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Lot 55
KOKUTA SUDA (1906-1990)Sans titre 1960 signé ; signé, daté 1960. 8.87 et porte des inscriptions en japonais sur le châssistechnique mixte sur toilesigned ; signed, dated 1960. 8.87 and bears incriptions in Japanese on the stretchermixed media on canvas 72.5 x 53 cm.28 9/16 x 20 7/8 in.Footnotes:ProvenanceCollection de l'artiste, JaponCollection particulière, JaponGregg Baker Asian Art, LondonAcquis auprès de celle-ci par le propriétaire actuelSuda Kokuta (1906-1990) est présenté comme l'un des artistes les plus innovants du Japon d'après-guerre. Son œuvre est surtout reconnue pour ses peintures à l'huile et ses gouaches, bien qu'il soit également et incontestablement un maître de la calligraphie, de la céramique et de l'illustration. Né à Saitama, il débute d'abord sa carrière comme peintre autodidacte. C'est à partir d'une rencontre avec le pionnier de la peinture abstraite japonaise Hasegawa Saburō (1906-1957) en 1949, que son art emprunte un chemin différent. Suda se consacre à l'art abstrait tout au long des années 1950 et 1960, avant qu'il ne revienne à l'art figuratif à partir des années 1970. Les trois œuvres présentées dans cette vente ont été peintes au cours des années 1960, figurant la démarche expérimentale employée par Suda dans son œuvre abstraite, qui dura pendant près de vingt années. La composition de ses œuvres conserve un aspect tactile et très texturé. La peinture à l'huile est souvent mélangée avec des matériaux et utilisée avec des techniques expérimentales – il faut à cet égard observer les empâtements épais du gesso appliqué sur la toile, le relief tactile des pierres et du sable broyés, et le verni transparent ; parfois, d'épaisses couches de peinture sont creusées à l'aide de peignes et d'outils faits à la main. L'artiste emploie les mêmes efforts pour ses œuvres sur papier - le papier japonais épais est gaufré pour ajouter un effet tridimensionnel, tandis que d'autres matériaux comme des pigments, ajoutent une touche intéressante de texture et de couleur à la couche picturale sur la toile. Pour Suda, l'art abstrait appelle à la créativité profonde de l'artiste, mais permet aussi d'exprimer l'intangible et des idées métaphysiques. D'abord encouragé par Hasegawa Saburō qui était familier de la philosophie et de la culture d'Asie du Sud-Est, Suda étudie avec passion la philosophie médiévale Zen à partir de laquelle il s'inspira pour créer. L'abstraction de Suda est donc profondément imprégnée de cette dimension spirituelle. La philosophie zen traditionnelle n'est pas en contradiction avec le langage moderne et universel de l'abstraction ; elle est au contraire devenue essentielle pour amener son art vers la transcendance. A cette période, ces idées étaient partagées par de nombreux artistes de l'avant-garde japonaise, comme Yoshihara Jirō (1905-1972), chef de file du groupe Gutai, comme les membres de l'avant-garde du groupe Bokujinkai conduit par Morita Shiryū (1912-1999) et Inoue Yūichi (1916- 1985). Suda et les principaux membres des groupes Gutai et Bokujinkai ont beaucoup échangé autour des modes d'expression artistique d'avant-garde en parallèle avec la culture et les idées traditionnelles japonaises. Dans la région du Kansai, où Suda s'est installé dans les années 1940, ces artistes ont activement participé à des groupes d'étude et se sont inspirés les uns avec les autres, partageant la même vision d'aspirer à de nouvelles formes d'expression artistique. Yoshihara a invité Suda à rejoindre Gutai au moment de sa fondation, mais ce dernier a choisi de rester indépendant et a continué à produire des œuvres puissantes et métaphysiques caractérisées par une esthétique très singulière.Suda Kokuta (1906-1990) one of the most innovative artists of post-war Japan, best known for his distinctive oil and gouache paintings, was also a master calligrapher, ceramicist and illustrator. Born in Saitama, he initially started his career as a self-taught figurative painter. However, following a watershed meeting with a pioneer of Japanese abstract painting Hasegawa Saburō (1906-1957) in 1949, Suda fully devoted his artistic career of the 1950s and 1960s to abstraction, before returning to figurative paintings in the 1970s onwards. Three works in this sale were executed circa 1960, in the middle of his abstract period which lasted over twenty years, with each representing Suda's diverse, experimental abstraction. His works are distinctively tactile and diversely textured, the oil often combined with unconventional materials and techniques – one would notice thick impasto of applied gesso, tactile materiality of crushed stones and sands, and a glaze like finish of a transparent medium; sometimes thick layers of paint are variously marked with combs and handmade tools. An equal effort is put into his works on paper – thick Japanese paper is diversely embossed to add a three-dimensional effect while various media, notably traditional mineral pigments, add an interesting twist of texture and palette to the painting surface. To Suda, abstraction was the field of creative endeavour but also the best mode to express intangible, metaphysical ideas. Initially motivated by Hasegawa Saburō who was also well acquainted with traditional East Asian philosophy and culture, Suda intensely studied medieval Zen philosophy from which he constantly drew inspiration. As such, Suda's abstraction is deeply imbued with spiritual dimensions. For Suda, the traditional Zen philosophy was not something that contradicts the modern, universal language of abstraction – rather, it became essential to bring his art to the next level. Such ideas were shared by many ground-breaking Japanese artists at the time, including Yoshihara Jirō (1905–1972), leader of the Gutai group, as well as members of the avant-garde calligraphy circle Bokujinkai, led by Morita Shiryū (1912-1999) and Inoue Yūichi (1916- 1985). Suda and the key members of both the Gutai and Bokujinkai groups often discussed avant-garde modes of artistic expression in parallel with Japanese traditional culture and ideas. In the Kansai region where Suda was based from the 1940s, these artists actively interacted in study groups and inspired each other, sharing a vision to aspire to new artistic forms of expression. Yoshihara invited Suda to join the Gutai at the time of its foundation, however, Suda chose to remain independent and continued to produce powerful, metaphysical work with his unique aesthetic.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 81
An opal bar brooch and pair of drop earrings, the 8mm long brooch collet set with a 10mm round cabochon cut opal to centre with four tapered rose cut diamonds to each side (one smallest diamond missing), gross weight 5g; a pair of 20mm pear shaped opal drop earrings with yellow metal caps and short length of chain suspended from a pair of oval cabochon cut opal stud earrings for pierced ears, the post and butterfly fitting passes through the chain allowing the drops to be detached so the studs can be worn on their own,Qty: 5Condition report:Please see further images on website taken on white paper.
Lot 248
A modern silver collar, 4mm wide flat section open at back and scroll to front, marked 925; a modern five strand wire collar set with graduated amber beads in cushioned box branded The Amber Shop Southwold; a Mexican silver necklace, each link set with a cabochon cut turquoise, Birmingham import mark for 1993, 44cm; a pair of 40mm jasper baton earrings for pierced ears with post and butterfly.
Lot 258
A collection of silver and costume jewellery in a large jewellery box, to include a Silver Jubilee ingot; a silver identity bracelet, engraved names and date; costume jewellery necklace and earrings suites; pendants; necklaces; earrings with post and butterfly fittings; lighter, engraved name; butterfly brooches, magnetic fasteners, boxed; and a magnifying glass with floral decorated handle and large butterfly motif, boxed; in a large multi-compartment jewellery box.Qty: 3
Lot 252
Three gemset necklace and earrings sets, to include pale blue briolette cut gemstones, pale green and yellowish-green gemstones, and blue and white gemstones, all set in 9 carat yellow gold or yellow metal marked 14K, necklaces with 14 carat yellow gold, 9 carat yellow gold and yellow metal chains, earrings with post and butterfly or hoop fittings.Qty: 3
Lot 92
South Sea pearl and diamond pendant and matching earring suite, the 10mm grey pearl peg set and suspended from a 15mm tubular bar collet set with a brilliant cut diamond to the top, 9 carat yellow gold 1.5mm gauge flat trace link chain 50cm long, chain weighing 4.3g, a pair of 9 carat gold matching earrings with post and butterfly fittings for pierced ears.Condition report:Please see further images uploaded to our website.The earrings are 30mm drops, there are some very small pin prick natural inclusions to the pearls.
Lot 87
A marquise shaped diamond pendant and chain, the five tier cluster claw set with eighty-seven brilliant cut diamonds in an 18 carat yellow and white gold mount 25x18mm, hallmarked London, 1.7mm gauge 9 carat yellow gold filed curb link chain 60cm long, chain weighing 5.5g; a pair of cultured pearl drop earrings, a 9mm pearl peg set and suspended from a short length of chain and a further 5.2mm pearl, yellow metal mounts for pierced ears with post and butterfly fittings,Condition report:All items are in very good condition, with no obvious evidence of damage or repair.
Lot 255
Three white gemstone set pendant / necklace and earring suites, to include a snowflake pendant, 25mm diameter, with similar earrings; a white gemstone set necklace, 47cm, with white gemstone earrings; and a triangular form pendant, 17mm diameter, with earrings; all in white metal marked 925, white metal chains marked 925, all earrings with post and butterfly fittings, one boxed.Qty: 3
Lot 253
Diamond and gemset pendants, white gemstone set earrings, and silver chains, to include a diamond pendant in white metal marked 925, on white metal chain marked 925, with CoA; a white gemstone set bee pendant/brooch, in white metal marked 925, on white metal chain marked 925; other white gemstone set pendants on white metal chains; two silver chains, with CoAs; and some white gemstone set earrings, various designs, mostly post and butterfly fittings.Qty: 1 box
Lot 12
Cassandra Annie Walker for Della Robbia'Cantagali shape' twin-handled vase, dated 1903Terracotta, slip and sgraffito decorated with two portraits of women after Botticelli and Glasgow School stylised foliage, having moulded ring or 'fish' handles, coloured and glazed.32 cm highIncised Della Robbia galleon mark, with D R, 1903, C.A.W, .321. and 143 in an oval.Footnotes:LiteraturePeter Hyland, The Della Robbia Pottery, Birkenhead 1894-1906, 2014, p.164, Fig.174 (shows similar form recorded as 'Cantagali shape' and decorated with a paler, portrait of a woman, noted as after Botticelli)Cassandra Annie Walker was one of Della Robbia's best and longest serving designers and artists, and as with all of those who worked there, she would have executed her own designs as well as some by others. She continued her artistic education whilst working for Della Robbia and signed up for classes at the Liverpool School of Architecture and Applied Art (the 'Art Sheds') in 1896 and 1901, respectively. Interestingly, Herbert McNair, one of 'The Glasgow Four', moved to Liverpool in 1898 to take up a teaching post at the School. Herbert married Frances MacDonald in 1899 and they stayed in Liverpool until 1905. The connection to the School perhaps explains the Glasgow style influence of the decoration on the sides of the present vase.For further information on this lot please visit Bonhams.com
Lot 81
Erté (Romain de Tirtoff) 'Senior Service - Naval Design', early post-war Gouache on paper, mounted on paper, back drop or promotional design. 17.3 x 29.5 cm Signed Erté on right side, reverse signed N 11.023. Footnotes: Provenance Harold Boyes Thence by descent to the present owner Harold Boyes worked as the General Manager of the Piccadilly Hayride Company, circa 1946 – 1948, and for the Impresarios George and Alfred Black until he retired in 1968. Harold Boyes was in the Navy during the war and was involved with ENSA and Alec Shanks, who was a theatrical costumier and producer. It is believed that the Erté designs were given to him by Erté as work for some part of the Piccadilly Hayride Production or possibly, another later production which may, or may not, have taken place. The Piccadilly Hayride Production was a variety show which ran from 11 October 1946 for about 18 months. This lot is subject to the following lot symbols: AR AR Goods subject to Artists Resale Right Additional Premium. For further information on this lot please visit Bonhams.com
Lot 285
A canteen of Christofle cutlery for a twelve place setting, post 1935, comprising dinner knives and forks, salad knives and forks, dessert spoons, eleven cake forks, fish knives and forks, egg spoons, teaspoons, one ladle, one sauce spoon, three serving spoons, one fish serving fork, one meat fork, and one large serving knife, contained in original case with four fitted trays
Lot 276
A MAHOGANY SUPPER TABLE IN GEORGE III IRISH STYLELATE 18TH CENTURY AND LATERWith typical divided top above the birdcage action and tripod70cm high, 74cm diameterCondition Report: This has been catalogued as 'and later' as there is some doubt whether top and base started together, the rails are possibly re-attached. there are also some screw holes apparent which may indicate alteration. The two have been together for a while certainly as there are corresponding post marks to the underside consistent with the birdcage actionMarks, knocks, scratches abrasions consistent with age and useColour variation to the elements, the top appears 'scrubbed' and repolished, the base with a more natural dark appearance Overall the top wobbles on the base and is not stable overall, there is a peg but again does not appear to be the original Please see additional images for visual reference to condition Condition Report Disclaimer
Lot 88
PERUVIAN SILVER COFFEE-FOR-ONE SET CARLO MARIO CAMUSSO, POST-WAR comprising a coffee pot, sugar bowl, cream jug and twin-handled tray, of tapered cylindrical form, the tray with scroll and foliate cast border, each piece stamped INDUSTRIA PERUANA ESTERLINA 925 CAMUSSO (4)the tray 31cm wideQty: approx. 756g
Lot 694
Edward III, Post-Treaty period, Penny, York, quatrefoil on rev., 0.89g/6h (S 1648); Henry V, Definitive issues, Penny, class C, York, mullet to left and broken annulet to right of crown, 0.89g/1h (S 1785); Halfpenny, class C, broken annulets by crown, 0.36g/11h (S 1794 var.); Henry VI, Annulet issue, Penny, Calais, 0.82g/9h, Halfpenny, London, 0.41g/6h (S 1845, 1848); Pinecone-Mascle issue, Halfpenny, Calais, 0.37g/12h (S 1885); Edward IV, Pennies (2), Durham, b and d? by neck, 0.39g/6h, York, key and g by neck, 0.65g/7h (S 2054, 2062); together with an irregular local issue Penny [9]. Fair to very fine £80-£100
Lot 691
Edward III, Pre-Treaty period, Halfgroat, series C, London, mm. cross 1, 2.24g/3h, Post-Treaty period, Groat, London, mm. cross pattée, 3.15g/9h (S 1574, 1637); Richard II, Halfpenny, London, intermediate style, no marks, 0.48g/2h (S 1699) [3]. First clipped, last slightly ragged, fair to fine £70-£90 --- Provenance: Barry Cooke Collection
Lot 1159
South Africa, TRANSVAAL, Boksburg, Municipal Tramways, celluloid One-and-a-Half Pence (Hern 66a); Cullinan, Premier Transvaal Diamond Co., aluminium 10 Shillings, 2 Shillings and Shilling (Hern 450s, u, v); Germiston, Municipal Tramways, celluloid One-and-a-Half Pence (Hern 228a); Johannesburg, Anglo-Austrian Café, brass Sixpence (Hern 20g); Automatic Vaudeville Co., nickel (2), 19mm (Hern 30a); Bickels, plastic Cent (2) (Hern 58a); Municipal Tramways, celluloid One-and-a-Half Pence (4) (Hern 306a); Kempton Park, Ouma’s Koffie Huis, plastic One Coffee (Hern 412a); Klerksdorp, J.A. Taylor & Co., brass Shilling, Sixpence and Threepence (Hern 588a-c); Pretoria, Post Office Tea Club, brass, 24mm (Hern 444a); Municipal Tramways, aluminium One-and-a-Half Pence (Hern 458a); Soldiers’ Institute, white metal Penny (Hern 558c) [21]. Varied state £60-£80
Lot 122
An Indian gem-set bracelet and matching earrings the bracelet is composed of five rows of freshwater cultured pearls, the central cluster set with seed pearls and circular-cut emerald and rubies, with emerald and ruby-set spacers, unmarked; the earrings of matching design, post and clip fittingsDimensions:Lengths: 18cm & 2.7cm
Lot 228
Four Various Post War Other Ranks Hatsconsisting white cotton cap. Brown peak and chinstrap. Brass disc badge ... Similar example with black peak and chinstrap ... Dark blue cap. Black peak and chinstrap. Blue anodised disc badge ... Green felt overseas hat. Gilt disc badge. Minor moth. 4 items.
Lot 57
35 x Post 1953 Police Constabulary Cap Badgeschrome plated, QC examples including Leicestershire Constabulary ... Northumbria Police ... Greater Manchester Police ... Royal Grenada Police Force ... Sussex Constabulary ... Warwickshire & Coventry Constabulary ... West Riding Constabulary ... Cambridgeshire Constabulary ... Birmingham City Police ... Derbyshire Constabulary. 35 items.
Lot 263
Post War Women's Civil Defence Battledress Jacket And Trousersdark blue woollen, single breasted, closed collar, short jacket. Lower extended belt. Patch pockets with buttoned flaps. Left pocket with embroidery KC Civil Defence Corps badge. Both arms with Welfare titles. Internal label dated 1962 ... Matching trousers with side waist fastening. 2 items.
Lot 218
Post 1953 Brigadier's Dress Capblack crown and body. Red band. Black patent leather peak with gilt wire embroidery oak leaf edge band. Black leather chinstrap secured by gilt buttons. Bullion embroidery, QC Brigadier's badge. Leather sweatband. Crown with maker's details. Together with a post 1953 Royal Corps of Signals Officer's dress cap. Black crown and body oak leaf band. Black patent peak and chinstrap secured by bi-metal buttons. Bi-metal QC Signals badge. 2 items.
Lot 220
Two 1922 Pattern Service Dress Capsconsisting khaki, stiff top, body and covered peak. Brown leather chinstrap secured by brass General List buttons. Brass, KC Royal Engineers badge. Brown treated linen sweatband ... Post war similar example. Brown leather chinstrap secured by anodised buttons. Bi-metal Middlesex Reg badge. Black treated linen sweatband. Minor moth damage. 2 items.
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