of a vineyard

Renard, Thierry (geb. 1951 in Hasselt/Belgien) "The value added" (1995). Mixed Media/Collage, li. u. monog. "TR" sowie re. im Werk bez. "Magritte", rückseitig Etikett Galerie Frank+Schulte, Berlin. Bildmaß ca. 25x 20 cm. PP., R., 58x 46 cm.

Renard, Thierry (geb. 1951 in Hasselt/Belgien) "Fashionable Square" (1995). Mixed Media/Collage, re. u. monog. "TR", rückseitig Etikett Galerie Frank+Schulte, Berlin. Bildmaß ca. 15,5x 15,5 cm. PP., R., 58x 46 cm.

Renard, Thierry (geb. 1951 in Hasselt/Belgien) "Shocking" (1995). Mixed Media/Collage, li. u. monog. "TR" sowie re. im Werk bez. "Daumier", rückseitig Etikett Galerie Frank+Schulte, Berlin. Bildmaß ca. 21x 18,5 cm. PP., R., 58x 46 cm.

Renard, Thierry (geb. 1951 in Hasselt/Belgien) "The main cast only" (1995). Mixed Media/Collage, re. u. monog. "TR", rückseitig Etikett Galerie Frank+Schulte, Berlin. Bildmaß ca. 26,6x 21,7 cm. PP., R., 58x 46 cm.

Renard, Thierry (geb. 1951 in Hasselt/Belgien) "Ne doutez pas du double" (1995). Mixed Media/Collage, li. u. monog. "TR", rückseitig Etikett Galerie Frank+Schulte, Berlin. Bildmaß ca. 11x 16 cm. PP., R., 58x 46 cm.

Renard, Thierry (geb. 1951 in Hasselt/Belgien) "Sous seing-privé" (1995). Mixed Media/Collage, re. u. monog. "TR", rückseitig Etikett Galerie Frank+Schulte, Berlin. Bildmaß ca. 20,8x 14,4 cm. PP., R., 58x 46 cm.

Renard, Thierry (geb. 1951 in Hasselt/Belgien) "Sans domicile fixe" (1995). Mixed Media/Collage, re. u. monog. "TR", rückseitig altes Etikett Galerie Frank+Schulte, Berlin. Bildmaß ca. 10x 11 cm. PP., R., 58x 46 cm.

Tiger, Fred (geb. 1976, lebt und arbeitet in Berlin) Ohne Titel. Mixed Media/Collage/Acryl/Platte. Ca. 49x 59 cm. R.

Pol MARA (1920-1998) 'Collage' a mixed media with original hand-written text and poems. Dimensions: (W: 130 x H: 92 cm)

Joe Tilson RA (British, born 1928)Eye Mantra Soft-ground etching and aquatint printed in colours with collage, 1979, on wove, signed, dated and numbered 50/75 in pencil, published by Waddington Graphics, London, with their blindstamp, the full sheet, 870 × 964mm (34 1/4 × 38in)(SH)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

A large collage of ephemera, records and photographs relating to The 1950's Rat Pack, 96cm high x 125cm wideLocation: A4M

A collection of four Victorian tobacco jars, one with transfer decoration "The collage tobacco jar"

Rosslyn (20thC). Raised collage, mixed media, 92cm x 25cm.

20thC Oriental School. Collage trees, dolphins, mixed media, unsigned, 59cm x 112cm.

20thC School. Collage, mixed media, raised with glass sections, unsigned, 84cm x 88cm.

Lucchini, Cesare(Geb. Bellinzona 1941)Ohne Titel, 1986. Öl und Collage auf Leinwand. Mitte links signiert und datiert. 90x76 cm.

Valenti, Italo(Mailand 1912–1994 Ascona)"Rupture". 1967. Collage. Unten rechts in Bleistift signiert. Verso auf der Rückwand betitelt, datiert, mit Widmung und signiert. Lichtmass12,3x16,1 cm. Gerahmt.- Werk wurde zwischen Passepartout und Rückwand montiert.

MARY WONDRAUSCH (1923-2016) 'HERRING', depicting a modernist study of a fish, initialled bottom right, signed, titled and dated 1964 verso, mixed media collage on paper, approximate size 40cm x 58cm, together with two mixed media collages attributed to Mary Wondrausch, 'Le Fort de la Hogue I' depicting boats at low tide, title and attribution label verso, approximate size 41cm x 60cm and 'The Snowman' depicting figures building a snowman, attribution title and date 1954 verso, approximate size 45cm x 72cm (3) (ARTIST RESALE RIGHTS MAY APPLY TO THIS LOT) PROVENANCE: The art was purchased directly from the artist and has passed to the vendor by descent

Barron Storey (1940- ), Two motoring artworks,comprising '1968 Los Angeles Auto Expo', original design artwork, signed, acrylic, watercolour and gouache with collage on artist's board, depicting the Ferrari P5, Ferrari Dino and other cars, 64 x 54cm, framed and glazed together with '1972 Los Angeles International Auto Expo' original advertising design artwork, signed and dated 1972, mixed media collage on artist's board, depicting the Ferrari Modulo and the Maserati Boomerang, 68 x 43cm, framed and glazed. (2)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

Barron Storey (1940- ), Two motoring artworks,comprising '1973 Los Angeles International Auto Expo' original advertising design artwork, signed and dated 1973, mixed media collage on artist's board, depicting Maserati, BMW, Ferrari and Alfa Romeo cars, 63 x 40cm, framed and glazed together with ), '1977 Los Angeles International Auto Expo', original advertising design artwork, signed and dated 1977, mixed media on artist's board, depicting a special Bertone Prototype, Aston Martin Lagonda and other cars, 66 x 56cm, framed and glazed. This design was used on the front cover of the 1977 show programme. (2)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

Charles Wilp (deutsch, 1937 - 2005), Berlin, Collage, Fotomontage auf Pergamentumschlag, jeweils mit Bleistift sig. und beschriftet, Message from Space, Dokumenta Künstler Charles Wilp, Aboard D2, zwischen 1992 und 1994. Maße Fotomontage: 21 x 29,5 cm, Umschlag: 36 x 50,5 cm, gerahmt: 50 x 60 cm. Altersbedingter Zustand, diverse Knicke und Nutzungsspuren, Glas beschädigt.

Felix Droese1950 Singen Hohentwiel - lebt in Mettmann - "Herzhand" - Papierschnitt (Collage)/Papier. 94/150. 5 x 24,5 cm, 30 x 40 cm. Auf dem Arm sign. und dat.: Felix Droese 1995. Auf der Rückseite des Rahmens auf Etkiett bez. Unter Glas gerahmt. Droese studierte von 1970 bis 1976 an der Kunstakademie Düsseldorf. 1980 stellt er zum ersten Mal seine Papierschnitte aus, mit denen er auch 1982 auf der Documenta vertreten ist. 1986-87 erhält er eine Professur für Malerei und Grafik an der Städelschule, Frankfurt am Main. 1988 nimmt er an der Biennale in Venedig teil. Droese widmet sich in seinen Arbeiten den Themenfeldern Politik und Geschichte.

Wolfram Beck (Greiz 1930 - Berlin 2004). Collage 1973. 1973. Papiercollage. 61,5 x 43 cm. Auf dem Rückseitenschutz Nachlasstempel und WVZ-Nr. C21573, unter Passepatout und Glas gerahmt, ungeöffnet. - Gutachten: Zertifikat von Karoline Beck mit Werkverzeichnisnr. C21573. - Provenienz: Aus dem Nachlass des Künstlers - Deutscher Künstler. Zunächst Drechsler und Holzbildhauer bevor er 1955-60 an der Hochschule der Künste in Berlin bei P. Dierkes studierte, zuletzt als dessen Meisterschüler. 1965 schuf B. die Trophäe des Preises die 'Goldene Kamera'. Eine günstige Heirat im selben Jahr ermöglichte ihm künstlerische Arbeit ohne materialle Sorgen. Eine skulptural-architektonische Auffassung, sehr ausgewogene Komposition und handwerkliche Präzision prägen auch seine zweidimensionalen Werke. Seine Arbeiten finden sich u.a. in der Sammlung von Axel Springer und Egon Eiermann.

Arnold Fiedler (Hamburg 1900 - Hamburg 1985). Landschaft. 1980. Öl/Lw. und Collage. 21 x 33,5 cm. R. o. sign. und dat. Arnold Fiedler 80, ohne Keilrahmen unter Glas gerahmt, ungeöffnet. - Hamburger Maler und Graphiker. F. studierte an der Kunstgewerbeschule Hamburg bei J. Wohlers und A. Illies und wurde Mitglied des Hamburger Künstler-Vereins. Studienreisen führten ihn anschließend nach Italien und Frankreich. Das NS-Regime belegte ihn mit einem Ausstellungsverbot, als Folge dieses Drucks emigrierte er 1938 nach Paris, wo er zwischen 1959 und 1969 ein zweites Atelier unterhielt. F. war in Hamburg Lehrer von R. Drenkhahn und R. Diener. Unter seinen Auszeichnungen waren der Edwin-Scharff-Preis und der Kunstpreis der Stadt Hamburg, F. war zudem Ehrengast der Villa Massimo in Rom. Mus.: Hamburg, Schleswig, Darmstadt, Paris, Tokio. Lit.: Vollmer, Der Neue Rump, Heydorn, H. T. Fleming: Arnold Fiedler, 1980, U. Schoop: A. F. - Der Maler 1900-1985. Ein Werkverzeichnis.

Arnold Fiedler (Hamburg 1900 - Hamburg 1985). Zirkus. Collage. 32 x 50 cm. L. u. sign. und dat. Arnold Fiedler 74, unter Glas gerahmt, ungeöffnet. - Hamburger Maler und Graphiker. F. studierte an der Kunstgewerbeschule Hamburg bei J. Wohlers und A. Illies und wurde Mitglied des Hamburger Künstler-Vereins. Studienreisen führten ihn anschließend nach Italien und Frankreich. Das NS-Regime belegte ihn mit einem Ausstellungsverbot, als Folge dieses Drucks emigrierte er 1938 nach Paris, wo er zwischen 1959 und 1969 ein zweites Atelier unterhielt. F. war in Hamburg Lehrer von R. Drenkhahn und R. Diener. Unter seinen Auszeichnungen waren der Edwin-Scharff-Preis und der Kunstpreis der Stadt Hamburg, F. war zudem Ehrengast der Villa Massimo in Rom. Mus.: Hamburg, Schleswig, Darmstadt, Paris, Tokio. Lit.: Vollmer, Der Neue Rump, Heydorn, H. T. Fleming: Arnold Fiedler, 1980, U. Schoop: A. F. - Der Maler 1900-1985. Ein Werkverzeichnis.

Leo COPERS (1947)Mixed media/Collage, signed and dated '84-'85Gemengde techniek/Collage, gesigneerd en gedateerd '84-'8554 x 72.5 cm

PANAMARENKO (1940-2019)Multiple/collage in plexi box numbered A.P. and signed.The work brings together the 2 main themes of Panamarenko's work, water and air.Multipel/collage in plexi box genummerd A.P. en getekend.Het werk brengt de 2 belangrijkste thema's van het werk van Panamarenko bijeen, water en lucht.66 x 96 cm

Miller, C. - "Buildings", unten rechts signiert, Acryl/Collage auf Leinwand, handsigniert, ca.100,5x80,5cm, ungerahmt

Künstler/in unbekannt (20./21. Jh.), Abstrakte geometrische Collage, Mischtechnik/Papier,unten mittig sign., PP, gerahmt, ca. 97 x 90 cm (m. Rahmen).

Tomas Watson (b.1971) - Self-portrait II, monoprint and collage in colours, dated '2008', 20.5 x 19.5cm, housed in a glazed floating frame, with 'Jill George Gallery Ltd, 38 Lexington St, Soho, London', printed label verso

Spanish School of the 18th-19th centuries."Bourbon Kings and Queens from Philip V to Alfonso XII".Collage of old engravings cut out and enriched in ink.Frames from the 19th century.There are broken, worn, damaged, faults and dampness.Measurements: 16 x 10 cm ; 18,5 x 13 cm (frame).

Jonathan J Peters & Co of Bristol 18ct gold keyless winding half hunter pocket watch with inset subsidiary seconds dial, blued hands, black Roman numerals, white enamel dial, inlaid blue enamel Roman numerals to the case and movement signed 'Jno J Peters & Co 30 Collage Green Bristol', case diameter 45mm, serial number 69491, 88.3g.

AFTER BANKSY; colour print, 'Collage II, Panorama London', with King & McGaw Framers label verso, 29 x 29cm, framed and glazed. Additional InformationImage clean and bright, frame with some light scuffs.