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Lot 2821
Rosenthal Künstleruhr "Clock art"Entwurf Andy Warhol (1928-1987), signiert, ungemarkt, pikförmiger Korpus mit plastischer Bekrönung aus zwei entgegengesetzt schauenden Vogelköpfen mit Besatz aus Swarovski-Steinen und je einer Metallkette, floraler Aufglasurdekor in Kontrastfarben, eingesetzte Quarzuhr mit arabischen Zahlen bezeichnet Made in Germany, seltene Tischuhr, bei Rosenthal in einer limitierten Auflage von 49 Stück erschienen, guter Zustand, H 41 cm.
Lot 2830
Skatspiel Moritz Götzedatiert 1990, handsigniert, betitelt Goldfinger Skatspiel, Auflagenangabe 100 Stück, Farbserigrafie, kompletter Satz mit 32 Karten, Deckblatt und Pappetui, humoristisches Blatt in Anlehnung an die Figur aus Ian Flemings Romanen, etwas gebogt, leichte Altersspuren, Maße je 10,5 x 6 cm.Künstlerinfo: dt. Maler, Graphiker, Emaille- und Objektkünstler sowie Musiker (geboren 1964 in Halle/Saale), Vertreter der zeitgenössischen Pop-Art, zunächst 1981-83 Lehre zum Möbeltischler, parallel 1981-85 Sänger und Gitarrist der Punk-Band "Größenwahn", künstlerisch Autodidakt, 1985-95 Betrieb einer Graphikwerkstatt, 1991-94 Lehrauftrag für Siebdruck an der Kunsthochschule Burg Giebichenstein Halle, 2006 mit Peter Gerlach Gründung des "HASENVERLAG", tätig in Halle, Quelle: Wikipedia.
Lot 3003
KPM Berlin Bildplatte Zwergenmotiv mit Schatulleum 1900, Porzellanplatte mit Pressmarke ab 1825, Prägebuchstabe H sowie Nummer 203-145, querrechteckige Platte mit feiner polychromer Aufglasurbemalung in der Art von Heinrich Schlitt, Landschaftsdarstellung mit vier Zwergen und personifizierter Grille beim Violinenspiel, eingelassen in Scharnierdeckel einer rechteckigen Holzschatulle mit Profilierung, Perlfries und floraler Schnitzerei, Schatulle minimalst bestoßen und ohne Schloss, Platte in gutem altersgemäßen Zustand, Maße ca. 20 x 15 cm, Maße Schatulle max. 15,5 x 29 x 24 cm.
Lot 3334
Silberschale im Art déco-Stil20. Jh., Silber gestempelt 900 Melda Special, runde Schale mit sich einseitig spitz aufschwingendem Rand, darauf ein dreisträngiger, gebogener Griff mit Abschluss als vollplastische Weintraube mit zwei Blättern, minimal oxidiert und mit Gebrauchsspuren, D 21 cm, G ca. 781 g.
Lot 3356
Zwei barocke MesserItalien, um 1700, auf der Klinge Schmiedezeichen, Messing und Eisen, hexagonal facettierter Griff in Pistolenform, mit Knopfabschluss, stilisierte florale Gravuren, Klinge mit gebogener Spitze, Alters- und Gebrauchsspuren, L 24 und 24,5 cm. Quelle: Jochen Amme, Historische Bestecke, Arnoldsche Art Publishers, Stuttgart 2002, S. 102, Abb. 242, 243, 245.
Lot 3361
Kernstück mit Tablettwohl um 1900, gestempelt Middletown Plate EPNS hard white metal, Reste alter Vergoldung, Besitzermonogramm G, reich verziert mit Festons und reliefierten Elementen verschiedenster Art, Kanne mit rückseitig scharniertem Klappdeckel, dazu Kännchen und zwei Henkelgefäße, dazu ein nicht passendes Tablett mit Holzgriffen, Gebrauchsspuren, L 58 cm.
Lot 3513
Emmanuel Hannaux, Büste eines Kriegersum 1920, auf der Brust signiert E. Hannaux, verso gestempelt F. Goldscheider Sculpture Nr. 31 HL, weitere Bezeichnungen, Bronze nuanciert braun patiniert, Brustdarstellung eines Kriegers mit reich verziertem antikisierten Prunkhelm, auf hohem, getrepptem und gekehltem Postamentsockel, dieser bestoßen, stärkere Altersspuren, H Bronze 30 cm, gesamt ca. 42 cm. Quelle: Bryan Catley, Art Deco and other Figures, Antique Collectors Club, Woodbridge 2003, S. 186, dort betitelt als "Roman Warrior". Künstlerinfo: französischer Bildhauer und Medailleur (1855 Metz bis 1934 Paris), Ausbildung an der Industrial School in Straßburg, dann in Nancy an der École de Modelage et de Sculpture, ab 1876 ansässig in Paris und Studium an der École nationale supérieure des beaux-arts de Paris unter A. Dumont, Thomas und Bonnassieux, war auf zahlreichen Ausstellungen, unter anderem dem Pariser Salon vertreten und erhielt dafür Preise, seine Werke sind in Museen weltweit zu finden. Quelle: Thieme-Becker/Vollmer, Allgemeines Lexikon der Bildenden Künstler sowie Wikipedia.
Lot 3577
Jugendstilmädchen mit SchmetterlingAnfang 20. Jh., in der Art von Adolfo Cipriani, unsigniert, Marmor, stehende Jugendstilschönheit mit blütengeschmücktem Haar und einem Schmetterling auf ihrem fließenden Kleid, auf runder, angedeuteter Naturplinthe, ein geklebter Ausbruch hinten am Arm, sonst gut erhalten, H 65 cm.
Lot 3646
Antikenrezeption Kopf der HygieiaAnfang 20. Jh., Herstellermarke Terre Cuite d´Art Grandeau, Terrakotta matt creme- und sandfarben glasiert, auf gebeizten Holzsockel montiert, winzigste Altersspuren und oberflächliche Fehlstellen, H Kopf ca. 26 cm, H gesamt ca. 39 cm. Info: das marmorne Original befindet sich im Archäologischen Nationalmuseum Athen mit der Inventarnummer 3602, es wird ins dritte Viertel des 4. Jahrhunderts v. Chr. datiert und wurde um 1900/02 bei französischen Ausgrabungen in Tegea gefunden. Quelle: Wikipedia.
Lot 3683
Manfred Müller, "blue print"datiert (20)04, signiert Ma. Müller, nummeriert 47/120, Mischtechnik Leinsamenöl und blaues Pigment auf Fabrianopapier, hinter Glas im Schaukasten, Sammlungsschild Dr. Wolfgang Knirsch, leichte Altersspuren, Wandaufhängung, Maße H 43 x B 30,5 x T 6,3 cm. Beigegeben Katalog Müller, M.; Begleitkatalog zur Edition "blueprint 2004", Pressebüro Brendel, Düsseldorf 2004. Künstlerinfo: deutscher Bildhauer (1950 Düsseldorf), 1967-1970 Lehre als Technischer Zeichner mit staatlicher Zulassung, 1971-1975 Studium der Visuellen Kommunikation an der Hochschule Düsseldorf, tätig als freischaffender Grafikdesigner 1976-1981 Studium an der Kunstakademie der Bildenden Künste Düsseldorf und Meisterschüler bei Erwin Heerich, 1981 Stipendium der Cité des Artes in Paris, 1983 Großer Preis für Bildende Kunst der Stadt Düsseldorf, 1985 Deutsche Industriestiftung der Künste, sein Werk war Teil der Ausstellungen Dimensionen IV und Dimensionen V 1984-1987, sowie der Eröffnungsausstellung Boñ Angeles zur Eröffnung des Santa Monica Museum of Art und vielen weiteren Gruppen und Einzelaussstellungen, tätig in Düsseldorf, Deutschland und Los Angeles, Kalifornien. Quelle: Webseite des Künstlers.
Lot 3723
Abraham Ortelius, Kupferstichkarte Gebiet Nürnbergoberhalb der Darstellung bezeichnet "Norimberg, agri, fidissima descrip.", Darstellung des Gebiets um Nürnberg, bis nach Erlangen im Norden, Hersbruck im Osten, Schwabach im Süden und Fürth im Westen reichend, im unteren Bereich Kartusche in der Art der Zeit, links unten in der Platte bezeichnet und datiert "Cum privilegio decennali, Imp. Reg. Cancel. Brabantiae 1590", verlegt bei Abraham Ortelius, teilkolorierter Kupferstich, etwas gegilbt, unter Passepartout (fleckig) und hinter Glas gerahmt, Darstellungsmaße ca. 30,5 x 23,5 cm. Künstlerinfo: flämischer Geograph und Kartograph (1527 Antwerpen bis 1598 Antwerpen), entstammt einer aus Augsburg in die Niederlande eingewanderten Familie Örtel (Oertel), gilt als der Begründer der modernen Kartographie, nach Mathematik-, Griechisch- und Lateinstudium in Antwerpen als Karten- und Buchhändler tätig, bildete sich zum Kartographen weiter, gab 1570 die erste Ausgabe seines später in 42 Ausgaben und 7 Sprachen erschienenen "Theatrum Orbis Terrarum" heraus, die die erste Sammlung von Landkarten in Buchform darstellt, Quelle: Thieme-Becker, Wikipedia und Internet.
Lot 3808
Ruth Wolf-Rehfeldt, Typewriting "Wucherungen"aus Schreibmaschinentypen zusammengesetzte Graphik, hierzu schreibt Ingeborg Ruthe anlässlich des 90. Geburtstags 2022 in der Frankfurter Rundschau: "... Ihre ungewöhnlichen Schreibmaschinengrafiken macht sie seit den 1970er Jahren. Angefangen hat es zunächst mit ihrem Brotberuf als Schreibkraft, dann als Büroleiterin in einem Ost-Berliner Betrieb. Ihre Fantasie ließ sie aus langweiligen Buchstaben und Zahlen grafische Bilder „schreiben“. Daheim am Küchentisch tippte sie auf ihrer „Erika“, Bestseller unter den Schreibmaschinen in der DDR, aus A-Z, Nullen, Kommas und Pluszeichen serielle Muster und Ornamente. Unter ihren Händen wurden die schwarzen und roten Zeichen zu Schmetterlingen, Wellen, fließenden Strukturen und kunstvoll gewobene Poesie. ...", Zinkographie nach originalem Typewriting, links unten in Blei betitelt "Wucherungen" und rechts handsigniert und datiert "Ruth Wolf-Rehfeldt [19]80", rückseitig Künstlerstempel "Typewritings - Ruth Wolf-Rehfeldt - DDR - 1113 Berlin, Zitherstraße 15, 210-29", ungerahmt, Blattmaße ca. 21,5 x 15 cm. Künstlerinfo: geborene Ruth Wolf, ab 1955 verehelichte Wolf-Rehfeldt, dt. Graphikerin, Collagekünstlerin, Malerin, Zeichnerin, Philosophin und Mail-Art-Künstlerin (geboren 1932 in Wurzen), Vertreterin der "Konkreten Kunst", 1947-50 Lehre zur Industriekauffrau, 1950 Umzug nach Kleinmachnow, später nach Berlin, hier zunächst Abitur an der Arbeiter- und-Bauern-Fakultät und 1951-52 Studium der Philosophie, 1954 Bekanntschaft mit dem Mail-Art-Künstler Robert Rehfeldt (1931-1991), ab 1960 tätig als Archivmitarbeiterin an der Akademie der Künste, Mitglied im Berliner Künstlerkreis um Wolfgang Leber, Lothar Böhme und Harald Metzkes, ab 1971 künstlerisch freischaffend, ab 1972 entstanden die von ihr entwickelten Schreibmaschinengraphiken "Typewritings", darüber hinaus schuf sie mit ihrem Mann Robert Rehfeldt Mail-Art, ab 1978 Mitglied im Verband Bildender Künstler (VBK) der DDR, ab 1990 Einstellung künstlerischer Tätigkeit, 2012 Ausstellung des Lebenswerks im Weserburg Museum für moderne Kunst Bremen, 2017 Teilnahme an der documenta 14, 2022 Retrospektive im neu eröffneten Kunsthaus "Minsk" des Barberini-Gründers Hasso Plattner in Potsdam, vertreten im "The Wende Museum" Culver City/Kalifornien, 2021 Ehrung mit dem Gerhard-Altenbourg-Preis und 2022 mit dem Hannah-Höch-Preis, tätig in Berlin-Pankow, Quelle: Eisold "Künstler in der DDR", Wikipedia und Artikel von Ingeborg Ruthe anlässlich des 90. Geburtstags 2022 in der Frankfurter Rundschau.
Lot 3809
Ruth Wolf-Rehfeldt, Typewriting "Wachstum"aus Schreibmaschinentypen zusammengesetzte Graphik, hierzu schreibt Ingeborg Ruthe anlässlich des 90. Geburtstags 2022 in der Frankfurter Rundschau: "... Ihre ungewöhnlichen Schreibmaschinengrafiken macht sie seit den 1970er Jahren. Angefangen hat es zunächst mit ihrem Brotberuf als Schreibkraft, dann als Büroleiterin in einem Ost-Berliner Betrieb. Ihre Fantasie ließ sie aus langweiligen Buchstaben und Zahlen grafische Bilder „schreiben“. Daheim am Küchentisch tippte sie auf ihrer „Erika“, Bestseller unter den Schreibmaschinen in der DDR, aus A-Z, Nullen, Kommas und Pluszeichen serielle Muster und Ornamente. Unter ihren Händen wurden die schwarzen und roten Zeichen zu Schmetterlingen, Wellen, fließenden Strukturen und kunstvoll gewobene Poesie. ...", Zinkographie nach originalem Typewriting, links unten in Blei betitelt "Wachstum" und rechts handsigniert und datiert "Ruth Wolf-Rehfeldt [19]80", rückseitig Künstlerstempel "Typewritings - Ruth Wolf-Rehfeldt - DDR - 1113 Berlin, Zitherstraße 15, 210-29" und handschriftliche Dedikation "Für Rolf Kamahl mit besten Wünschen für 1981 - Ruth Wolf-Rehfeldt", ungerahmt, Blattmaße ca. 21,5 x 15 cm. Künstlerinfo: geborene Ruth Wolf, ab 1955 verehelichte Wolf-Rehfeldt, dt. Graphikerin, Collagekünstlerin, Malerin, Zeichnerin, Philosophin und Mail-Art-Künstlerin (geboren 1932 in Wurzen), Vertreterin der "Konkreten Kunst", 1947-50 Lehre zur Industriekauffrau, 1950 Umzug nach Kleinmachnow, später nach Berlin, hier zunächst Abitur an der Arbeiter- und-Bauern-Fakultät und 1951-52 Studium der Philosophie, 1954 Bekanntschaft mit dem Mail-Art-Künstler Robert Rehfeldt (1931-1991), ab 1960 tätig als Archivmitarbeiterin an der Akademie der Künste, Mitglied im Berliner Künstlerkreis um Wolfgang Leber, Lothar Böhme und Harald Metzkes, ab 1971 künstlerisch freischaffend, ab 1972 entstanden die von ihr entwickelten Schreibmaschinengraphiken "Typewritings", darüber hinaus schuf sie mit ihrem Mann Robert Rehfeldt Mail-Art, ab 1978 Mitglied im Verband Bildender Künstler (VBK) der DDR, ab 1990 Einstellung künstlerischer Tätigkeit, 2012 Ausstellung des Lebenswerks im Weserburg Museum für moderne Kunst Bremen, 2017 Teilnahme an der documenta 14, 2022 Retrospektive im neu eröffneten Kunsthaus "Minsk" des Barberini-Gründers Hasso Plattner in Potsdam, vertreten im "The Wende Museum" Culver City/Kalifornien, 2021 Ehrung mit dem Gerhard-Altenbourg-Preis und 2022 mit dem Hannah-Höch-Preis, tätig in Berlin-Pankow, Quelle: Eisold "Künstler in der DDR", Wikipedia und Artikel von Ingeborg Ruthe anlässlich des 90. Geburtstags 2022 in der Frankfurter Rundschau.
Lot 3821
Horst Antes, Sitzende weibliche Figur mit Haseweibliche Figur vor der Silhouette eines Kopffüßlers und im Vordergrund sitzender Hase, siehe Gercken 62, Radierung, unter der Darstellung in Blei rechts signiert "Antes" und links nummeriert "3/90", in der Darstellung mit Blei datiert "(19)64", unter Passepartout und hinter Glas gerahmt, Darstellungsmaße ca. 24,5 x 19,5 cm. Künstlerinfo: dt. Maler, Zeichner, Graphiker und Plastiker (geboren 1936 in Heppenheim), Wegbereiter der Pop-Art in Deutschland, 1957-59 Studium an der Akademie Karlsruhe bei HAP Grieshaber, erhielt zahlreiche Auszeichnungen, unter anderem 1962 den Villa-Romana-Preis mit Aufenthalt in Florenz, 1963 den Villa-Massimo-Preis mit Aufenthalt in Rom, 1967-73 Professur an der Akademie Karlsruhe, anschließend freischaffend, 1968 Gastprofessur an der Hochschule für Bildende Künste Berlin, seit 1983 Mitglied der Freien Akademie der Künste Hamburg, ab 1984 erneut Professur an der Akademie Karlsruhe, Teilnehmer der documenten III, IV und VI, tätig in Berlin, Karlsruhe und in Castellina im Chianti-Tal in der Toskana, Quelle: AKL und Internet.
Lot 3830
Jean Dubuffet, Ausstellungsplakatfür den Künstler typische abstrahierte Figur vor gelblichem Grund, in der Darstellung beschriftet "Dubuffet Grafik Silkeborg Kunstmuseum Danmark Aaben 10-12 14,30-16,30", Farblithographie, 1961, farbsatter Druck, Werksverzeichnis Webel 773, gedruckt bei Jacomet, Auflage 500 Exemplare, das Motiv fand auch als Wandmalerei an einer Häuserfassade in Silkeborg Verwendung, im unteren Bereich fleckig, Darstellungsmaße ca. 74 x 52 cm, Blattmaße ca. 75,5 x 53,5 cm. Künstlerinfo: eigentl. Jean Philippe Arthur Dubuffet, frz. Bildhauer, Maler und Aktionskünstler, wichtiger Vertreter der Art brut (1901 Le Havre bis 1985 Paris), 1916 Besuch von Abendkursen an der École des Beaux-Arts in Le Havre, ging 1918 nach Paris, um Musik, Sprache und Literatur an der Académie Julian zu studieren, 1919 Bekanntschaft mit Max Jacob, Kontakt zu den Pariser Surrealisten, 1944 Einzelausstellung in der Galerie René Drouin in Paris, erlangte mit seinem Materialbildern internationale Bekanntheit, 1947 Ausstellung in der Galerie Pierre Matisse in New York, prägte den Begriff der Art brut, Teilnahme an den documenten 2, 3 und 4, Quelle: unter anderem Wikipedia.
Lot 3865
Pop Art Grafik große grüne Hand, einen Knopf drückend, links oben bezeichnet "DEMONIAK PREME UN PULSANTE SULLA SCRIVANIA", in der Art von Roy Lichtenstein, Farbsiebdruck, um 1980-90, unterhalb der Darstellung links bezeichnet "Libreria Feltrinelli", leicht gegilbt, hinter Glas gerahmt, Darstellungsmaße ca. 43,5 x 60 cm, Blattmaße ca. 45 x 61 cm.
Lot 3909
Die Laster des Menschen, Vier Zeichnungenvier Darstellungen aus einer Serie menschlicher Laster, dabei zwei Darstellungen der Spielsucht und zwei Darstellungen der Wollust und Begierde, in welcher ein älterer Mann eine junge Frau bzw. eine ältere Frau einen jüngeren Mann mit Geld zu bestechen trachten, Mischtechniken (Tusche, Aquarell, Gouache) in der Art der Trompe-l’œil-Malerei auf Papier, wohl um 1800, je rechts unten römisch nummeriert "II", "III", "VII" und "VIII", unsigniert, zweimal rückseitig teils fragmentarischer Stempel "Zentralstelle für Denkmalschutz im Bundesmin. f. Unterricht", geringe Altersspuren, als Pendants hinter Glas gerahmt, Falzmaße je ca. 13,5 x 10,5 cm.
Lot 3963
Shaoul Smira, Weintrinker Kneipenszene mit vier Personen, an einer Theke sitzend bei Trank und Schwank, Genreszene in abstrahierenden Formen und von leuchtender Farbigkeit, Mischtechnik links oben signiert "Smira" und datiert 1979, unter Passepartout und hinter Glas in schlichter schwarzer Leiste gerahmt (minimal bestoßen), Passepartoutausschnitt ca. 78 x 85,5 cm. Künstlerinfo: US-amerikanischer Maler und Zeichner (1939 im Irak geboren), studierte am Avni Art Institut in Tel Aviv, 1965 Übersiedlung nach Paris, Fortsetzung des Studiums an der Akademie Chomier, 1971 an der Akademie Antwerpen, seit 1978 lebt und arbeitet Smira in New York, Quelle: Internet.
Lot 4000
W. Hans, Art déco-Designentwürfevier farbige Art déco-Entwürfe, jeweils signiert und einmal datiert "1920"; zwei runde Art déco-Zeichnungen, eine davon rückseitig signiert; drei Entwurfszeichnungen für Colliers, je signiert und einmal datiert "1937"; fünf Kartons mit montierten Fotografien von keramischen Erzeugnissen, teils bezeichnet "Unter meiner Leitung entstandene Keramiken Wien-Scheibs 1920 bzw. 1925"; zwei Zeichnungen, wohl von anderer Hand und vier Fotokopien, teils leichte Altersspuren, Blattmaße max. ca. 40 x 23 cm.
Lot 4013
Rolf Maria Krückels, Komposition mit FigurKonturen einer verschleierten Frau vor farbigem Grund, Mischtechnik (Aquarell und Gouache über Bleistift), rechts unten signiert, datiert und nummeriert "Rolf Maria Krückels [19]96 XI", Atelierspuren, Papier wellig, freigestellt hinter Glas gerahmt, Blattmaße ca. 29 x 20,5 cm. Künstlerinfo: dt. Maler, Zeichner, Graphiker, Performance- und Objektkünstler (1964 geboren in Düren), studierte 1987-93 an der Akademie München, ab 1991 als Meisterschüler bei Daniel Spoerri und Ben Willikens, 1994 Gastprofessur an der Carnegie Mellon University Pittsburgh/USA, 1997 in New York, seit 2002 Mitglied im Berufsverband Bildender Künstler, ab 2006 Mitglied der International Association of Art/UNESCO, 2007-10 Vorsitzender des Kunstpavillon e.V. München, Mitglied Künstlergruppe "Netzwork AG", tätig in München, Quelle: Homepage des Künstlers.
Lot 4229
Prof. Hellmuth Weissenborn, "Dorf bei Gnadix"Blick von einer Anhöhe auf ein zwischen Bergen gelegenes Dorf, Mischtechnik (Aquarell, Tusche und Deckfarben), links unten signiert und datiert "H. Weissenborn 1964", auf Rahmenrückwand bezeichnet "H. Weissenborn, farbige Pinselzeichnung, Dorf bei Gnadix", unter Passepartout und hinter Glas gerahmt, (Rahmen und Passepartout mit Erhaltungsmängeln), Passepartoutausschnitt ca. 36 x 54 cm. Künstlerinfo: dt. Graphiker und Illustrator (1898 Leipzig bis 1982 London), Teilnahme am 1. Weltkrieg, ab 1918 Studium der Philosophie, Völkerkunde und Kunstgeschichte an der Universität Leipzig, 1922 Absolvierung der staatlichen Prüfung zum Zeichenlehrer, Bekanntschaft mit Hans Alexander Müller, Walter Tiemann und Max Schwimmer, 1925 Promotion, künstlerischer Berater am Völkerkundemuseum Leipzig, ab 1926 Dozent an der Akademie für Graphische Künste und Buchgewerbe, Ernennung zum Professor, nach der Machtergreifung der Nationalsozialisten entlassen, 1938 Flucht nach England, 1940 Internierung in England, ab 1941 Teilzeitdozent am Ravensboume College of Art, Mitglied im Londoner „Club of Authors“, 1979 Verleihung des Verdienstkreuzes der Bundesrepublik Deutschland, Quelle: Vollmer Nachtrag und Wikipedia.
Lot 4230
Prof. Hellmuth Weissenborn, "Pappeln am Fluß"Blick vom pappelbestandenen Ufer über einen Fluss in flacher Landschaft, Mischtechnik (Aquarell, Tusche und Deckfarben), um 1930, rechts unten signiert "H. Weissenborn", auf Rahmenrückwand bezeichnet "W. Weissenborn farbige Pinselzeichnung "Pappeln am Fluß"" und Rahmungsetikett einer Leipziger Firma, unter Passepartout, jedoch ohne Glas gerahmt, Passepartoutausschnitt ca. 27 x 43 cm. Künstlerinfo: dt. Graphiker und Illustrator (1898 Leipzig bis 1982 London), Teilnahme am 1. Weltkrieg, ab 1918 Studium der Philosophie, Völkerkunde und Kunstgeschichte an der Universität Leipzig, 1922 Absolvierung der staatlichen Prüfung zum Zeichenlehrer, Bekanntschaft mit Hans Alexander Müller, Walter Tiemann und Max Schwimmer, 1925 Promotion, künstlerischer Berater am Völkerkundemuseum Leipzig, ab 1926 Dozent an der Akademie für Graphische Künste und Buchgewerbe, Ernennung zum Professor, nach der Machtergreifung der Nationalsozialisten entlassen, 1938 Flucht nach England, 1940 Internierung in England, ab 1941 Teilzeitdozent am Ravensboume College of Art, Mitglied im Londoner „Club of Authors“, 1979 Verleihung des Verdienstkreuzes der Bundesrepublik Deutschland, Quelle: Vollmer Nachtrag und Wikipedia.
Lot 4567
Frank Vervoort, Holländische Landschaftlichte Bachaue mit Fernblick unter Bäumen hindurch zur Wiese mit Heupuppen am Dorfrand mit Windmühle, pastose impressionistische Landschaftsmalerei, Öl auf Leinwand, um 1970, rechts unten signiert "F. Verfoort", etwas reinigungsbedürftig, gerahmt, Falzmaße ca. 32,5 x 46 cm. Künstlerinfo: belgisch-kanadischer Landschaftsmaler (1930 Antwerpen bis 1983 Calgary), 1948 Übersiedlung der Familie nach Magrath/Alberta in Kanada, seit 1960 Studium am Southern Alberta Institute of Technology (heute Alberta College of Art and Design), Weiterbildung am Instituto Allende in San Miguel/Mexico sowie am Nationaal Hoger Instituut und der Koninklijke Academic Voor Schone Kunsten Antwerpen, Mitglied der Alberta Society of Artists, tätig in Calgary, Quelle: Internet.
Lot 821
Konvolut Tischtüchersieben Stück, meist um 1930/40, einmal mit originalem Klebeetikett Reinleinen, heller Leinendamast mit eingewebten Dessins aus umlaufender Bordüre und Mittelfeldfüllung, bestehend aus zwei Tücherpaaren mit Blumen- und Streifendekor sowie je einem Tischtuch mit typischem Art déco- bzw. Quadratenmuster, dazu ein Baumwoll-Tafeltuch mit Magaritenblüten, meist guter und teils unbenutzter Zustand, Maße der Paare dreimal je ca. 130 x 160 cm und einmal 230 x 160 cm.
Lot 930
Zwei Bände The Studio Yearbookof Decorative Art, Ausgaben 1909 und 1911, New York Offices of the International Studio, Format Lex. 8°, Ausgabe 1909 mit XII/163 S., Ausgabe 1911 mit X/274 S., je mit zahlreichen, teils ganzseitigen und farbigen Abbildungen, die frühere Ausgabe in schwarzgeprägtem Ganzleineneinband mit montiertem Titel, die andere in elegantem Halbleder mit goldener Rückenprägung, geringe Alters- und Gebrauchsspuren.
Lot 931
The Art Revival in AustriaEdited by Charles Holme, Offices of „The Studio“, London, Paris and New York 1906, Format Lex. 8°, in vier Sektionen VXI/VIII/VIII/XII, mit zahlreichen, teils farbigen Abbildungen und Tafeln, davon 8 montiert, unter anderem mit Abbildungen von Entwürfen von Josef Hoffmann und Otto Prutscher, privater Ganzleineneinband, dieser etwas beschädigt, ein Blatt lose, sonst geringe Alters- und Studierspuren.
Lot 935
Sammlung Literatur Josef Hoffmannfünf Stück, bestehend aus: Josef Hoffmann, Ornament zwischen Hoffnung und Verbrechen, Salzburg im Residenz Verlag 1987; Raummalerei, Künstler um Josef Hoffmann 1900-1910, Wien Galerie Metropol 1987; Josef Hoffmann und sein Kreis, Möbel 1900-1930, München Galerie Alt Wien bei Wolfgang Richter 1980; Josef Hoffmann, Architect and Designer 1870-1956, Wien Galerie Metropol (o. J.); Josef Hoffmann, Sanatorium Purkersdorf, Wien Galerie Metropol (o. J.); dazu das Ausstellungsheft Josef Hoffmann Design Classics, The Fort Worth Art Museum 1983; verschiedene Erhaltung mit Alters- und Studierspuren, das Werk Sanatorium Purkersdorf mit einigen losen Blättern.
Lot 939
Zwei Bücher Jugendstil Waltraud NeuwirthBlühender Jugendstil, Band I, Farben, Formen, Dekore, Wien im Selbstverlag 1991, Format Gr. 8°, 302 S., sowie Wiener Werkstätte, Avantgarde, Art déco, Industrial Design, Wien im Selbstverlag 1984, Format Gr. 8°, 240 S., beide im Ganzleineneinband mit originalen Schutzumschlägen, diese mit Gebrauchsspuren, sonst minimale Alters- und Studierspuren.
Lot 952
Vier Fachbücher GoldschmiedekunstDeutsche Goldschmiedekunst vom 15. bis zum 20. Jahrhundert, aus dem Germanischen Nationalmuseum, von Klaus Pechstein, Berlin im Verlag Willmuth Arenhövel 1987; Le Prix des Bijoux 1986-1987-1988, Francoise Cailles, Paris bei ACR Edition 1989; Prunk-Kassetten, Meisterwerke aus der Hanns Schell Collection, Ewald Berger, Stuttgart bei Arnoldsche Art Publishers 1998; Alte Goldschmiedekunst in Luxemburg, Eva Toepfer, Musée national d'histoire et d'art Luxembourg 2004; Format max. 4°, unterschiedliche geringe Gebrauchsspuren.
Lot 147
A boxed Art Deco style platinum and diamond flanked solitaire ring. Set to centre with a 0.51 carat emerald cut diamond, F colour, VVS1 clarity, flanked either side by a tapering baguette cut diamond, each 0.15 carats, G colour and VS clarity, to a slim shank. Stamped 950 PLT, H&Co, London. Accompanied by GIA certificate. Ring size Q.
Lot 14
Khaled Al-Jadir (Iraq, 1922-1988)Boats oil on canvas, framedsigned 'Khaled Al Jadir' in Arabic (lower right), executed circa late 1970s30 x 68cm (11 13/16 x 26 3/4in).Footnotes:Provenance:Property from the collection of the late Michael William Palmer, an American Civil Engineer and Art Collector based in Iraq 1976-1980Thence by descent to the present owner, TexasThis 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
Lot 15
Mohammed Ghani Hikmat (Iraq, 1929-2011)The Family wooden sculpture signed 'Mohammed Ghani' and dated '1967' (lower right), executed in 1967100 x 120cm (39 3/8 x 47 1/4in).Footnotes:Provenance:Property from a private collection, GermanyAcquired directly from the artist by the present owner's family.'The modulation of sculpted lines in my figures, has been one of the focal points of my work for many years; what drew me in particular to the configuration of these forms is the dual appearance of both conflict and interplay between them. The union and fusion of sculpted figures is an integral part of my work and presents us with a constantly changeable relationship between form and meaning' - Mohammad Ghani HikmatThis remarkable wooden sculpture is a true testament to the unique artistic vision of Mohammed Ghani Hikma. Born in Baghdad, Iraq in 1961, Hikmat has become known for his distinctive stylized approach to sculpture.Executed in an impressive scale, this sculpture portrays a Bedouin family in Hikmat's distinctive stylized manner. Rather than focusing on fine detail, Hikmat uses bold, sweeping curves and outlines to capture the essence of each figure. The result is a powerful and evocative portrayal that emphasizes the emotion and movement of the family.The wood itself is a work of art, with its deep, rich colors and fine-grained texture. Hikmat's skillful use of the medium creates a sense of fluidity and dynamism, adding to the sense of motion and energy in the sculpture.In 1953, Mohammed Ghani Hikmat graduated from the Institute of Fine Art in Baghdad. He then travelled to Rome to train at the Accademia di Belle Arti, graduating in 1959. While in Italy, he also studied metals at the Instituto di Zaka in Florence, specializing in casting bronze. He subsequently taught sculpture at the Baghdad Institute of Fine Art and the College of Architectural Engineering at the University of Baghdad.During his career, Hikmat was a prolific creator and exhibitor, and an active participant in the growing Iraqi art scene. He held several solo shows in Rome, San Remo, London, Beirut, and Baghdad. He also participated in most major national exhibitions in Iraq. He was a member of the Society of the Friends of Art and later the az-Zawiya group headed by Faiq Hassan. Significantly, Hikmat was also an influential member of the Baghdad Group of Modern Art (BGMA). Founded by his teachers and friends, Jewad Selim and Shakir Hassan Al-Said, the BGMA was arguably the most important artist society in modern Iraq and was dedicated to the idea that Iraq's heritage held a preeminent place within its modern art practice.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
Lot 16
Hafiz Drubi (Iraq, 1914-1991)The Family oil on canvas, framedsigned 'H.Drubi' in Arabic (lower right), executed circa 1970's105 x 49cm (41 5/16 x 19 5/16in).Footnotes:An important painting by Hafiz Drubi published in Jabra Ibrahim Jabra's 'Grass Roots of Iraqi Art' Provenance:Property from a private collection, GermanyAcquired directly from the artist by the present owner's family.Published:The Grass Roots of Iraqi Art, Jabra Ibrahim Jabra, Wasit Graphic Publishing Ltd, St Helier, 1983, p55, illustrated in colour'Hafiz Drubi is a renowned artist known for his unique style, which is a blend of cubism with local Iraqi culture. His works often feature bold colors, sharp angles, and abstract shapes, which he uses to depict scenes and forms from his native Iraq. His art is deeply influenced by the rich cultural heritage of his homeland, and he often draws inspiration from local history and traditions. Drubi's paintings convey a sense of movement and energy, and his use of color is masterful, evoking a range of emotions and moods.' – Jabra Ibrahim JabraThis 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
Lot 18
Faeq Hassan (Iraq, 1914-1992)Baghdadiyat oil on canvas, framedsigned (lower left), executed circa 1950s75 x 62cm (29 1/2 x 24 7/16in).Footnotes:BaghdadiyatOne of the finest examples from Faeq Hassan's cubist period Provenance:Property from a private collection, GermanyAcquired directly from the artist by the present owner's family.Faeq Hassan'His Cubism in the fifties was a mixture of Arab forms largely derived from the 13th century Baghdadi illuminator Yahya al Wasiti, and current European forms. But his peasants, his Bedouins, his fishermen owe much to the waters of Tigris and Euphrates. His harvesters, his curd-sellers, however cubistically stylized, laboured under a clear Mesopotamian sun'- Jabra Ibrahim Jabra'Baghdadiat' is perhaps the most exquisite and sophisticated rendition of Faeq Hassan's brief but fruitful experimentation with Cubism, and more importantly, counts as one of the most graceful and skilfully rendered expressions of 'Baghdad Modernism' ever to come to market, exhibiting a near perfect synthesis of local Iraqi and Mesopotamian forms rendered within a European Modernist artistic vocabulary. Held in the same private German collection for over half a century, the work is part of a formidable collection of Iraqi Modernism amassed by a prominent German industrialist who was based in Iraq in the 1960's and developed a close personal friendship with Faeq Hassan, during which he acquired some of the artists most important artworks One of the defining characteristics of the Baghdad Group of Modern Artists was their unique blending of European and local influences in their work. Many of the artists in the group had studied in Europe and were influenced by the modernist movements that had emerged there in the early 20th century, such as cubism, surrealism, and abstract expressionism.At the same time, the artists in the Baghdad Group were deeply committed to exploring their own cultural heritage and incorporating elements of Iraqi art and folklore into their work. They drew inspiration from traditional Iraqi crafts, such as weaving, calligraphy, and pottery, as well as from the rich history of Islamic art and architecture. The result of this fusion of European and local influences was a unique and distinctive style that was both modern and deeply rooted in Iraqi culture. The deftness with which the present work balances local and Modern elements is hard to overstate; On first impressions, Hassan's composition appears to be overtly inspired by the simplified figuration of artists like Miro or Picasso (notably his depictions of Francoise Gilot painted in the 1940's), but on closer inspection we can see that the almond shaped heads of the figures clearly reference ancient Mesopotamian statuary found in the Lecant and that the composition is punctuated by traditional Eastern symbols like the crescent MoonThe work itself is a playful explosion of colour, shape, and texture that perfectly captures the energy and dynamism of the Baghdad Modern art group. The composition is composed of fragmented shapes, planes, and lines that overlap and intersect to create a complex, multi-layered image that is both striking and evocative.Faeq Hassan is often referred to as the father of Iraqi modern art. During his artistic career he took on many roles within the burgeoning Iraqi art scene, including educator and founder. In the crucial decades of the 1940s and 50s, Hassan was devoted to the creation of an art form that would express the growing feelings of national pride amongst Iraqi citizens. He was also interested in developing his own technical skill and that of his students. In later decades, Hassan would remain a leading artist in Iraq and his artistic legacy continues to be a powerful influence.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
Lot 19
Kadhim Hayder (Iraq, 1932-1985)Al Qamar oil on canvas, framedsigned 'K HAIDAR' and dated '1966' on the stretcher, executed in 1966104 x 134cm (40 15/16 x 52 3/4in).Footnotes:Al-QamarA monumental 1966 composition from Kadhim Hayder's Epic of the Martyr series formerly in the collection of the Iraqi Ambassador to Lebanon H.E Nathir Umari'The Hour has drawn near, and the moon was split in two.' Surah Al-Qamar'The horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom'- Kadhim Hayder'The exhibition of The Epic of the Martyr took place in circumstances that were politically and culturally complicated; it turned the idea of martyrdom into a modern symbol that cried out in tragedy apart from any religious interpretation.'- Dia al-AzzawiProvenance:Property from the collection of H.E Nathir Umari, Iraqi Ambassador to Lebanon (1963-1966), acquired directly from the artist, circa 1966, thence by descent Exhibited:Kadhim Hayder, Gallery One, Beirut, 1966 This monumental painting from Kadhim Hayder's Martyrs Epic series is a powerful depiction of the climax of the cycle, the moment of Imam Hussein's death. Painted in 1966, 'Al Qamar' (The Moon) is a poignant and emotionally charged work that showcases the artist's masterful use of religious allegory and cultural mythology.The painting comes to market with an impressive provenance, having belonged to Nathir Umari, a prominent Iraqi diplomat who served amongst other postings as ambassador to Lebanon, the United States, and France throughout the 1960's. Umari was also a senior representative for Iraq at the United Nations. The painting was acquired by Umari in Beirut during his ambassadorshipThe title of the painting, 'Al Qamar' (The Moon), has significant symbolic meaning in Islamic culture and literature. The moon is mentioned numerous times in the Quran, and is often used as a metaphor for the light of God, purity, and guidance. In this painting, the red moon serves as a symbol both of mourning and of the light that Imam Hussein brought to the world through his sacrifice.What makes this painting particularly special is that it was not originally part of the Martyrs Epic series, but was painted a year after the exhibition. It shows the artist's fondness for this particular scene, and his desire to explore it further. In this respect 'Al Qamar' shares a striking similarity ot the painting from the series that is now in the Barjeel Art Foundation, which adds to its significance and rarity.This remarkable painting is a testament to Kadhim Hayder's importance in the history of Iraqi art, and his enduring legacy as an artist who captured the essence of one of the most important events in Islamic history..Saleem Al Bahloly: The Epic of the Martyr:'Haidar began working on the series in 1963 shortly after returning from London where he had studied printmaking and stage-design at the Royal College of Art. On the one hand, the paintings were a continuation of the interests of artists in the 1950s: in the inspiration Haidar found in popular culture and in his adoption of certain pictorial devices from ancient Assyrian sculpture to modern art (associated with the Baghdad Group for Modern Art) as well as in his concern with political struggles for justice (associated with the Pioneers art group). On the other hand, however, Haidar opened a new horizon for the practice of art by structuring the paintings around an act of symbolism.The paintings are composed of horses and warriors, wielding spears and swords and bearing banners and shields, that are positioned on a flat, mythical landscape. This imagery was drawn from the annual taʿziya celebrations that mourn the martyrdom of al-Husayn and other members of the Prophet's family in a stand-off with the Umayyad army in 680 AD; in particular, the imagery is taken from the processions in which a pageant of costumed figures representing characters from the battle fought on the 'plain' west of the Euphrates parade through the street accompanying poets who narrate in a vernacular tradition of verse the injustice suffered by the Prophet's family.In the paintings, this imagery has been reconstructed according to a variety of devices inspired by a range of sources: the bodies of the horses and figures are turned toward the viewer, as if they are appearing on a stage or in an ancient frieze depicting a historic battle; a sense of performance is carried into the image by the intense expressivity of their gestures which seem to dissolve anatomical features and the outline of shapes in a fervour of emotion; the limbs of human and animal bodies alike are often multiplied (an influence of Assyrian sculptural reliefs that Haider almost certainly saw at the British Museum in London) and tapered (a form of modelling inspired by the sculpture of Henry Moore).The reconstructed imagery is arranged in the paintings not to narrate a historical event but to elaborate a concept of the martyr that emerged out of that event—a hero who by his death in a struggle for truth paradoxically triumphs. Haidar developed this concept of the martyr in painting by focusing on the symbolic relation between the fallen martyr and his horse. As he explained to the newspaper al-Jumhuriyya in 1965: 'the horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.' That symbolism is present in the mourning processions where al-Husayn is represented by a riderless white horse; but it has its roots in a legend that, when al-Husayn's horse saw his beheaded corpse, it circled around his body, rubbed its head in his blood, let out a ferocious whine and killed forty men.The paintings in The Epic of the Martyr were different sizes [they] reflect, as Dia al-ʿAzzawi has written, Haidar's desire to collapse the distinction between gallery and street, and between art and ritual, by reproducing the atmosphere of the folk celebration inside the museum. To that end, for the exhibition in 1965, Haidar composed a poem in which each line corresponded to a painting in the series, in this way reproducing the coupling of pageant and poetry in the mourning processions.This attempt to go beyond the conventional materials of painting, in order to use the artwork to stage an experience that is not only visual but also emotive, makes The Epic of the Martyr one of the earliest pieces of contemporary art in the Middle East.'Saleem Al-Bahloly received a PhD from the University of California, Berkeley, and has held fellowships at Johns Hopkins and the University of California, Santa Barbara. He is writing a book about an intellectual shift that occurred in Iraq during the 1960s in response to disillusionment with left-wing politics. The above text has been abridged.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
Lot 23
Dia Azzawi (Iraq, born 1939)Red Composition oil on canvas, framedsigned 'Dia Azzawi', and dated '1970' (lower left and on the verso), executed in 1970 125 x 125cm (49 3/16 x 49 3/16in).Footnotes:'Red Composition'A seminal 1970 masterpiece by Dia Azzawi and one of the first large scale works in his mature styleProvenance:Property from a private collection, Beirut'This is part of our 'identity problem': what to do with calligraphy? How do we use it to create something which is related to our history? I was very much influenced by a different part of Iraqi history, mainly by Sumerian art, and this combination with Arabic calligraphy, gave me the ability to create new kinds of abstract imagery'- Dia AzzawiBonhams are proud to present 'Red Composition' , a seminal 1970 masterpiece by the renowned Iraqi artist, Dia Azzawi, painted in the immediate aftermath of his establishment of the 'New Vision Group'. This large and important painting is a landmark work in Azzawi's illustrious career, it is one of the earliest works in the artists mature painterly style and signature palette as well as the first work where the artist introduces a blend of Arabic and Ancient Mesopotamian letterforms. Painted in 1970, 'Red Composition' represents a pivotal point in Azzawi's artistic journey. As he transitioned from the darker palette and more figurative works of the 1960s to a warmer, more vibrant approach, this painting served as a catalyst for his exploration of letterforms and abstract figural references.In the present work, Dia Al-Azzawi draws from ancient cuneiform, humanity's first script along with Egyptian hieroglyphs. This script features 'figurative' pictograms that symbolize objects and 'abstract' signs made up of lines in the shape of 'corners' or 'nails,' which transcribe a sound or syllable. Incisions, signs, pictograms, and symbols form the core vocabulary of Azzawi's formal language, which he liberates from their literal meanings to create a visual poetic equivalent. He deftly captures the sensitive resonance of Sumerian epic extracts within himself, expressing it through colour and semi figural outlines. Executed on a grand scale, 'Red Composition' demands the viewer's attention with its bold use of colour and dynamic composition. The piece's fiery red hues are balanced with black lines and forms that weave throughout the canvas, evoking a sense of movement and depth.It is no surprise that 'Red Composition' is recognized by the own artist an important piece in his oeuvre, representing a turning point in his artistic evolution. This painting truly embodies the essence of Azzawi's mature style.Azzawi started his artistic career in 1964, after graduating from the Institute of Fine Arts in Baghdad and completing a degree in archaeology from Baghdad University in 1962. His studies of ancient civilizations and Iraqi heritage had a profound impact on his art, and a key objective in the early formation of his artistic style was to link the visual culture of the past to the present.In 1969, Azzawi formed the New Vision Group (al-Ru'yya al-Jadidah), uniting fellow artists ideologically and culturally as opposed to stylistically. The group's manifesto, Towards a New Vision, highlighted an association between art and revolution, and sought to transcend the notion of a 'local style'—coined by the Baghdad Modern Art Group—by broadening the parameters of local culture to include the entire Arab world.With exhibitions of his work held worldwide, including a landmark retrospective in 2017 at Qatar's MATHAF, his art features in the collections of some of the world's most prestigious museums and institutions. He is also regarded, in the tumultuous post-conflict climate of 2000s Iraq, considered to be the ultimate authority on modernist and contemporary art from the region.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
Lot 26
Saliba Douaihy (Lebanon, 1915-1994)Blue Abstract oil on canvassigned 'Douaihy' and dated '78' on the verso, collection label of the North Carolina Museum of Art also on verso, executed in 197867 x 86cm (26 3/8 x 33 7/8in).Footnotes:A rare and outstanding abstract composition by Saliba Douaihy from his major 1978 retrospective at the North Carolina Museum, coming directly from the artists familyProvenance: Property from the collection of the artist, thence by descent to his grand-nephew Dr Milad Douaihi, formerly on temporary loan to the North Carolina Museum Of Art (Collection Reference: TL.76.4.3)Published:The Art of Saliba Douaihy, A Retrospective Exhibition, North Carolina Museum of Art Raleigh, 1978 (illustrated) 'Colour is a plastic means of creating intervals... what counts is its use, not its manufacture.' - Barnett NewmanBonhams are proud to be offering an exceptional, large format, published, abstract painting from one of Lebanon's leading 20th Century artists Saliba Douaihy. Exhibited at the artists landmark 1978 show at the North Carolina Museum, the work is a testament to the critical international acclaim Douaihy received after his transition to hard edge painting. Matched by an impeccable provenance, having been on loan to the North Carolina Museum, the work was then passed to the artists nephew, Dr Milad Douaihy, an esteemed professor at the Sorbonne from whose collection it now comes to auction. Born in northern Lebanon within the small town of Ehden, Douaihy was seen as having a talent for the arts from an early age, which led to him being heavily encouraged to develop his craft. Douaihy's work transformed throughout his life, from early works following classical landscape paintings depicting Lebanese villages, to later works such as 'Blue Abstract' following ideas and themes from American Abstract expressionism and Formalism. His body of work involves radical changes and refined artistic instinct. The present work dates from the culmination of his period, when he was selected by the North Carolina museum to stage a major retrospective.'Blue Abstract' from the artists Hard Edge period is an exquisite yet minimalist work. Only five colours are found in the composition, Red, Blue, Yellow, Orange and Green. Each colour is applied to the canvas in precise lines as geometric shapes. The canvas is dominated by a monolithic swathe of azure blue engulfing the work. It leads the viewers eye to the outer edges of the work. Two rich segments of red and a single yellow shape act as barriers to either side of the plane. A lighter marine blue segment darts through the right hand side cutting the outer yellow away from the mass of blueThe application of the paint within the simplistic composition can allude to a lack of perspective in some works. Here it does the opposite. Douaihy uses colour theory and precise geometric shapes to create the feeling of depth and dimension.Douaihy was awarded a grant from the Lebanese government to study abroad. He studied in New York and was introduced to the energetic and modern art scene. This was an integral part to his future themes and his 'Hard edge' series of abstract, minimalist paintings. Rothko and Hans Hoffman were important acquaintances as they were masters of colour theory, knowing how to extract depth from colour with very simplistic compositions. Douaihy became attuned to the ideas of formalism from his readings on Immanuel Kant. This inspired many parts of this work. These influences led to this dedication of hard-edged shapes depicted as flat surfaces. Douaihy's stance encapsulates the ideas and values that influenced all later pieces by him. The painting demonstrates his mastery of the minimalist aesthetic as well as the two fundamental aspects in formalist painting: colour and shape.'Blue Abstract' is truly a compositional masterpiece. Douaihy emphasises the compositional elements along with the purest idea of colour theory that creates the spectacular depth within this work. The work epitomises why he is a true pioneer of Arab Modernism.Douaihy participated in many exhibitions including the Salon Des Artistes Francais, Paris (1934); the New York fair; the Guggenheim Museum; the Salons des Realites Nouvelle, Paris; the Pennsylvania Academy of Fine Arts and University Art Gallery, New York. Douaihy won many prizes and awards. They included the Lebanses National Ord of the cedar (1956), the Philadelphia Academy of Fine Arts Award (1968) and the Medaglia d'Oro of the Accademia d'Itlia dello Arte e del Lavoro (1980).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
Lot 27
Etel Adnan (Lebanon, 1925-2021)Thresholds mixed media on paper, leporello, booklet 22 pages signed, titled, inscribed, dedicated 'Thresholds' from 'Ghairi bisifat kaouni' to Charbel Dagher 2003 writing and drawing Etel Adnan Beiteddine 2003', executed in 200317.5 x 259.6cm (6 7/8 x 102 3/16in).Footnotes:Provenance:Property from a private collection, DubaiAgial Art Gallery, Beirut Formerly property from the collection of Dr Charbel DagherBonhams has the privilege of presenting one of Etel Adnan's most distinctive artistic creations. Threshold is one of Adnan's leporello works dedicated to and formerly in the collection of Dr Charbel Dagher. Adnan was influenced by Dr Dagher's thought-provoking poem 'Threshold' that explores the concept of boundaries and limits, both physical and metaphorical. Through its use of vivid imagery and metaphorical language, the poem suggests that everything in life has a threshold, and that these limits are an inherent part of the human experience. Here Adnan features transcripts of Dagher's poem and combines it with visual observations that are drawn using simple lines and bright colours conveying a sense of playfulness and spontaneity. The choice of the leporello format presented Adnan with a dynamic paradox: an expanded space, multiplying its potentialities as the pages unfurl but when closed, reduced to the symbolic space of a notebook, a metaphor for mobility and aesthetic nomadism. The term 'leporello' comes from the character of the same name in Mozart's opera Don Giovanni, who carries a long list of the protagonist's romantic conquests. Adnan's leporellos are a series of accordion-folded booklets that combine text and images, however, they are not lists but rather an exploration of memory, place, space and language. Other leporellos by Adnan also feature lavish illustrations of landscapes and transcriptions of Arab poetry by writers and poets including Mahmoud Darwish and Yusuf Al Khal as well as her own writing. Adnan's leporellos typically feature one continuous landscape or cityscape image that unfolds across the accordion folds, while the text accompanies the images, often in short poetic fragments. One of Adnan's most well-known leporellos is 'Mount Tamalpais Morning,' which depicts the Northern California mountain in bright blues, greens, and yellows, and features text that evokes the experience of being in nature. Other leporellos include 'Shoreline,' which portrays the coastline of the Mediterranean, and 'Journey to Mount Tamalpais,' which describes Adnan's drive to the mountain and features an image of the road winding through the landscape. Adnan's leporellos are intimate and personal works, reflecting her deep connection to place and her experience of the world. They invite the viewer to enter into Adnan's world and explore the relationship between image and text, landscape and memory, and the possibilities of the accordion fold format.-Dr Charbel Dagher-Dr Charbel Dagher is a Lebanese-American poet, writer, and educator. His poetry is known for its themes of identity, exile, love, and loss, and it often explores the complex relationship between the individual and society. Dagher's poems are characterized by their vivid imagery, emotional intensity, and lyrical language. He frequently employs metaphors and symbols to convey his ideas and feelings, and his use of sound and rhythm adds a musical quality to his work. Dagher's poetry is deeply personal and reflective, yet it speaks to universal themes and experiences. His work captures the complexity and beauty of the human experience, and his words resonate with readers across cultures and borders. One of Dagher's notable works is his collection of poems titled 'Anthems for the Unwanted,' which explores the experiences of refugees and immigrants. The collection highlights the struggles, hopes, and dreams of people who are often marginalized and silenced in society.-Threshold Poem-The poem Threshold begins with an image of a door, which represents a threshold or boundary between two spaces. The door is described as 'narrow' and 'barren,' suggesting that it is not particularly inviting or welcoming. This image sets the tone for the rest of the poem, which is concerned with the idea of limits and boundaries. The next few lines of the poem describe various physical thresholds, such as the point at which a river meets the sea and the place where the earth meets the sky. These images serve to emphasize the idea that everything in life has a limit or boundary. The poem then shifts to a more metaphorical exploration of thresholds. The speaker suggests that there are limits to what we can know and understand, and that these limits are like 'a wall we cannot breach.' This image suggests that there are some things that are simply beyond our comprehension, no matter how hard we try. The final lines of the poem suggest that even death itself is a threshold, a boundary that we cannot cross. The speaker suggests that death is like a door that we must all pass through eventually, and that it represents the ultimate limit or boundary.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
Lot 28
Charles Hossein Zenderoudi (Iran, born 1937)Untitled (Talismanic Charts) gouache on paper, framedsigned 'Zenderoudi' and dated '78' (lower right), executed in 197863.5 x 84cm (25 x 33 1/16in).Footnotes:Provenance:Property from a private collection, LondonAcquired directly from the Artist by the above'I use calligraphy as a pictorial means, and not solely as a traditional writing system. My goal is to reach a plastic interpretation of the written word. This is how I see the progress of contemporary art in the Islamic world.' We are proud to present two remarkable 1970's calligraphic works on paper by Charles Hossein Zenderoudi from his artistic prime. Inspired by ancient Iranian talismans and written offerings at shrines, these pieces are reminiscent of Sufi charts, numeral tables, and codes. The artist's calligraphy is a masterful display of his skill, capturing the essence of these ancient art forms while infusing them with his signature style.The vibrant colors used in the works are a hallmark of Zenderoudi's artistic prowess. His unique approach to color and form is showcased in every stroke of the pen, making these pieces truly remarkable.Zenderoudi's work has been exhibited in galleries and museums around the world, cementing his place as one of the most influential artists of his time. These works on paper are not only visually stunning but also offer a glimpse into the artist's cultural heritage and spiritual traditions.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 35
Fahr El-Nissa Zeid (Turkey, 1900-1991)Lavender oil on canvasexecuted circa 1950s72 x 58cm (28 3/8 x 22 13/16in).Footnotes:LavenderA rare and exquisite painting by Fahrelnissa Zeid from her kaleidoscopic periodProvenance:Property from the private collection, LondonProperty from the collection Fahr-El Nissa Zeid's personal assistant, Raymond Williams, EnglandGifted directly from the artist to the above owner, circa 1970s'This work is a rare specimen of Fahrelnissa Zeid's kaleidoscopic high period, a body of work that she widely exhibited in solo shows in private galleries in New York, London, Paris, and Zurich throughout the 1950s, as well as at the abstract art international exhibitions of the Salon des Réalités Nouvelles in Paris' - Adila Laidi-Hanieh'Overabundance.' by Adila Laïdi-Hanieh, PhD.Fahrelnissa Zeid deployed colour, line, the sublime, and the infinitesimal in a five-decade-long career producing an extraordinary and timeless body of work. After exploring expressionist figuration during the War in Istanbul, she settled into abstraction from 1948 to 1968, and developed, then grew out of several styles in sequence. The work on offer here belongs to her second abstract phase, of mainly monumental chromoluminarist compositions, into which she transitioned in the early 1950s after she gained in assurance with abstraction, creating her well-known kinetic vortexes. This is a rare specimen to come for sale for a few reasons: Most works in that unique style have already been acquired in the span of three decades by important institutional and private collections, and because of its relatively medium size. Chromatically this painting is also unique given its dominance by pink, fuchsia and purple, while Zeid usually favoured primary colours. Still, this work concentrates Fahrelnissa Zeid's high period style and gesture. The dynamic and kinetic swarming is reined in by an invisible base, and constituted by only four colours that jostle for space with white on the pictorial plane. Her energy allowed her to work rapidly and create complex abstractions that contemporary artists now execute via computer generated patterns projected onto canvases. Fahrelnissa Zeid created alone: First freely drawing a meandering pattern by charcoal on the canvas, then filling it with paint over hours or days of focused uninterrupted work. Her sharp rapid thrusting line turns then returns, criss-crosses, and swarms the canvas, projecting her inner visions and inner states. In the interstices of the lines are ellipses of depth and light that create movement and flight. Yet Fahrelnissa Zeid is not only a linear painter, and this small work affords its viewers the treat of glimpsing her characteristic impasto and brush strokes. This work is a rare specimen of Fahrelnissa Zeid's kaleidoscopic high period, a body of work that she widely exhibited in solo shows in private galleries in New York, London, Paris, and Zurich throughout the 1950s, as well as at the abstract art international exhibitions of the Salon des Réalités Nouvelles in Paris. This success led her to be invited by the ICA in 1954, to showcase the latest artistic developments of the Nouvelle Ecole de Paris art movement to London audiences, making her the first woman artist to exhibit solo at that prestigious modernist hub. What drove Fahrelnissa Zeid to work and paint prolifically? Art was for her a way out of her selfhood, like an 'overabundance' that 'starts where living does not suffice to express life'. She said that one does not paint to 'make art,' because 'there is no art, no works of art. There is the joy of living, the joy of creating, because one is not enough to oneself.'For further information on this lot please visit Bonhams.com
Lot 39
Adam Henein (Egypt, 1929-2020)Le Repos bronze with brown patinasigned 'A. HENEIN' (under left arm), the present work is an artist proof, from an edition of eight, executed in 197123 x 65 x 30cmFootnotes:Provenance:Property from a private collection, Gizainitially acquired directly from the Artist in 1972Illustrated:S. Wright, Adam Henein, Milan 2005 (illustrated, p. 61)Exhibition catalogue, ARTSPACE Grand Opening Group Exhibition, Artspace DIFC, Dubai, 2008 (another from the edition illustrated in colour, unpaged).S. Eigner, Art of the Middle East: Modern and Contemporary Art of the Arab World and Iran, London 2010 (another from the edition illustrated in colour, p. 289)Note:This work is accompanied by a certificate of authenticity issued by the Artist in 2020.This present sculpture by Adam Henein was executed in 1955 and reflects his sensitivity and artistic complexity even as a young man. During Henein's travels around the region of Luxor, Henein created this work, which combines elements of Pharaonic art with European Modernism. The sculpture depicts an Egyptian man resting in a traditional 'galabiya,' and its rough execution and sharp edges capture the fleeting motion of light, reminiscent of archaeological fragments from Egypt's rich cultural heritage.Henein's sculptures are deeply rooted in his heritage, as he juxtaposes the life of a sculptor with that of a peasant. The sculpture portrays a laid back labourer resting after a long day of work, while Henein himself continues to hammer away at the bronze to create the image of the relaxed worker. Despite giving the sculpture a modernist twist, Henein still manages to delve into Egypt's elaborate history. Through his use of simple, minimalistic lines, he captures a palpable mythic essence while retaining simplicity. Le repos is an exceptional early work by Henein, showcasing the artist's acclaimed career and holding great mystery in the absence of detail.'Le Repos' refers to a state of rest or relaxation; it is a term that has been used to describe many significant paintings throughout art history. There is no singular artwork or style that is definitively referred to as Le Repos, however, one notable Le Repos painting is by French Impressionist artist Pierre-Auguste Renoir. This painting, executed in 1870, depicts a young woman in a state of peaceful repose on a sofa with a book in her lap. This work is significant for its elegant portrayal of the reclining female form and how it beautifully captures a fleeting moment of everyday life. Renoir's soft, sensual brushstrokes and warm, earthy tones emphasize her beauty and femininity. This painting heavily influenced countless artists in the decades that followed, is considered one of Renoir's masterpieces and is housed in the Musée d'Orsay in Paris.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
Lot 40
Adam Henein (Egypt, 1929-2020)Donkey bronzesigned 'A.HENEIN' and numbered 'I. IIX', number 1 from an edition of 8, executed in 196479 x 116cm (31 1/8 x 45 11/16in).Footnotes:Adam Henein 'Donkey' The first appearance of an iconic 1960's 'Donkey' sculpture from the artistProvenance:Property from a distinguished private collection, BeirutAcquired directly from the artist by the present owner, circa early 2000sExhibited:Farouk Hosny and Adam Henein, Heirs to an Ancient Tradition, Metropolitan Museum of Art, 1999Institut Du Monde Arabe, Three Contemporary Sculptors, Paris, 1991 Egyptian Academy, Rome, 1980*others from the editionPublished:Mona Khazindar (ed.), Adam Henein, Turin, 2005Farouk Hosny and Adam Henein, Heirs to an Ancient Tradition, Metropolitan Museum of Art, 1999'See, your king comes to you, gentle and riding on a donkey, on a colt, the foal of a donkey'.- Zechariah 9:9'When he wanted an architect to build him a simple home, Henein paid for it with a sculpture of a donkey'- Mona KhazindarBonham's are proud to present one of the most emblematic and iconic Adam Henein sculptures ever to come to market. The first example of this subject matter ever to come to auction, 'Donkey' is a large, highly symbolic and deeply significant example of Henein's work. Henein grew up in a rural village in Egypt and had a strong connection with the landscape and animals of his homeland. He was fascinated by the donkey, which is a common and beloved animal in Egypt, and found it to be a symbol of resilience and endurance.For Henein, the donkey represented the dignity and beauty of the simple life and the connection between human beings and nature. He was drawn to the donkey's expressive face and its ability to convey a sense of emotion and character through its body language. In addition to his personal connection to the donkey, Henein was also influenced by the ancient Egyptian tradition of animal worship and the importance of animals in Egyptian mythology. Through his sculptures of donkeys, Henein aimed to capture the essence of this ancient tradition and convey the timeless beauty and majesty of these humble creatures.In ancient Egyptian culture, the donkey was an important animal for both practical and symbolic reasons. As a beast of burden, donkeys were used for carrying goods, such as grain, pottery, and other items, both within cities and for long-distance trade. They were also used for transportation of people, particularly the wealthy and powerful.The donkey's significance went beyond its practical use, however. It was also considered a symbol of Egypt's agricultural and economic system, which was heavily dependent on the cultivation of crops and the transportation of goods. Donkeys were often depicted in Egyptian art, appearing in tomb paintings, reliefs, and other artefacts. They were also used in religious ceremonies, particularly in the worship of the god Seth, who was associated with the desert and the donkey.In addition, donkeys had a certain cultural cachet in ancient Egyptian society. They were prized for their loyalty, endurance, and hardiness, and were often given as gifts to foreign dignitaries. Even today, the donkey remains a symbol of Egypt's rural and agricultural heritage and continues to be an important animal in many parts of the country.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
Lot 41
Inji Efflatoun (Egypt, 1924-1984)Village Scene oil on panel, framedsigned 'Inji Efflatoun' and dated '1955' (lower right), executed in 195530 x 78cm (11 13/16 x 30 11/16in).Footnotes:Provenance:Property from the collection of Amina Rachid, Cairo (1938-2021) acquired directly from the Artist, thence by descent to the present ownerThe present painting by Inji Efflatoun represents a pivotal trend in Egyptian art history, as many artists from the 1930's onwards became enamoured with the beauty and simplicity of Egyptian peasant women. Efflatoun, in particular, was known for her skill in depicting these women in an idealized and captivating manner.The painting incorporates several intricate details, from the flowing garments of the women to the lush, fertile backdrop of the Nile river. These details create a sense of movement and life, and showcase the artist's deep appreciation for the women of her homeland.Efflatoun's depictions of Egyptian peasant women from the 1950s are considered by many to be her most valuable and sought-after works. Her ability to capture the essence of these women and their daily lives has made her an iconic figure in Egyptian art history.The work comes from the estate of Amina Rachid, a prominent Egyptian activist, intellectual and close friend of Inji Efflatoun. Rachid was a granddaughter of a former prime minister of Egypt Ismail Sidky Pasha, yet she spent most of her life engaging with people in deprived towns and villages in Egypt. She studied in Paris and became a writer as well as a professor of French literature at Cairo University. She fought alongside other female activists like Inji Efflatoun for equal rights and was imprisoned in 1981 for her activities.Inji Efflatoun was known as a feminist and a political activist as well as an artist. A lifetime Marxist, Efflatoun became a staunch communist from her school days onwards. In 1942, she joined the Egyptian Communist organization Iskra (al-sharāra) and in 1945 she was one of the founding members of the League of University and Institutes' Young Women.Her artistic education began when her mother, Salha Efflatoun, hired Kamel El Telmissany as Inji's private tutor. Encouraged by Telmissany, at the young age of eighteen Efflatoun exhibited her seminal work Young Girl and Monster (1941) alongside the avant garde Art and Liberty Movement.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
Lot 43
Effat Naghi (Egypt, 1905-1994)Aydeeyakum Ma'ee (Your Hands are with Me) oil on cardboard, framedsigned 'Effat Naghi' and dated '1967' in Arabic (lower left), executed in 196796 x 69cm (37 13/16 x 27 3/16in).Footnotes:Provenance:Property from a private collection, CairoFormerly in the collection of Mr Esmat DawestashiGifted directly from the Artist to the aboveNote:This work is accompanied by a certificate of authenticity from Mr Esmat DawestashiThis highly significant 1967 painting by Effat Naghi, titled 'Your Hands Are With Me', is a striking work of propaganda art, created during a very sensitive and challenging time in Egyptian history.The painting is a visual representation of the political situation in Egypt during the 1967 war, which was a humiliating and difficult time for Abdel Gamal Nasser, the then-President of Egypt. The painting symbolizes Nasser's call for support and solidarity from the Egyptian people during this trying period.The artist masterfully portrays the message of the painting, using bold colors and striking imagery. The hands are the central focus of the painting, symbolizing the support of the Egyptian people, while the black background represents the country's mood of despair and mourning in the face of adversity.In the aftermath of the war, Nasser resigned from his position, feeling responsible for the loss. However, his resignation was met with protests and demonstrations from the Egyptian people who expressed their support for him and his leadership. Nasser returned to power shortly after, with popular support from the Egyptian peopleDespite facing criticism for his authoritarian style of governance, Nasser remained a highly respected and admired leader, both in Egypt and the Arab world. He continued to lead Egypt until his death in 1970, leaving behind a mixed legacyThis 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
Lot 52
Hussein Madi (Lebanese, born 1938)Untitled acrylic on canvassigned 'MADI' and dated '76' lower left and on the verso, executed in 1976101 x 120cm (39 3/4 x 47 1/4in).Footnotes:A rare and important 1970's abstracted letterform composition by Hussein Madi Provenance:Property from a private collection, BeirutHussein Madi's stunning large-scale composition is a masterful exploration of the abstract potential of traditional Arabic letterforms. The painting, created in the 1970s, features angular depictions of the word 'Allah' rendered in bright, vibrant greens and reds. Madi's interpretation of the letterform is a radical departure from the traditional, ornate calligraphy that has been practiced for centuries, and instead reduces the letterform into abstract shapes and signs used purely for artistic value.The painting features the word 'Allah' adapted into a crisscross pattern drawn with thin lines, with the letters almost rendered illegible. However, legibility is not important in this work; instead, Madi's focus is on the architecture of the letterform and how it can be manipulated for artistic expression. The result is a mesmerizing and powerful work of art that challenges traditional ideas of representation and invites viewers to contemplate the interplay between form and meaning.Hussein Madi is a Lebanese artist born in 1938 who is known for his innovative and experimental approach to calligraphy. He received his education at the LEbanese Institute of Fine Arts and Rome and has exhibited his work extensively throughout the Middle East, Europe, and the United States. Madi's work often incorporates elements of geometric abstraction, and he has been praised for his ability to seamlessly merge traditional and contemporary artistic techniques.Madi's painting is a testament to his ability to push the boundaries of traditional modes of representation while still maintaining a deep respect for the art form's history and cultural significance.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
Lot 54
Azza Al Qubaisi (United Arab Emirates, born 1978)Metaphor 5 mild steelexecuted in 202137 x 25 x 25cmFootnotes:Azza Al Qubaisi is a well-known artist, designer, and entrepreneur who has gained recognition as both an accomplished sculptor and jewellery designer. Her work showcases her prolific creativity, with pieces ranging from jewelry to sculptures made from materials such as gold, silver, wood, rubber tires, palm trees, and oudh incense. Al Qubaisi is a strong advocate for sustainability and has dedicated her work to promote a sustainable future for her country. Her works often use simple materials that were part of Emirati families' daily lives in the pre-oil period. Her pieces reflect the natural landscape and cultural references of the region, incorporating shapes, patterns, and textures inspired by the desert and ancient traditional techniques.Al Qubaisi's journey as an artist is deeply rooted in her Emirati heritage. She was born in Abu Dhabi and educated in London, where she earned a BA in Silversmithing, Jewelry Design, and Allied Crafts from the London Guildhall, and an MA in Cultural and Creative Industries from HCT-CERT. Her work has been showcased in group and solo exhibitions both locally and internationally. Al Qubaisi represented the UAE in the 'A 1001 Steps Festival' in Helsinki, Finland, in 2004, and was the first artist to exhibit in DIFC in 2005. Her work has also been exhibited in 'Language of the Desert' in Abu Dhabi, 'Three Generations' by ADMAF, and the UAE National Day Exhibition at Expo Milan 2015, among others. Al Qubaisi has been featured in several publications, and her wearable art from Life series and Bareeq Al Oudh series are published in '500 Earrings: New Directions in Contemporary Jewelry: 2007' by Lark Books.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
Lot 55
Zeinab AlHashemi (United Arab Emirates)Day 4 angle bar, aluminium, tube and screwsexecuted in 2022100 x 100cm (39 3/8 x 39 3/8in).Footnotes:Zeinab Alhashemi is an Emirati conceptual artist born in 1986, renowned for her large-scale, site-specific installations. Her art blurs the boundaries between the natural and constructed world, drawing inspiration from the natural geography of the region. While her works depict traditional landscape colors and textures, they are often disrupted by her use of industrial materials like mesh metal, highlighting human intervention in nature. Her installations portray her birthplace, a place where modernity and tradition coexist in harmony.Alhashemi has participated in several prestigious exhibitions, including the Sharjah Biennial and the Sustainability Pavilion at EXPO 2021 in Dubai. She was also commissioned by the Institut de France and DCT Department of Culture and Tourism Abu Dhabi to showcase her work at the inauguration of the Louvre Abu Dhabi. In 2018, she was part of the Co-Lab Show, and was an Artist in Residence at SETI Institute in San Francisco. Alhashemi holds a BA in Arts and Science from Zayed University and is represented by the Leila Heller Gallery. She lives and works in Dubai.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
Lot 56
Ebtisam Abdulaziz Ahmed (born United Arab Emirates 1975)The Blues acrylic on canvasexecuted in 202292 x 122cm (36 1/4 x 48 1/16in).Footnotes:'My works are a clear and present part of who I am in the theatre of life and daily existence. The variety in shapes and materials, from photographs to video, installation, numbers and geometric shapes are definitely exhibited for different purposes. Some document the accelerating times, others are blueprints of giant environmental projects, through which I showcase ideas that search for human nature and sail into adventure which explores the workings of the human brain. Others present an alternative concept to the accelerating change in our environment, and other visual concepts that explain the contrast between shadow and light. Some are intimately related to optical illusion art in a display of visually distorted geometric shapes and lines, which surely betray my closeness to mathematics. Manipulating numbers and mathematical systems is simply a cry of revolt against the shackles of oppressive regimes.'-Ebtisam Abdul AzizThis 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
Lot 57
Shakir Hassan Al Said (Iraq, 1925-2004)Female Portrait oil on board, framedsigned 'Shakir' and dated '1954' (upper left), executed in 195438 x 39.5cm (14 15/16 x 15 9/16in).Footnotes:Provenance:Property from the Artist's EstateExhibited:Baghdad, Institute of Fine Arts, Group Show, 19621951 marked the point when Iraq's two most prominent artists, Jewad Selim and his student Shakir Hassan Al-Said, formed the countries first bona fide modern art movement; The Baghdad Group of Modern Art, through its manifesto, membership, and numerous exhibitions would come to signify a 'golden age' in Iraqi modernism.Shakir Hassan Al-Said is often regarded as the theoretical dynamo of the movement; more vocal and prolific in his written output than Selim, Jabra Ibrahim Jabra comments that 'no Iraqi artist has written about art in general, and about the artists reflections on his own work in particular, as much as Shaker Hassan Al Said'.The Baghdad group was defined by an attempt to reconcile the grand visual legacy of the past within the contemporary cultural and nationalistic narrative of twentieth century Iraq. Mesopotamian iconography and Islamo-Arabic cultural motifs were combined with popular modern folk imagery; the high flown formal rigidity of ancient rock reliefs met the convoluted urban landscape of modern Baghdad, populated with the humorous and extravagant characters of daily life, all coming together to form a unique amalgamated aesthetic that reflected the evolving patchwork of Iraqi culture at the time..For further information on this lot please visit Bonhams.com
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