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Click here to subscribeAlex Katz (American, born 1927)Yellow Flags 2 Archival pigment ink jet, 2018, on Crane Museo Max, signed and numbered 'AP 13/20' in pencil, one of twenty artist's proofs aside from the numbered edition of 125, published by Lococo Fine Art Publishers, Saint Louis, with their inkstamp verso, printed to the edges of the full sheet, 420 x 1140mm (16 1/2 x 44 7/8in)(SH)For further information on this lot please visit Bonhams.com
John Piper (British, 1903-1992)East Barsham Manor (Levinson 320) Screenprint in colours, 1981, on Arches wove, signed and numbered 70/70 in pencil, printed by Kelpra Studio, London, published by Marlborough Fine Art, with margins, 550 x 763mm (21 5/8 x 30in)(I)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
Victor Pasmore R.A. (British, 1908-1998)The Space Within Etching and aquatint printed in colours, 1982, on wove, signed with the initials, dated and numbered 47/90 in pencil, printed by Vigna Antoniniana, Rome, co-published by 2RC Edizioni d'Arte, Rome and Marlborough Fine Art Ltd., London, with the printer's and publisher's blindstamp, with full margins, 1200 x 2497mm (47 1/4 x 98 1/4in)(SH)(unframed)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
* Sandby (Paul). Bridge-North S. W., 1774, aquatint after Rev. Dr. Luttrell Wynne with contemporary hand colouring, some staining, laid on later stiff paper, 370 x 540 mmQty: (1)NOTESTHE DAVID SMITH PRINT COLLECTION PART I CIVIL ENGINEERING, TRANSPORT & TOPOGRAPHICAL PANORAMAS A fine aquatint of the market town of Bridgenorth in Shropshire. Sandby first visited Bridgnorth in 1770 and it appears in the background of two later bodycolour landscapes dominated by a large beech tree, one at the V&A, dated 1794 (Hermann 25), the other at Yale Center for British Art (Hermann 130): he exhibited a view entitled 'East View of Bridgnorth' at the Royal Academy, London in 1801. (BM).
Wildenstein (Daniel) . Monet, or the Triumph of Impressionism, 4 volumes, Taschen, Verlag, 1996, numerous colour & black & white illustrations, publishers uniform original blue cloth in slipcase, large 8vo, together with; Schjeldahl (Peter) , Eric Fischl, 1st edition, Stewart, Tabori & Chang, New York, 1988, numerous colour illustrations, original cloth in dust jacket, very minor rubbing to head & foot, large 4to, and Vallier (Dora) , Braque The Complete Graphics, Catalogue Raisonné, 1st edition, Alpine Fine Arts Collection, Ltd., 1982, numerous colour & black & illustrations, original cloth in dust jacket, covers lightly rubbed to head & foot, large 8vo, plus other modern art reference & related, many original cloth in dust jackets, some paperbacks, G/VG, 8vo/4toQty: (3 shelves)
Percy Hipkiss (British 1912-1995), Trio of oils of Somerset. Percy Hipkiss, Somertset country stream landscape, c.1950s, oil on board, measurements 17.5 x 23 cm, frame 31 x 36 cm, Label verso for Wenlock Fine Art Percy Hipkiss, Brent Knoll, Somerset, c.1970s, signed bottom left, oil on board, measurements 22 x 30 cm, frame 35 x 43 cm, label verso for Wenlock Fine Arts Percy Hipkiss winter field landscape, c.1960s, oil on board, measurements 19 x 23 cm, frame 32 x 37 cm. Label verso for Wenlock Fine Art Together with, Doris Varley (British 1902-1992), Shoreline, watercolour, c.1940s. Measurements 23 x 36 cm, frame 38.5 x 51.5 cm (4)
AFTER CECIL ALDIN "Goodwood from Trundle Hill" colour print signed in pencil, bears Fine Art Trade Guild stamp 32 cm x 57 cm together with AFTER JAMES POLLARD "The Derby Day - Tits and Trampers, on the road to Epsom" colour engraving 30 cm x 39 cm CONDITION REPORTS Basically sound with no areas of damage though the paper slightly browning with some areas of paler blotches, particularly top right - see image for further detail
Herbert Thomas Dicksee RE (1862-1942)‘The Happy Mother’ (Bloodhound with her litter of seven pups) original etching on vellum, signed artist’s proof, published by the Fine Art Society, London (and Boussod Valadon & Co., New York) 1895, with blindstamp, remarque of a dog collar, image 33 x 63.5cmProvenance: The Bryan Steele Collection.Exhibited: Royal Academy,1895, no. 1295.
Herbert Thomas Dicksee RE (1862-1942) 'Oh! For the Touch of a Vanished Hand and the Sound of a Voice That is Still’ - Tennyson, ‘In Memoriam’ (Irish Wolfhound guarding an empty glove)original etching on vellum (after his oil painting, RA exhibit 1892, number 987)signed artist’s proof, published by the Fine Art Society, London (and Boussod Valadon & Co., New York) 1893, with blind-stamp, remarque of a stag’s head image 32.5 x 63.5cmProvenance: the Bryan Steele Collection.Exhibited: Royal Academy, 1893, no. 1468.
A rare Minton & Hollins Alphabet tile designed by Godfrey Sykes, originally designed for the Refreshment Room at the V&A, modelled in low relief as the letter H, with standing boy reading book, glazed white unsigned, 30 x 26.5cm. Literature Minton 1798-1910 Victoria & Albert Museum, 1976 front cover the letter M tile plaque illustrated on the front cover. The Andrew McIntosh Patrick Collection, The Fine Art Society, page 148 catalogue 306 for the letter B plaque. Catalogue notes Henry Cole asked Godfrey Sykes, still a young man in thirties, a former pupil of Alfred Stevens to assist him with the decoration of the South Kensington Museum. The designs, although created in 1864, were produced posthumously after Sykes death in 1866.
A Linthorpe Pottery vase designed by Dr Christopher Dresser, model no.360, flaring cylindrical form, shouldered with flaring rim, painted with a butterfly flying past flowering waterweed issuing from a pond, in colours on a mottled mushroom ground, impressed factory marks, facsimile Dresser signature, small chip to top rim, 35.5cm. high Provenance Andrew McIntosh Patrick Collection. The Fine Art Society.
A fine Martin Brothers stoneware Dragon vase by Edwin and Walter Martin, dated 1894, ovoid with collar neck, pushed-out decoration of two ferocious dragons fighting a serpent, in shades of brown and green on a deep brown ground, incised 9-1894 Martin Bros London & Southall, 19cm. high Literature The John Scott Collection, British Art Pottery, 11-20th June 2014, Fine Art Society, catalogue number 22, page 33 Provenance The John Scott Collection.
A mahogany serving trolley in the manner of Gerald Summers for Makers of Simple Furniture, rectangular top with rail and fitted cutlery drawer, over low rectangular shelf, on wheels, unsigned, 68 x 40.5cm (top), 78cm. high Provenance Andrew McIntosh Patrick Collection. Literature The Andrew McIntosh Patrick Collection, The Fine Art Society, page 8 this trolley illustrated.
A fine Della Robbia Pottery Art Nouveau vase by Cassandia Annie Walker, dated 1904, slender, baluster form, incised and painted with tall flower stems alternating with green moon motif, and a border of hearts, in shades of green, blue, purple and turquoise, incised ship factory mark, dated 1904 and CAW monogram, minor professional restoration, 34cm. high Provenance British Ceramic Design from 1860, Bonhams, London 23rd September 2008, lot 28. Private collection. Literature Peter Hyland The Della Robbia Pottery 1894-1906, ACC, page 222 figure 242, for a small plaque by Cassandia Annie Walker, circa 1904, with comparable green spheres.
JAZZ/ ROCK - 10" RARITIES. One for the collectors, a boppin' selection of 5 10" rarities. Artist/ titles include Billy Fury ?– The Sound Of Fury (LF 1329, UK 1960 mono original pressing on Decca. Record is beautiful Ex, Sleeve Vg+, some handling staining to the rear opening edge). Also included is The Sound of Billy Fury (LFT 1329, the 1981 UK reissue on Decca. Record and sleeve are both Ex). Art Baxter And His Rock 'N' Roll Sinners ?– Rock You Sinners (BBR 8017, 1957 UK mono pressing on Philips. Record and sleeve are both stunning Ex). Chuck Wayne Quintet ?– Chuck Wayne Quintet (LZ-C14014, 1956 UK mono pressing on London Records. Record is lovely Ex, sleeve is strong Vg+, a tiny bit of laminate peel at the left end of the rear bottom flap). Van Wood Quartet ?– Van Wood Quartet (LP. 143, 1955 Italian pressing on Fonit. Record is Vg+ with some fine surface marks. Sleeve has some edge shelf wear and a small tear to the rear bottom flap, Vg).
CLASSIC ROCK/ POP - PROMO CASSETTE JOB LOT. A large selection of around 71 mostly promo cassettes. Artist/ titles include House Of Love, Prefab Sprout (x2), World Party, Utah Saints, Danny WIlson, Wilson Phillips, Randy Travis, Transvision Vamp, T Bone Burnett, Donna Summer, The Steamboat Band, Soul II Soul, Leon Redbone, The Rankin Family, The Proclaimers, Energy Orchard, Melissa Etheridge, Jools Holland, Hot House Flowers (x2), Hue & Cry, Chris Isaak, The Jeff Healey Band, Monster Magnet, The Men They Couldn't Hang, Ian McNabb, The Monkees, Christy Moore, Neville Brothers, Vanessa Paradis, Fine Young Cannibals (x2), Debbie Gibson, Grant Lee Buffalo, Gun, Terry Hall, Jerry Harrison, Oleta Adams, A-Ha, An Emotional Fish, Art Of Noise, Rick Astley, The Beautiful South, Bow Wow Wow, The Chieftains, Sinead O'Connor, Cowboy Junkies (x2), The Bangles (x2) Big Country, Various - WEA New Releases (x17). Mostly white inlays with track and artist information, some do have printed covers. WEA releases have full track listings. All cassettes appear to be in excellent condition.
Collection of Raphael Kirchner signed postcards including Singed Wings, Cupid's Captive, Sunshine No. 1252, Reflections, The Call No. 1267, Ma Marraine, Two in a Car, Friolerie No. 1254, The Little Sister; Together with other artist signed including Goddess in the Car by The Delta Fine Art Co, Constance Symonds Series 1645, Harrison Fisher No. 763, Schumann's Children's Pieces, Barham.
Himalayan Art A copper figure of Jambhala Nepal, Malla period, 14th century . . Cm 5,00 x 8,20. Refined copper casting depicting yellow Jambhala. Sitting in the lilasana position, he strokes a mongoose (Nakula) with his left hand, his icon and companion, while with his right he holds a large precious stone. Note the fine and graceful workmanship of the face and torso in the height of Nepalese style of the Malla era. Admire this beautiful crown, embellished with a garnet and small traces of gilding on the face and neck.Provenance: Private collection Milan, Italy.Published in: Sotheby’s, “Arts d’Asie”, 12 December 2013, Parigi, Sale number PF1317, Lot 222.
Himalayan Art A thangka depicting Dorje Drolo Tibet, 18th century . . Cm 39,00 x 54,00. A very fine thangka depicting Dorje Drolo, one of the eight forms of Padmasambhava (Guru Rimpoche) in his wrathful form in the act of defeating the evil spirits, surrounded by a flaming halo and in aggressive pose with the body in a fighting position and the garments flapping around. He uses a white tiger that squashes a dead body and holds the phurba in his left hand whilst he brandishes a vajra in the right. To subdue the spirits he is fighting he changes himself to look like them, his teeth bocome fangs and the skin dark-coloured. Inserted into a natural setting with snowy mountains in the distant, he is accompanied by six other figures, some of whom are Guru Rimpoche's pupils. Provenance: Private collection Turin, Italy.
§ Mike Francis (1938-)oil and acrylic on canvas'The Lightermen Brothers'signed and inscribed verso15 x 36in.CONDITION: Good original untouched condition with no faults noted, black painted frame with a few small chips, Whitford Fine Art label versoComes for sale from a Corporate Art Collection.
Edward Leonard (1901 - 1968) Portrait of an elegant young woman. Oil on board. Signed lower right. Leonard was a very well schooled artist having studied at the National Academy of Design in New York City. He also studied art at the Art Students League, the Beaux Arts Institute, and the Grand Central School of Art, all in New York. Leonard traveled to France to study art and has won numerous medals and prize awards for his work. He worked in New York City for many years as a portrait artist. While living there he became a Trustee of the Artists Fellowship. A group formed in 1925 as a private, charitable foundation that assists professional fine artists (painters, graphic artists, sculptors) and their families in times of emergency, disability, or bereavement. He was also a member of the Salmagundi Club.After moving to Venice, Florida, he became the Chairman of the Florida Federation of Art, which was organized in April 1927, in Orlando, Florida, to assist local clubs throughout the state in promoting art and art appreciation. He worked as an instructor of portrait and figure painting at the Ringling School of Art and Design in Sarasota, Florida. Sight Size: 19.5 x 15.5 in. Overall Framed Size: 23 19.5 in.
Shannon Stirnweis (B. 1931) "Army and Camels" Signed lower left. Original Oil and Acrylic painting on Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared in the Fleetwood Trails West Collection of Fine Art Prints as "The Camel Corps" published in 1983. With the discovery of gold in California, thousands of easterners set off to make the trip westward. But the transcontinental journey was long, arduous and dangerous -- and the need for an overland route was crucial. So the government sent soldiers and other military personnel to establish roads and protective military posts. However, the rugged, bone-dry deserts were devastating obstacles to the horses and mules the soldiers needed for overland travel. The animals' insatiable need for water, and their inability to carry heavy loads made the military look to another beast of burden that could hold up under the harsh conditions. One insightful man, Jefferson Davis, saw many of the difficulties presented by western deserts could be overcome with the use of camels ... animals already proven in deserts of the Far East. He convinced the United Staes govenment to procure a number of the beasts to see if they could provide the rugged and dependable transportation the military needed. By late 1856, thirty-three fine camesl were shipped from the Far East to Indianola, Texas, where the army reluctantly received the animals. At first, the soldiers despised the camels because of their extremely foul smell and unpredicatable temper. However, after the animals proved themselves as remarkably superior transportation over the vast, waterless deserts, the soldiers were proud to be a part of America's only Camel Corps. Image Size: 18 x 20.75 in. Overall Size: 20 x 22.75 in. Unframed. (B07838)
David K. Stone (American, 1922 - 2001) "Mail Order Bride" Signed lower right. Original Oil painting on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared in the Fleetwood Trails West Collection of Fine Art Prints as "Mail Order Bride" published in 1983. On March 8, 1899, a small Colorado District came of age as the State Legislature voted to create Teller County. The famous gold town of Cripple Creek, Colorado was designated as county seat. Not too many years earlier, Cripple Creek ... like so many other small settlements throughout the country ... was a quiet, almost sleepy, town. But when gold was discovered on a lower slope of neighboring Pike's Peak, the small town grew at a phenomenal rate as literally hundreds of prospectors and fortune seekers poured into the area. As is the case in most gold "boom towns," the vast majority of the Cripple Creek gold seekers were men. Consequently, one of the most scarce and desirable commodities throughout the entire area was eligible young women. This great female shortage brought out some of the most creative matrimonial exploits the West has ever seen. One young entrepreneur even went so far as to travel to the East Coast and recruit young women to relocate in the West ... promising them the natural beauties of the land and unlimited employment opportunities as school teachers and seamstresses. In reality, he was providing a Mail Order Bride service to the many men back home. Overall Size: 18 x 21 in. Unframed. (B07916)
Ca. 700-1100 AD. Viking Era. A Viking era bronze omega brooch with flaring terminals decorated with raised dots arranged in geometric patterns, circular sectioned pin plate, and a fine pin. This brooch is made more spectacular by the addition of cowrie shells wired to the body of the brooch. Brooches such as this one were status symbols, tradable goods in lieu of currency, and are often found as grave goods to provision the dead for the afterlife. For more general information on Viking Jewellery see Arbman, H. Birka I: Die Gräber, Uppsala, 1940. Good condition. Size: L:90mm / W:50mm ; 21g; Provenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market before 2000.
C. 1-300 AD, Roman. Long golden chanin comprising extremely fine links formed into a faux weave. This beauitful chain probably belonged to a Roman noblewoman. Excellent condition. Size: L:225mm / W:mm ; 12g; Provenance: Property of a professional Ancient art and jewelry expert; previously with a London gallery; initially from a private British collection formed in the 1970s.
Ca. 700-1100 AD. Viking Era. A Viking era silber omega brooch with flaring terminals decorated with raised dots arranged and incised lines, circular sectioned pin plate, and a fine pin. This brooch is made more spectacular by the addition of cowrie shells wired to the body of the brooch. Brooches such as this one were status symbols, tradable goods in lieu of currency, and are often found as grave goods to provision the dead for the afterlife. For more general information on Viking Jewellery see Arbman, H. Birka I: Die Gräber, Uppsala, 1940. Good condition.Size: L:68mm / W:51mm ; 26.5g; Provenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
C. 300-400 AD Roman. A lot of three terra sigillata vessels, including one globular jug with an outward flaring rim, applied flat handle and incised decorations. There is also a simple footed bowl with a vertical, wedge rim and a large double handled vessel with two applied handles, outward flaring rim and incised linear decorations. ‘Terra sigillata‘ is a type of fine ware Roman pottery identifiable by its red glossy surface slip, which was made in specific areas of the Roman Empire, such as North Africa, Gaul, and Central Italy. Terra sigillata is also known for the relief decoration many of the vessels were decorated with which is usually modelled, embossed, or applied. Indeed, some vessels are impressed with stamps which give the type of ceramic its name - terra sigillata means ‘clay bearing little images’. Excellent Condition. Size: L:Set of 3; 75mm (smallest); 95mm (largest)/ W:35mm (smallest); 65mm (largest) ; 185g; Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent.
C. 300-400 AD Roman. A beautiful globular terra sigillata jug with an long thing nick, a slightly outward flaring rim, and applied flat handle and a almost spherical body decorated with incised lines resting on a ring base. ‘Terra sigillata‘ is a type of fine ware Roman pottery identifiable by its red glossy surface slip, which was made in specific areas of the Roman Empire, such as North Africa, Gaul, and Central Italy. Terra sigillata is also known for the relief decoration many of the vessels were decorated with which is usually modelled, embossed, or applied. Indeed, some vessels are impressed with stamps which give the type of ceramic its name - terra sigillata means ‘clay bearing little images’. Excellent Condition. Size: L:137mm / W:95mm ; 170g; Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s.
C. 300-400 AD Roman. A lot of three squat globular jars, two with dual applied handles, and slightly out-turned rims, one of which has beautiful incised linear decoration and a third with a single applied handle, a wide lipped, vertical rim, and black soot staining. ‘Terra sigillata‘ is a type of fine ware Roman pottery identifiable by its red glossy surface slip, which was made in specific areas of the Roman Empire, such as North Africa, Gaul, and Central Italy. Terra sigillata is also known for the relief decoration many of the vessels were decorated with which is usually modelled, embossed, or applied. Indeed, some vessels are impressed with stamps which give the type of ceramic its name - terra sigillata means ‘clay bearing little images’. Excellent Condition.Size: L:Set of 3; 130mm / W:115mm ; 900g; Provenance: Private London collection, formed in the 1990s on the UK and European art market.
C. 300-400 AD Roman. A lot of three terra sigillata vessels comprising one squat jar with an applied handle, a wide rim and incised linear decoration, a globular jug with an applied handle and a double rim, and a small pouring jar with a long neck and incised linear decoration. ‘Terra sigillata‘ is a type of fine ware Roman pottery identifiable by its red glossy surface slip, which was made in specific areas of the Roman Empire, such as North Africa, Gaul, and Central Italy. Terra sigillata is also known for the relief decoration many of the vessels were decorated with which is usually modelled, embossed, or applied. Indeed, some vessels are impressed with stamps which give the type of ceramic its name - terra sigillata means ‘clay bearing little images’. Excellent Condition. Size: L:Set of 3; 120 (smallest); 110mm (largest)mm / W:45mm (smallest); 105mm (largest) ; 330g; Provenance: Private Kent collection, formed in the 1980s on the UK art market.
Joseph Farquharson (1846-1935) - Oil painting - Eastern street/souk scene with figures to foreground, signed in brown to lower left corner, canvas 26ins x 22ins, in deep gilt moulded frame with acanthus leaf borders Provenance: The Fine Art Society - June 1978, No. 77/85 - Exhibition "Eastern Encounters", and subsequently sold by Sotheby's London - Auction 22nd March 2000 - Lot 256
***Edward Ardizzone (1900-1979) - Pen, ink and watercolour - "The Band-Stand" - View of band stand with numerous figures, 8.25ins x 6.75ins, unsigned, in grey painted and limed moulded frame and glazed Note: Apparently used in the Radio Times Provenance: Sally Hunter Fine Art, 11 Halkin Arcade, London SW1X 8JT - No. 15 in Exhibition "British Illustrators - December 1993" - The collection of Sir Ronald and Lady Doreen McIntosh, late of Ponsonby Terrace, London, SW1P 4QA
Abraham Raimbach (1766-1843) after David Wilkie - Engraving - "The Rent Day", 14.25ins x 24ins, published January 6th 1877 by the London Fine Art Association, and James Pollard (1797-1867) - Coloured aquatint - Horse portrait - Moses with owner and jockey standing by, 12.25ins x 17.5ins, published June 22nd 1822 by R. Pollard & Sons, Holloway, near London, both in maple frames and glazed
AFTER LAURENCE STEPHEN LOWRY R.A. (1887-1976) (ARR Apply) 'Crime Lake', A signed limited edition colour print of 500, signed in pencil in the margin and with trade guild blind stamps, image size; 45cm x 60cm, (see label to reverse - 'Adam Collection Ltd, Fine Art Publishers') framed, mounted and glazed
Signed in pencil in the margin, with Fine Art Trade Guild blindstamp, from an edition of 850, black and white reproduction print.image size 24cm x 35cm (9.5in x 13.75in)Footnote: Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The print is in very good, original condition with no obvious faults to report. The print is framed and glazed.
An early poster, by David Hockney, towards art?, the contribution of the RCA to the Fine Arts 1952-62. Held at Victoria Street Gallery Nottingham, September 1963, 76 x 51 cm, unframedProvenance: From the estates of the late David & Ann Graves, David who was Hockney?s assistant and Ann who was his muse.Ann Upton met David Hockney in 1960 and by 1962 became his model and featured in many drawings and paintings. In the early 1970?s David Graves met Ann Upton through a mutual friend and they started living together. Graves, who was a sculptor and paper restorer, met Hockney at the opening night of Rakes Progress at Glyndebourne Opera where DH designed the set.By the late 1970?s DG became DH?s assistant, later moving to Hollywood with him and in the early 1980?s began to appear in his drawings.David and Ann married in Hawaii 1983 where Hockney was their ?wedding photographer? creating a photographic collage of the occasion, along with drawings.In 2013, after many years as assistant to David Hockney, David and Ann Graves retired to Sherborne, Dorset, where David liked to research and write plays. Ann died in 2017 to be followed by David in 2019
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