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CONTEMPORARY ART DECO DESIGN SILK CARPET. 400cm x 300cm, geometric field.

CONTEMPORARY ART DECO DESIGN SILK RUNNER, 298cm x 82cm.

Paul Nash (1889-1946), limited edition wood engraving on paper, Paradise, 1928, 13.6cm x 9.3cm, with blind stamp of the Paul Nash Trust. Published by Garton and Cooke, May 1985. no. 12/45. Printed on Japanese Hosho paper by Ian Mortimer from the original woodblocks in the possession of the Victoria and Albert Museum. Mounted. Provenance: Betty Evans Collection, former President of the Contemporary Art Society for Wales

Enid Marx (1902-1998), limited edition wood engraving on paper, Frogs eat Water-Boatmen, from An ABC of Birds and Beasts, 7cm x 10cm, printed from the blocks on paper handmade by Barcham Green in 1937. From the special edition of 75. Published by Douglas Cleverdon for Clover Editions, London 1985. Provenance: Betty Evans Collection, former President of the Contemporary Art Society for Wales

Gazbia Sirry (Egypt, born 1925)The Village oi on panel, framedsigned 'Gazbia' in English and Arabic (centre right), executed circa 1970s59.2 x 56.1cm (23 5/16 x 22 1/16in).Footnotes:VISIONS OF EGYPT: WORKS FROM THE COLLECTION OF DR ANGELO GIOE, FORMER ATTACHE OF THE ITALIAN CULTURAL INSTITUTE, CAIROProvenance:Property from the collection of Dr Angelo Gioe, cultural attaché at the Italian Cultural Institute, Cairo 2003-2007Acquired from Mona Hob, wife of the Egyptian artist and illustrator Hilmy El Touny'Notwithstanding the historical significance of her art—and the international recognition that has come with a record of seventy-five-plus one-woman shows across continents— Sirry is surprisingly under-studied, and her art is described predominantly in technical terms centered on 'color.' The quintessence of life and political statements, however, seems to have been ignored, if not entirely missed. Educated in Egypt and Europe, Sirry built one of the most influential careers in twentieth-century modern Arab art.Divided into three overlapping phases, her paintings blur art and politics as they narrate the story of societies vacillating between triumph and defeat, dignity and humiliation, social justice and inequality. Sirry arguably birthed a new identity that makes no distinction between seeing and militancy. As she fluidly moved between styles, this 'childless' grande dame became the national godmother to an entire nation'- Fatenn Mostafa KanafaniGazbia Sirry is one of the many accomplished women artists who have made a mark in the Egyptian arts throughout the twentieth century. She stood out for her dedication to the individual freedom of the Arab woman through her fighting spirit. Sirry's ardent enthusiasm for innovation and her openness to international influences made her a vital contributor to the Contemporary Art Group in Cairo. A prolific painter, she has experimented with a range of styles. Her early works resembled illustrations inspired by children's coloring books. But she soon shifted to an Expressionist style in which her use of heavy impasto, quickly applied and violently scratched, explored a thematic revolving around the artist herself or groups of individuals and couples. Her figures seem to be struggling to emerge from the whirlpool of life, or have gathered together for sheer survival in an urban environment gone astray.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

Marcos Grigorian (Iran, 1925-2007)Convergence earth, resin, straw and mixed media on panelsigned, titled and dated on the verso, executed in 1981115 x 116cm (45 1/4 x 45 11/16in).Footnotes:MARCOS GRIGORIAN – UNEARTHED: AN IMPORTANT GROUP OF COMPOSITIONS INCLUDING THE EXCEPTIONAL 1981 EARTHWORK 'CONVERGENCE'Provenance:Property from a private collection, Los AngelesOriginally in the collection of the Armenian sculptor Rafael Petrosyan (1937-)Exhibited:Marcos Grigorian, Gorky Gallery, 1981, New York'Surely not in vainMy substance of the common Earth was takenAnd to this Figure moulded... to be broke,Or trampled back to shapeless Earth again?'- Omar Khayyam'Perhaps I was homesick for the native soil of Iran, or maybe it was just the opposite – a reaction to being obsessed with my past' - Marcos GrigorianBonhams is delighted to present this superlative group of works by pioneering Iranian Armenian artist Marcos Grigorian. Ranging from one of the most monumental, exquisitely rendered, and technically complex examples of his signature Earthworks, to rare painted compositions formerly in the collection of the artists uncle and gallery-owner, the present grouping provides a comprehensive and compelling accounts of Grigorian's oeuvre.'Convergence' is part of Grigorian's acclaimed Earthworks Series. Earthworks were inspired by the use of materials and forms that went beyond the conventional means of art-making. Compared to the Western Land Artists, who similarly created compositions through the handling of earth itself, Grigorian predated this movement by a decade.Born to Armenian parents in 1925, Grigorian was brought up in Russia for a short time before emigrating to Iran with his family at the age of five. After studying at Kamal-el-Molk Art School in Tehran, he moved to Rome to complete his studies at the Academia di Bella Arti in the 1950s. His move to Rome allowed him to study the works of classical and modern masters and was a turning point in his career. His subsequent moves to Iran and then to the United States in the later years of his career were to be equally influential to his artistic development. His early abstract style was supplanted by expressionist figurative compositions on his return to Iran in 1954. In 1962 he moved to New York where he began his most famous Earthworks Series.These works are mostly on a square format, which became something of a signature for Grigorian. The square form was a representation of sacred geometry and harmonious proportions. The organic materials such as hay, straw, sand, soil and clay which he used to create his almost three-dimensional compositions were to be equally defining.In experimenting with soil and mud, he believed he was rebuilding life and exploring the complex relationship between mankind and earth. The present work is reminiscent of the commonly held theory that the Earth and the other planets developed over millions of years out of particles and gas. The traces of a convergent movement towards the centre of the canvas evoke the image of the universe forming out of primordial dust - and the monochrome earthy surface impress upon the viewer the feeling of a distant aerial view from space. The textured surface and the play between light and shadow endow the painting with an even more dramatic effect, adding to its three-dimensionality.In 1965, The Museum of Modern Art, New York acquired a work from Grigorian's Earthworks Series on the recommendation of Alfred H. Barr Jr., the legendary former director of the museum. A second work was then donated to the museum by Nelson Rockefeller in 1978. Further examples of Grigorian's works were recently acquired by the Metropolitan Museum of Art in New York and can also be found in the collections of Tehran's Museum of Contemporary Art and the National Gallery of Armenia in Yerevan.Besides being a leading figure in avant-garde Iranian and Armenian art history, Grigorian was an artist, writer, gallerist, collector, pioneer and a teacher. From his Gallery Esthétique in 1950s Tehran, which provided a free exhibition space for younger artists, to his pioneering decision to organise the first national Tehran Biennial in 1958 (after he was awarded the honour of representing Iran in the 1956 Venice Biennial) Grigorian desired to make an impact on the development of art.He was instrumental in the introduction and promotion of modern art in Iran in the 1950s and extensively promoted the works of Armenian artists in the United States in the 1980s. Despite travelling around the world, Grigorian chose to return to his ancestral home of Armenia for the remainder of his life and donated his complete collection to the Armenian government as a sign of his lifelong commitment to his nation.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

Charles Hossein Zenderoudi (Iran, born 1937)DAL+DAL+DAL acrylic on canvas, framedsigned 'Zenderoudi' and dated '70' (lower left) in English and Farsi, executed 1970212 x 124cm (83 7/16 x 48 13/16in).Footnotes:Provenance:Property from a private collection, ParisNotes: This work is accompanied by a certificate of authenticity from the Charles Hossein Zenderoudi archives and will be included in the forthcoming Charles Hussein Zenderoudi catalogue raisonée.'To create a painting, I begin with the preliminary study, which consists of sketches on paper, followed immediately by the painting of letters and colouring on canvas... I am thus able to immediately express my spontaneous feelings on canvas. Sometimes I leave a canvas to work on another, this is like improvisation in music, for I treasure freedom more than anything else. I couldn't be what I am if I didn't have freedom to express my lyricism. I don't believe in teaching painting, since I do not believe that technical training is required to make one a great painter. Painting can be done with any tool or any piece of equipment, I believe all schools of fine art, all over the world, should be shut down'- Charles Hossein Zenderoudi, Midi Libre, No 9401, 9 April 1971Provenance:Property from a private French collectionCharles Hossein Zenderoudi is one of Iran's most accomplished modern artists, as a founding father Iranian neo-traditionalism Zenderoudi is a master of blending traditional Persian motif's within a distinctly avant-garde aesthetic.His choice of subject matter, calligraphy, has historically been the most established mode of formal artistic expression prevalent in Iran, but, by emphasising form over meaning, and by stripping the written word down to its aesthetic, structural, fundaments, Zenderoudi subverts the traditional values of Persian calligraphy. Zenderoudi's text is intentionally illegible and carries no literal meaning, freeing it from the constraint of linguistic limitation, and imbuing it with a sense of universality which rescues the archaic practice of calligraphy from obscurity, giving it renewed relevance in a contemporary context.Zenderoudi's compositions pay homage to centuries of Persian religious imagery and employ a systematic repetition of letter-forms that finds its genesis in the mystical practice of Sufi numerologists, who believed in the spiritual significance of singular letters and worked these principles into hugely intricate talismanic charts. Zenderoudi's methodical compositions, whilst not accurately following the grammar or axioms of numerology, capture the aesthetic and conceptual qualities of its cryptic nature.Zenderoudi's early works focused on dense talismanic imagery, mixing iconography, freehand script and numerals. The density of these compositions sought to capture the visual intensity of popular religious expression in Iran, where banners, standards, altars, murals and mosques exuberantly adorn the urban landscape.Works from the present series, composed in the 1970's, mark a shift towards a more avant-garde, patterned, technical and measured approach to calligraphy. The crowded iconography of the early works is replaced by a greater focus on singular and recurring letter-forms, which exhibit a formal refinement lacking in their earlier counterparts. The present work also marks a conceptual shift away from the more overtly traditional subject matters and more towards a pure, patterned aesthetic which emphasises the meditative and visual elements of letter depiction over their linguistic connotation.Measured but spontaneous, technical yet effuse, Zenderoudi' manipulates Persian calligraphy with effortless ease, boasting a visual scope which faithfully captures the salient elements of Iran's traditional popular religious aesthetic. Rendered with the use of rich and vibrant colours, his canvases replicate the tonal and textural qualities of the votive art so common to the Iranian urban landscape.Almost rhythmic in its grace, balance and composition, the present work is one of the finest examples of Zenderoudi's work from this period.Saleroom noticesThis 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

Dia Azzawi (Iraq, born 1939)From the South: Siesta oil on canvas, framedsigned 'Dia Azzawi' and dated '68' (lower right) and further signed, dated and titled on the verso, executed in 1968100 x 82cm (39 3/8 x 32 5/16in).Footnotes:TWO IMPORTANT 1960'S COMPOSITIONS BY DIA AZZAWI EXHIBITED AT THE IRAQI ARTISTS SOCIETY AND NATIONAL MUSEUM OF MODERN ART Provenance:Property from the collection of the renowned architects Nizar Jawdat (1920-2017) and Ellen Jawdat (1921-2020), acquired directly from the artist,thence by descent to the present ownersExhibited:Exhibition of Paintings by Dhia Al Azzawi, The National Gallery of Modern Art, Baghdad, 1968Published:Exhibition Catalogue, Exhibition of Paintings by Dhia Al Azzawi, The National Gallery of Modern Art, Baghdad, 1968, No.16'In [these] works, the topic is related to the south of Iraq rather than Baghdad... very much related to peasant life rather than everyday city life. [The South] is richer than the north.. if we take the intellectual side of things, many of the most important poets are from the South, as well as writers and artists. It is richer in culture in a sense' - Dia AzzawiCompositionally, the two following lots are perhaps archetypal of the artistic milieu that Dia Azzawi was operating in during the mid to late 1960's, the works flawlessly expresses the aesthetic and conceptual agenda of the 'Baghdad Group of Modern Art' which was founded by Jewad Selim and Shakir 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 20th century Iraq.Mixing traditional Iraqi and Islamic motifs with a modernist visual language, Azzawi weaves a form of 'folk modernism' which is both vernacular and universal. Focusing on recognisable ancient and local symbols, Azzawi's composition is stylised and simplified, almost creating an artistic caricature of Iraqi culture. Formative paintings within Azzawi's body of work, these would set the tone for his later contributions to the progress of Iraqi Modernism. Painted while the artist was still in his 20's, the works are stylistically sophisticated examples of a burgeoning modernist movement in Iraq.In the present works the artist abstracts cultural iconography mixing Islamic and pre-Islamic motifs found in ancient rock reliefs, Islamic manuscripts, metalwork and creates a rich tapestry of varied meaning as a result. In 'From the South: A Siesta', a heavily stylized figure with a rounded face and bulbous eyes reminiscent of ancient Mesopotamian totems reclines sympathetically on a carpet recalling the polychromatic brilliance of Bedouin textiles. Azzawi's abiding love and respect for the tonal characteristics of the natural world and for ancient Iraqi imagery shines through in this important early work, which echoes the formal approach and inimitable style of the 'New Vision' school of painting he would come to found in 1969. Azzawi typically incorporates structures and visual symbolism harking back millennia in his paintings, which is evident here in the pseudo-figurative form depicted in the composition, which recalls ancient Mesopotamian bass-reliefs and their mythological imagery.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

Shakir Hassan Al Said (Iraq, 1925-2004)Cubist Cockerel oil on panel, framedsigned 'Shakir Hassan Al Said' and dated '1955' on the verso, executed in 195540 x 40.5cm (15 3/4 x 15 15/16in).Footnotes:AN IMPORTANT SHAKIR HASSAN AL SAID FROM THE SELIM FAMILY COLLECTION, GIFTED DIRECTLY BY THE ARTIST TO JEWAD SELIM IN 1955'We wanted to clarify to Iraqi artists in general, and to ourselves as an art group in particular, that istilham alturath (seeking inspiration from tradition) is the basic point of departure to achieve a cultural vision through modern styles.'- Shakir Hassan Al SaidProvenance:Property from the collection of Jewad SelimGifted to the above by Shakir Hassan Al-Said, circa 1955thence by descent 1951 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.Light hearted and boisterous, Al Said and Selim's depictions revelled in the rich and florid aesthetic of the Baghdad Street. The present work, a depiction of a Cubist Cockerel, is a quintessential example of this. A recurring motif in Arab culture, the cockerel has been a subject of ancient pottery, metalwork and embroidery. Seen as a traditional symbol of sustenance, nourishment and rural plenty, it is even said in the hadith of Abu Dawud that the Prophet Muhammad told his followers 'not to revile the rooster for it wakes you up for prayer'.Appropriating a symbol that is not only literally recurrent within the urban scenery, but signals the coming of the day, the passage of prayer, and which satisfies an important mercantile function, exemplifies the aim of the Baghdad Group's agenda, which was to depict an art which engaged the people, and which was reflective of their collective experience.In using a rich and uplifting Expressionist palette, and the visual language of the cubists, Al-Said's rooster assumes qualities and characteristics above and beyond the mere representational; by stressing vibrant colours and an angular anatomy, an abstract structure is favoured at the expense of strictly pictorial elements, an effect that is heightened as visual elements of the background fauna correspond to the representation of the Cockerel in palette and contour. The ultimate effect is that of the Cockerel as purely symbolic and highly stylized, an artistic invention.Acquired from Shakir Hassan by Jewad Selim, it is hard to think of a work with better provenance or one that closer to the very heart of the Baghdad movement than the present work. Given by student to teacher, cherished by him and his family for close to half a century, Al Said's Cubist Cockerel can truly be described as 'best of breed'.For further information on this lot please visit Bonhams.com

Jewad Selim (Iraq, 1919-1961)Good and Evil, An Abstraction oil on canvas, framedexecuted circa 195150 x 75cm (19 11/16 x 29 1/2in).Footnotes:'GOOD AND EVIL, AN ABSTRACTION' - A RARE AND MAGNIFICENT 1951 OIL PAINTING BY JEWAD SELIM COMMISSIONED FOR THE IRAQI RED CRESCENT SOCIETYProvenance:Property from the collection of the renowned architects Nizar Jawdat (1920-2017) and Ellen Jawdat (1921-2020), acquired directly from the artist, thence by descent to the present ownersNote:The present work is a study for a tile mural planned for the entrance to the Iraqi Red Crescent Society headquarters in Baghdad, a building designed by Nizar and Ellen Jawdat'The ladies of the Women's Red Crescent asked us to design the headquarters for their charitable society. It would occupy a prominent position on a main thoroughfare in the south of the city. In addition to their administrative offices, the project would incorporate their most ambitious charity, an orphanage for about 50 young girls. Fresh from our studies and uncorrupted by caution, we designed a building that provided for their needs in a way that was new to Baghdad —a striking, functional modern design. Jawad Selim, now Iraq's foremost artist, agreed to design a mural in small ceramic, colored tiles that would fill the entrance wall to the offices: He produced an abstract design based on the theme of Good and Evil, which incorporated —appropriately, the symbol of the crescent moon.'- Unpublished Memoirs of Ellen Jawdat'The spectacle of the sky overwhelms me. I am overwhelmed when I see a crescent moon or the sun in an immense sky'- Joan MiroBonham's are proud to present perhaps one of the rarest and most sought-after Iraqi paintings to come to auction in recent history, from the father of Iraqi Modernism, Jewad Selim.Selim painted Good and Evil in 1951 as a study for a mosaic-mural commissioned by the Iraqi Red Crescent society for their Baghdad headquarters, a building designed by the Jawdat's themselves. While the mural itself was never constructed the painting remained in the hands of the family since its composition and its appearance at international auction seventy years later marks an immensely important re-emergence of a major oil painting by Selim Compositionally, Good and Evil is perhaps the archetypal Jewad Selim; painted at the zenith of his career, the work flawlessly expresses the aesthetic and conceptual agenda of the 'Baghdad Group of Modern Art' which Jewad himself co-founded. 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 20th century Iraq.Mixing traditional Iraqi and Islamic motifs with a modernist visual language, Selim weaves a form of 'folk modernism' which is both vernacular and universal. Focusing on the florid landscape of downtown Baghdad, Selim's composition is populated with abstract interpretations of the humorous and extravagant characters encountered in Iraqi everyday life. Light-hearted and boisterous, the Good and Evil is in part a stylistically sophisticated example of a burgeoning modernist movement in Iraq and in part a playful take on the mood and feel of life in Baghdad.The current work is the only known appearance at auction of a Jewad Selim composed with the artists iconic monochromatic silver backdrop, seen most prominently in his superlative painting, Baghdadiyat, now in the collection of the MATHAF: Arab Museum of Modern Art in Qatar. Inspired both by indigenous artistic vocabulary and the great European modernists that Selim studied during his artistic training, Good and Evil seamlessly combines oriental and modernist motif's. The monochromatic background and abstracted line-drawn forms are reminiscent of Spanish modernist Joan Miro, who curiously also had a fascination with crescent forms and used them extensively in his compositions on the constellations. The star and crescent motif itself is a common feature of Sumerian iconography, the crescent usually being associated with the moon god Sin (Nanna) and the star with Ishtar (Inanna), often placed alongside the sun disk of Shamash. In this manner, Selim demonstrates his ability to simultaneously borrow from ancient and modern artistic traditions. Selim's subject matter, an abstract interpretation on the struggle between Good and Evil, is a perennial component of ancient Mesopotamian art and mythology. A slender, horned, devil like figure towers almost comically on the left-hand side of the composition, while more benign winged creatures float on the foreground. The iconography of the ancient Middle East is rife in precisely this kind of abstracted 'dualism', specifically in the ancient Zoroastrian tradition where the universe was characterised as a constant struggle between the forces of Good and Evil. Selim's composition therefore pays homage to a rich artistic legacy in a composition which deftly marries the ancient and the modern in his inimitable style. Jewad Selim (1919-61)It is impossible to understand the modern art movement in Iraq without taking into account the works of this pioneer sculptor and painter, who was undoubtedly the most influential artist in Iraq's modern art movement. To him, art was a tool to reassert national self-esteem and help build a distinctive Iraqi identity. He tried to formulate an intellectual definition for contemporary Iraqi art. In charting his country's contemporary social and political realities, he was committed to combining the indigenous historical and folkloric art forms, with contemporary Western trends.Born in Ankara, Turkey in 1919 to Iraqi parents who moved to Baghdad in 1921, Jewad Selim came from a strongly artistic family: his father was an accomplished amateur painter, whose work was influenced by the European old masters, and his brother Nizar and sister Neziha were also accomplished painters, becoming well-known in their own right.Jewad was sent to Europe on government scholarships to further his art education, first to Paris (1938-39) and then to Rome (1939-40). The effects of World War II resulted in Jewad cutting short his studies and returning to Baghdad, where he began part-time work at the Directorate of Antiquities, where he developed an appreciation and understanding of ancient art of his country, and he also taught at the Institute of Fine Arts and founded the sculpture department.In 1946, he was sent to the Slade School of Art, London. At the Slade, Jewad met his future wife and fellow art student, Lorna. Jewad returned to Baghdad in 1949 to become Head of the Department of Sculpture at the Institute of Fine Arts, where he taught his students to draw on the heritage of their country to create a distinctive Iraqi style and artistic identity, which would become the ethos of an influential art movement just a few years later. In 1950 Lorna joined Jewad in Baghdad, where they were married.In 1951, Jewad Selim formed The Baghdad Modern Art Group.. Modern Iraqi art began with the first exhibition of the Baghdad group where they announced the birth of a new school of art that would 'serve local and international culture'.After painting his most mature works in the 1950s, the artist gave up painting and focussed on sculpture, the culmination of which was his Monument for Freedom in Tahrir Square in Baghdad of 1960-61. This was the largest monument built in Iraq in 2500 years '. The time frame presented by the President was unrealistic and the project did not run smoothly. Immense pressure was put on Jewad to finish his work and he suffered a heart-attack. He died one week la... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A late 18th / early 19th century Italian carved white marble figure of the Antinous Belvedereprobably Roman, after the antiquethe nude male modelled in contraposto stance with head turned slightly to dexter, his right hand on his hip, drapery held loosely in the crook of his left arm, standing beside a stylised tree stump on oval base, the figure raised on a contemporary ebonised moulded rectangular plinth, the figure 51cm high, 71cm high overall including plinth Footnotes:The antique marble statue of Antinous Belvedere was first recorded in 1543 when it was purchased for one thousand ducats by Pope Paul III for the courtyard of Belvedere garden in the Vatican. By 1545 it was in the statue court, where it remained until 1797. Tentatively attributed to the 4th century Attica sculptor Praxiteles or a close follower it was reproduced in both marble and bronze for the Palace of Versailles in the 1680's by the Baroque sculptor Pierre I Le Gros (French, 1666-1719) and was later admired and praised by the influential German art historian and archaeologist Johann Joachim Winckelmann (1717-1768) who wrote 'our Nature will not easily create a body as perfect as that of the Antinous admirandus'. Copies of the model were hugely popular in the 18th century appearing in the most prestigious collections of Europe as life-size editions or reductions in a variety of mediums such as the offered lot. In 1797 the Belvedere Antinous left Italy when it was ceded to the French as part of the Treaty of Tolentino, arriving in Paris with a triumphal procession a year later before being exhibited at the Musée Central des Arts. It was subsequently returned to Rome in 1816.Related LiteratureF. Haskell and N. Penny, Taste and the Antique, 'The Lure of Classical Sculpture 1500-1900', New Haven/London, 1982, pp. 141-143.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

An Italian polychrome and gilt 'Cartapesta' arched figural relief of the Virgin and Christ Child mounted in a contemporary carved and decorated wood and stucco frameprobably Sienese or Florentine, late 15th centurythe Virgin clad in an incised and richly decorated floral robe, her downcast head with fair hair and draped headdress, holding the draped nude Christ Child before a blue background and surmounted by three bell flower hung fleur-de-lis motifs within an arched moulded rectangular frame with bead and roll narrow border, the upper corners with twin grotesque mask and cornucopia decoration, the base with a matching frieze of three mask heads and cornucopia united by leafy motifs, the arched relief, 67cm x 34cm, the outer rectangular frame, 92cm high, 53cm wide, 10cm deepFootnotes:Although the medium of Cartapesta, created from paper and cloth as a material for the plastic arts in Italy in 15th century is not intrinsically a valuable material, the process of its production is arguably a more complex and rarer one than the more familiar modern technique of papier-mâché which is made more simply using strips of paper and flour glue. As such it was held in equally high esteem to marble and bronze by Renaissances sculptors, evidenced by the Cartapesta figural relief of the Virgin Child by Jacopo Sansovino (1486-1570) which exists in versions at the Louvre and the National Gallery of Art, Washington.Using a pestle and mortar, the Cartapesta pulp would be created from scraps of paper and linen or cotton cloth and water. A protective layer of wax was added to the mould. Canvas backing was then needed to strengthen the relief; dampened, so that it could be stretched over the mould and applied with either flour paste or animal glue. The finishing process involved applying gesso in layers to create a smooth fine surface, which was then painted and gilded.Renaissance workshops developed their own secret methods and materials to make highly decorative objects for both secular and religious use including mirror frames and devotional reliefs of the Virgin and Child such as the present lot. Some Cartapesta objects were also made for more ephemeral use including civic festivals and religious feast days.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A large Italian third quarter 18th century giltwood armchair or throne chairof Venetian originThe frames carved with acanthus, rocaille, flowers, shells, foliate wrapped C- and S-scrolls and a cabochon, surmounted by a Corno Ducale (Doge hat) and flanked to each end by an 'Atlas' putto, above volute scrolled arms, over a shaped seat frame centred by a lambrequin canopy, on 'Atlas' putto figural and C-scroll front legs, with cabriole rear legs terminating in scroll feet, the reverse applied with a small oval metal plate engraved: '7486', re-gilt, significant wear to the leather seat, 105cm wide x 96cm deep x 169cm high, (41in wide x 37 1/2in deep x 66 1/2in high)Footnotes:A related pair of Venetian 18th century giltwood side chairs, made for Paolo Renier (1710-1789), who served as the last Doge of Venice until his death in 1789, sold Christie's, London, 10 June 2004, Important European Furniture, lot 21. Also, a pair of side chairs evidently forming part of the same commission had previously sold Christie's London, 15 December 1994, lot 559.These comparables formed part of a suite of furniture which was originally supplied to Paolo Renier before 1779. This is known because a portrait of Renier dressed in his official robes as the newly appointed Doge, by Ludovico Gallina (now in the Museo Civico, Padua), depicts Renier with a console table and armchairs from this suite, while the painting itself dates to 1779. Both this oil on canvas, as well as two side chairs and one of the armchairs from the Renier suite, are illustrated in A. Gonzalez-Palacios, Il Tempio del Gusto, Le Art Decorative in Italia fra Classicismi e Barocco, Vol. II, fig.s 770-772 & 776, pp.'s 365-368. Of additional interest is another very similar Gallina portrait of Renier, depicted in 'full garb' as Doge, which is set within an elaborate contemporary carved giltwood frame crowned by a 'Corno Ducale' (or Doge's hat), that is very close in terms of its execution and relative size to the one surmounting the offered lot, Ibid, Vol. II fig. 778, p. 369. The Ca'Rezzonico and Cini Collection, both in Venice, house other chairs from this historic suite, whilst additional examples from the set can be seen at the Wallace Collection (illustrated in F.J.B. Watson, Wallace Collection Catalogues: Furniture, 1956, fig. 491-2, pl. 36) and other private collections. A further group of associated armchairs were sold as part of the Donna delle Rose Collection, Venice, 1934, lots 364-371. In this sale catalogue, G. Lorenzetti and L. Planiscig dated the suite to the first quarter of the 18th century and attributed its execution to the sculptor Antonio Corradini (1688-1752) due to the stylistic similarities between this furniture and fragments of the last state barge (Bucintorr), which was also claimed to be by Corradini. However, Alvar González-Palacios suggests that the suite is unlikely to be by Corradini but instead it could be the output of a single anonymous workshop, also dating the work to the third quarter of the 18th Century, by which time Corradini had died, Ibid, Vol. I, fig. LIV, pp.'s 333-341.LiteratureA. Gonzalez-Palacios, Il Tempio del Gusto, Le Art Decorative in Italia fra Classicismi e Barocco, Vol.'s I & II, 1986, Milan.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Five Japanese 17th, 18th & 19th Century Shunga (Erotic) Woodblock Printed Books containing both images and erotic text. Some images have contemporary hand colouring, one has colour-printed illustrations. Not all are complete. Various sizes.Provenance: From the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.

AFTER ÉMILE GALLÉ; a contemporary glass ceiling shade with floral decoration, bears pseudo signature, diameter 36cm, with part fitting and a Vasart Scottish Art Glass bowl, with internal green and clear glass mottled decoration, bears signature to the underside, diameter 22cm, and a similar vase decorated with scattered canes, height 12cm (3). Additional InformationSlither chips to one edge.

A collection of contemporary Chinese works of art including ceramic lidded boxes, white metal boxes, bone netsuki, snuff bottles, etc.

PHILIP JONES (BRITISH, 1933-2008)Landscape in Greenssigned and dated 'Philip Jones 97' (lower left) and inscribed (to backboard)oil on paper laid down on board56 x 61cmARRProvenancePurchased from the artist by the present ownerExhibitedBury St Edmunds Art Gallery, 25th Anniversary Exhibition, June 1997, No 9London, Ainscough Contemporary Art, October, 1997

SAMUEL SALCEDO (Barcelona, 1975)."Teletubbie. Characters Series. 2007.Polychrome resin with oil and wood.Measurements: 56 x 19 x 19 cm. with base.The sculptor Samuel Salcedo develops a work of grotesque and ironic characters, through which the artist reflects on his own identity. In spite of adopting different techniques in his artistic work, he defines himself as a sculptor, following his own words: "The plastic artist sounds a bit bombastic to me. Although for a long time I exhibited only painting, my food work and my social security epigraph was sculptor. Now I keep saying it because, sometimes, the designation of plastic artist puts you in a context in which many people do not know how to place you, especially people outside the art world." His work is characterized by portraying the human being from a point of view in which his emotions are magnified, and even ridiculed. Through a completely contemporary aesthetic Samuel Salcedo presents the reactions produced by different states of mind. Exploring the field of humor he alludes to "I have been developing it because I understood that it helps to attenuate a certain aggressiveness in my work and to place it in the context I feel it has to be in. There can't be only aggressiveness, there can't be, there has to be both, and this is precisely what is disconcerting".He trained at the Faculty of Fine Arts in Barcelona and Manchester Metropolitan University, and in 1998 he made his solo debut at the Rose Sélavy gallery in Barcelona. Since then he has held solo shows in various Spanish capitals, as well as in Paris (Fréderic Got, 2008), Cologne (100Kubik, 2011), Berlin (3Punts, 2012) and Hannover (Robert Drees, 2012). Among the most recent ones it is worth mentioning "House of Mirrors", held at 3Punts gallery in Barcelona in 2013. Likewise, since the year of his debut he has taken part in group exhibitions held mainly in Barcelona, but also in Granada, Murcia, Madrid, Banyoles, Vigo, Berlin, Lisbon, Strasbourg, Andorra, Lille, Perpignan and other cities. He has also participated in several fairs, including Artexpo in 2001 (Barcelona), Estampa in 2009 (Madrid), Art Madrid in 2010-2013, Hot Fair Basel in 2010, Art Miami in 2010, Scope Art Show New York in 2011, Art Chicago in 2011, Art Fair Cologne in 2011 and 2013, Just Mad in Madrid in 2012 and Art Karlsruhe in Germany in 2013. He is currently represented in the Testimoni collection of La Caixa, the Fran Daurel, DKV and Vila-Casas Foundations, the City Council of Ceutí (Murcia), the Benito Artis collection (Manlleu), the Museum of International Contemporary Figurative Sculpture and the Bassat collection.

RAFAEL CANOGAR GÓMEZ (Toledo, 1935)."P-7 81", 1981.Oil on canvas.Signed and dated in the lower left corner. Signed, dated and titled on the back.Measurements: 73 x 60 cm; 75 x 62 cm (frame).Based on an image where the abstraction takes conscience of the compositional space, Canogar faces the red, recurrent tonality in his production, which discovers an open debate towards socio cultural concepts. This use of flat colors, often aesthetically opposed, which drink from different primary colors, respond to the desire for opposition and contradiction that prevails in many of the artist's works. In fact, Canogar states: "My work wishes to reflect, in its form of birth, in its genesis, those two elemental and primary forces that have always accompanied man: the constructive and destructive forces, or construction-deconstruction. Opposing forces and the struggle of opposites, as a structural part of my work; as the reality of man who lives immersed in his own contradictions."Co-founder of the group "El Paso" in 1957, during the fifties he developed a fully informalist work, which drifts during the sixties in a complex figuration increasingly narrative. In the sixties he achieved international recognition as a guest professor at Milles College in California to teach the art course 1965-66, and as a guest artist at the Tamarind Lithography Workshop in Los Angeles in 1969. Also, between 1972 and 1974 he was invited by the D.A.A.D. of Berlin as resident artist. During his maturity stage, from 1975, Canogar invents a new iconography, his own and personal, which he expresses through the mask, the head, the face, as a representation of the man who loses his individuality and becomes a plastic sign. His work will also be recognized in Spain, and during the eighties he will be a member of the Advisory Council of the General Directorate of Fine Arts of the Ministry of Culture, of the Board of Trustees of the National Museum of Contemporary Art in Madrid, and a member of the Board of Directors of the National Heritage. Throughout his career, Canogar has held countless solo and group exhibitions. Among the personal exhibitions, several have been retrospectives, among others: Museo Nacional de Arte Contemporáneo and Biblioteca Nacional de Madrid, Museo de Arte Moderno de la Villa de Paris, Sonia Heine Foundation in Oslo, Konsthalle de Lund in Sweden, Paris Art Center, Bochum Art Museum in Germany, Istituto di Storia dell'Arte de Parma, Museo de Bellas Artes de Bilbao, Fundación Casa del Cordón de Burgos, Museo de Santa Cruz de Toledo, Museo Reina Sofía in Madrid, etc.

JOSEP BOFILL MOLINÉ (Barcelona, 1942)."Two", 1993.Iron and bronze, copy 2/3.Signed and justified.Measurements: 153 x 65 x 30 cm.In the work presented here, the artist's taste for the representation of the human figure is evident, moving away from idealization and always close to naturalism. Bofill fuses materials such as bronze and iron, in an innovative approach and search for new artistic expressions. Sculptor, son of José Bofill Herrero, he began his studies at the School of Arts and Crafts in Barcelona. He exhibited for the first time in 1976, and since then he has had numerous exhibitions, as well as several important monuments. His work is framed within a naturalism that has been moving away from idealization in search of greater realism, always with the human figure as the protagonist. He has exhibited in Spain, Holland, Portugal, Belgium, United States, France, Italy and China. He is represented at the Palace of the Generalitat of Catalonia, the Círculo del Liceo in Barcelona, the Provincial Museum of La Rioja, the La Cour d'Or in Mezt (France), the Catalan Institute of Women, the Miniature Museum of Contemporary Art in Amsterdam, the General Motors Collection in Detroit, the Chacao Foundation in Caracas, the New Airport and the KEE Club in Hong Kong, and the Almada Museum in Lisbon, among other centers.

ROBERT COMBAS (Lyon, 1957).Untitled, 1992, from the Suite Olympic Centennial.Lithograph on 270 grams Vélin d'Arches paper, copy 58/250.Signed, dated and numbered in pencil.Measurements: 90 x 63 cm.French painter and sculptor, Robert Combas was trained at the School of Fine Arts in the city of Sete, in southeastern France, and held his first solo exhibition in 1980. He is considered the co-founding father of free figuration, a movement that began in Paris in 1980 as a reaction to the minimalism and conceptual art that were becoming established in the French capital at the time. Free figuration, "a painting that does not deny its primitive instincts or its desire for culture" according to Combas himself, has its roots in Fauvism and expressionism and establishes a connecting thread with the neo-expressionist movement and graffiti art. Therefore, Combas' works become a critique of society in general, through an intense style, based on the use of powerful, vivid and passionate colors that leave no inch of the canvas free, outlining in black the figures he depicts.The Olympic Suite is composed of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The chosen artists are defined by diverse movements and pictorial currents, from the conceptualism and minimalism of "Ben" Vautier, the lyrical abstraction of Yasse Tabuchi, the painting of Oleg Tselkov who concentrates on the human figure, intensely expressive and treated with forceful forms and intense colors that seek to reflect the conflicts and violence of his time, and finally the work of André Arabis, clearly abstract and geometric.

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). "La Tresor et la Mère Ubu", Suite Ubu Roi, 1966. Set of three lithographs, copies 47/75. Numbered in pencil. Work cataloged in "Miró lithographer vol. III: 1964-1969", by Joan Teixidor (Barcelona; Polígrafa, 1987). It is part of the suite "Ubu Roi", composed of thirteen lithographs accompanying texts by Alfred Jarry, 1966, p. 418. Acquired by the present owner from the Theler family (Switzerland). Measurements: 54 x 74 cm; 83 x 104 cm (frame). Seventy-five folders containing a large-margin suite, numbered and signed; a numbered and monogrammed black state, and a numbered color state have been made.The series Ubu Rey, made by Joan Miró in 1966, consists of 13 lithographs. Of these, 205 copies have been printed on Arches vellum paper, of which 25 copies are out of commerce, numbered and signed. In addition, 75 folders have been printed containing a large-margin "suite", numbered and signed, a numbered and monogrammed black state and a numbered color state. Internationally acclaimed following the retrospective that the MOMA in New York dedicated to him in 1941, Joan Miró has won awards such as the Grand Prizes of the Venice Biennale and the Guggenheim Foundation, the Carnegie Prize for Painting, the Gold Medals of the Generalitat de Catalunya and of the Fine Arts, etc. His work can currently be seen at the Joan Miró Foundation in Barcelona, as well as in the main contemporary art museums around the world, such as the Thyssen-Bornemisza, the MOMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

CARLOS CRUZ DÍEZ (Caracas, 1923-2019).Untitled, 1992, from the Suite Olympic Centennial.Silkscreen on 270 grams Vélin d'Arches paper, copy 58/250.Signed, dated and justified by hand.Measurements: 63 x 90 cm.The French-Venezuelan artist, Carlos Cruz-Diez, lived and worked in Paris since 1960. He is one of the most relevant protagonists of optical and kinetic art, an artistic current that claims "the awareness of the instability of the real". His research reveals him as one of the thinkers of color in the 20th century. The plastic discourse of Carlos Cruz-Diez gravitates around the chromatic phenomenon conceived as an autonomous reality that evolves in space and time, without the help of form or support, in a continuous present. Carlos Cruz-Diez's works are in prestigious permanent collections such as those of the Museum of Modern Art (MoMA) in New York, Tate Modern in London, Musée d'Art Moderne de la Ville de Paris, Centre Pompidou in Paris, Museum of Fine Arts in Houston and Wallraf-Richartz Museum in Cologne, among others.The Olympic Suite is composed of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The chosen artists are defined by diverse movements and pictorial currents, from the conceptualism and minimalism of "Ben" Vautier, the lyrical abstraction of Yasse Tabuchi, the painting of Oleg Tselkov who concentrates on the human figure, intensely expressive and treated with forceful forms and intense colors that seek to reflect the conflicts and violence of his time, and finally the work of André Arabis, clearly abstract and geometric.

NAM JUNE PAIK (Seoul, 1932 - Miami, 2006).Untitled, 1992, from the "Suite Olympic Centennial".Lithograph on 270 grams Velin d'Arches paper, copy 58/250.Signed and justified by hand.Measurements: 63 x 90 cm.The Olympic Suite is composed of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. Edited to commemorate the first centenary of modern Olympism, the chosen artists are defined by diverse pictorial movements and trends.Nam June Paik worked throughout his career as a music composer, but also as a video artist, painter and printmaker. He received his musical training at the University of Tokyo, where he also studied Art History. He later traveled to Germany in the mid-1950s to study music theory in Munich, Cologne and Freiburg. He worked in the electronic music research laboratory of Radio Cologne, and participated in the artistic research groups Happening and Fluxus. In this and other lithographs he investigates the graphic possibilities from the serialization of elements close to the aesthetics of the video game and even the "emoticon".

SOL LEWITT (United States, 1928 - 2007)."Five pointed star with colorbands", from the Olympic Centennial Suite, 1992.Silkscreen on 270 gr Velin d'Arches paper, copy 58/250.Signed and justified by hand.Measurements: 90 x 63 cm.The Olympic Suite is composed of fifty lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The chosen artists work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, passing through abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, or the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international projection, widely recognized by critics.An artist linked to several movements, including conceptual and minimal art, Sol LeWitt expressed himself mainly through painting, drawing, photography and structures. Born into a Jewish family of Russian immigrants, after receiving a BFA from Syracuse University in 1949 he began a series of trips through Europe, where he was influenced by the great masters of painting. Settling in New York in the fifties, he focused his interest in graphic design, working for Seventeen Magazine. During the following decade the artist worked at the MoMA in New York, another experience that would mark the development of his work. During these years, LeWitt became one of the main representatives of conceptual art, which emphasizes that the idea, and not its physical form, is fundamental. He was one of the pioneers of this movement, as well as one of its most prominent theoreticians, and his work has also been related to minimalism. From 1965 LeWitt will be the subject of hundreds of solo exhibitions in museums and galleries around the world. His works include two- and three-dimensional works, from wall paintings (more than 1,200) to photographs, drawings and sculptures of all kinds, including towers, pyramids, geometric forms and progressions. Sol LeWitt frequently used open, modular structures based on the cube, a key form in the development of his language. In 1978, the Museum of Modern Art in New York dedicated his first retrospective exhibition to him. LeWitt is currently represented in that museum, as well as in the Guggenheim in New York and Bilbao, the Kunstmuseum in Basel, the Palazzo Forti in Verona, the SMAK in Ghent, the Tate Gallery in London, the Hirshhorn Museum and Sculpture Garden and the National Gallery in Washington, the Metropolitan in New York and the National Gallery of Australia, among many others.

ZAO WOU KI (Beijing, 1921 - Nyon, Switzerland, 2013).Untitled, from the Suite Olympic Centennial, 1992.Lithograph on 270 gram Vélin d'Arches paper, copy 58/250.Signed and justified by hand.Measurements: 90 x 63 cm.Zao Wou Ki is the second most sought-after postwar artist in the world and is the sixth most expensive artist of all time. In the first half of 2018, his sales ranked only behind those of stars such as Picasso, Monet, Modigliani or Andy Warhol. At the end of 2018, one of his paintings was sold for 56.5 million euros at auction at Sotheby's. The work made Wou-Ki the most expensive Asian artist in history.Zao Wou Ki was born into a Franco-Chinese family and grew up in a highly cultured environment, interested in the arts and sciences. He studied calligraphy in his childhood, an aspect that would influence his mature work, and later trained in painting at the Hangzhou College of Fine Arts between 1935-1941. A few years later, in 1948, he settled in Paris, in the Montparnasse district, where he would follow the artistic courses of Émile Othon Friesz and come into contact with the contemporary artistic avant-garde. He begins to experiment with lithography, a technique that he eventually mastered, as a result of his contact with Desjobert. He holds a solo exhibition at the Creuze Gallery in May 1949, with a presentation written by Bernard Dorival, curator of the National Museum of Modern Art. In January 1951 Pierre Loeb visits Wou-Ki's studio with Henri Michaux, organizing an exhibition at the Pierre Gallery for June, thus laying the foundations for a close collaborative relationship that would last six years. Thus, he exhibits regularly at the Pierre Gallery, and meets I. M. Pei and his wife Eileen, opening his circle of exhibitions to Switzerland, London, Basel and Lausanne, as well as in New York, Washington and Chicago. His painting is eminently abstract and colorist, very influenced by the work of Paul Klee, for his expressionist and emotive abstraction. He tends to work with large masses of intense and contrasting color, often creating works of large dimensions, as well as diptychs or triptychs. They are often explosions of color, germinal "big bangs", the origin of a world in creation, as we can see in this lithograph. Delicate patches of blue and mauve intermingle with some gray tones.

JESÚS RAFAEL SOTO (Venezuela, 1923 - France, 2005).Untitled, ca. 1992, from the Suite Olympic Centennial.Silkscreen on Vélin d'Arches paper, copy 58/250.Signed and dated in pencil in the lower right corner.Measurements: 63 x 90 cm.Venezuelan artist formed in the School of Art of Caracas, Jesús Soto was an outstanding representative of the kinetic art, which he initiated and developed at the end of the fifties. Between the seventies and the nineties, already fully consecrated at the international level, he held important exhibitions in places such as the MOMA and the Guggenheim in New York, the Georges Pompidou Center in Paris, etc. He also participated in the 1966 Venice Biennial and the 1996 São Paulo Biennial. Especially famous for his penetrable sculptures, he also carried out projects such as the decoration of the main hall of the Teresa Carreño Theater in Caracas. Soto was awarded Venezuela's National Plastic Arts Prize, and in 1973 the Venezuelan government inaugurated a museum in his honor in his native Ciudad Bolivar. He is currently represented in important collections such as the Guggenheim Museum in New York.The Olympic Suite is composed of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The artists chosen are defined by diverse movements and pictorial currents, from the conceptualism and minimalism of "Ben" Vautier, the lyrical abstraction of Yasse Tabuchi, the painting of Oleg Tselkov who concentrates on the human figure, intensely expressive and treated with forceful forms and intense colors that seek to reflect the conflicts and violence of his time, and finally the work of André Arabis, clearly abstract and geometric.

RAFAEL CANOGAR GÓMEZ (Toledo, 1935).Untitled, 1991, from the Suite Olympic Centennial.Silkscreen on 270 grams Vélin d'Arches paper, copy 58/250.Signed, dated and justified by hand.Measurements: 90 x 63 cm.Disciple of Daniel Vázquez Díaz, Canogar was co-founder of the group "El Paso", and during the fifties he developed a fully informalist work, which drifts during the sixties in a complex figuration increasingly narrative. During his mature stage, from 1975 onwards, Canogar invented a new iconography, his own and personal, which he expresses through the mask, the head, the face, as a representation of the man who loses his individuality and becomes a plastic sign, as can be seen in the work we now present. His awards include the National Prize for Plastic Arts (1982), he is a member of the San Fernando Academy, and is represented in the most important modern art collections around the world, such as the Reina Sofia Museum, the MOMA in New York, the Neue Nationalgalerie in Berlin, the Carnegie Museum in Pittsburg, the Rufino Tamayo Museum in Mexico, and the Chicago Art Institute, among many others.The Olympic Suite is composed of 50 lithographs and serigraphs chosen to represent diverse contemporary artistic trends. It was published to commemorate the first centennial of modern Olympism. The chosen artists are defined by diverse movements and pictorial currents, from the conceptualism and minimalism of "Ben" Vautier, the lyrical abstraction of Yasse Tabuchi, the painting of Oleg Tselkov who concentrates on the human figure, intensely expressive and treated with forceful forms and intense colors that seek to reflect the conflicts and violence of his time, and finally the work of André Arabis, clearly abstract and geometric.

CELSO LAGAR ARROYO (Ciudad Rodrigo, León, 1891 - Seville, 1966)."Female nude".Oil on canvas.Signed in the upper right corner.Attached certificate issued by the Lagar Archive.Measurements: 68 x 50 cm; 78 x 60 cm (frame).Celso Lagar offers us in this canvas a female nude captured from life. For it he uses an energetic language that seeks above all to capture the volumetry and the geometric game, although he maintains descriptive details that avoid the loss of realism. The woman shows the viewer practically her entire naked body, since only the lower part of her legs remains outside the perimeter of the support.Celso Lagar began his training in the field of sculpture with Miguel Blay in Madrid. His teacher advised him to travel to Paris to complete his studies and, after spending a year in Barcelona, he traveled to the French capital for the first time in 1911. Lagar's career, both personally and artistically, can be divided into four distinct stages, marked by the two World Wars. The first of these periods is that of apprenticeship, in Madrid, Barcelona and Paris, in contact with artists such as Amadeo Modigliani. This stage comes to an end when he is forced to leave Paris at the outbreak of the Great War. He settled in Barcelona but held several exhibitions in the French capital, which served as a letter of introduction upon his return to the city after the war, in 1919. By then Lagar is already a consolidated artist, and settles definitively in Paris. He regularly exhibited in the best Parisian galleries (Berthe Weil, Percier, Zborowski, Barreiro, Brouant, Druet), his style reached its personal maturity and he devoted himself fully to painting, leaving sculpture behind. He developed a painting focused on very specific themes: still lifes, Spanish themes, landscapes and circus scenes. After the period of avant-garde influences (cubist, fauvist, etc.), Lagar reached his own style, marked by the influences of Goya and Picasso. Gradually his palette cools down, but his favorite themes remain the same, and his recognition by the public and critics increases. The beginning of World War II marked the end of Lagar's golden age. He emigrated to the French Pyrenees, and his return to the recently liberated city of Paris did not have the repercussions he had hoped for, as the collecting public demanded new contents and modes. After his wife fell ill in 1956, Lagar fell into a deep depression and was admitted to a psychiatric center. He definitively stopped painting and in 1964 he returned to Spain, spending his last years at his sister's house in Seville. Lagar is represented in the Museum of Contemporary Art in Madrid, the Museum of Art Nouveau and Art Deco Casa Lis, the Patio Herreriano in Valladolid, the Petit Palais in Geneva, the Fine Arts of La Rochelle, Castres and Honfleur (France) and in prestigious collections such as Crane Kallman (London), the Zborowski (Paris) or the Mapfre (Madrid).

FERNANDO ZÓBEL (Manila, Philippines, 1924 - Rome, Italy, 1984)."The View XXVIII", 1974.Oil and graphite on canvas.Dated in the lower right corner. Signed, dated and titled on the back.This work will be included in the artist's Catalogue Raisonné.We thank Mr. Alfonso de la Torre for his invaluable help in cataloguing this lot.Measurements: 80.5 x 80.5 cm; 83.5 x 83.5 cm (frame).A soft, vaporous and reticulated brushstroke defines this conceptual landscape, in which Zóbel retains a certain vibration in the stroke, which denotes the transmutation of a changing reality, immersed in a completely personal atmosphere, which stands out for its lyricism and poetic aesthetics in the manner of artistic synesthesia. This work made in 1974 reflects the artist's interest in the landscape, and that balanced tension, which generates a view where the elements of nature are adapted to a contained abstraction. However, it should be noted that this work is also close to the series he made during the 80's, in which he introduced a change in the way of applying color, providing greater chromatic activity and playing with the gradations of tones, creating more dynamic and daring compositions.Historian, patron of the arts, university professor and collector are some of the adjectives corresponding to the figure of Fernando Zóbel, one of the most outstanding painters of the 20th century in Spain. The formation and cultivation of his personality, never ceases to develop, highlighting his love for books. He studied Medicine in the Philippines and graduated in Philosophy and Arts at Harvard University in the United States, being at this time when he became interested and involved with the pictorial world influenced by the Boston School, whose palette showed almost pure colors framed by a very marked drawing. Thus, in 1951 he took up the chair of Fine Arts at the Ateneo de Manila. Zóbel's evolution and need to develop a personal artistic language led him to explore the world of abstraction influenced by Rothko, or the expressionism of Pollock or de Kooning, working on very valid non-figurative proposals. To this, it is necessary to add the great influence and interest he felt towards oriental cultures, increasing this eagerness with his participation in a Chinese archaeological excavation discovered in the Philippine peninsula of Calatagan. As it was said, Zóbel's work drinks from the East, so much so that oriental calligraphy is the one that favors the presence of sinuous lines of great elegance, which can be appreciated in the work that concerns us, in which the meticulous and thoughtful previous work can be appreciated. And there is nothing left to chance in his apparently spontaneous painting, all of them contain a period of reflection and previous execution, because, as he said: "my process is the process of sketch, drawing, sketch and painting", a planning that gives rise to perfect scenographies formed by movement, lines, speed, space and light. His work is represented in important museums such as the Museo de Arte Contemporáneo Español in Valladolid, the Museum of Fine Arts in Boston, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Brooklyn Museum of Art in New York, the Joslyn Art Museum in Omaha (Nebraska), the Hispanic Society of America, as well as in collections such as Chase Manhattan Bank, the AENA Art Collection of Contemporary Art in Madrid, as well as the Banco Urquijo in Barcelona.

MARÍA GUTIÉRREZ BLANCHARD (Santander 1881 - Paris 1932)."Woman's head", 1932.Oil on canvas.Work reproduced in the catalog raisonné of the artist, p. 660- 661 nº 309.Signed in the lower left corner (MB). Signed and dated on the back.Measurements: 60 x 50 cm; 62 x 52 cm (frame).In this portrait made in the last year of the artist's life, the author presents us with a work in which she unites and harmonizes all the plastic experiences that were part of her artistic trajectory. For this reason Blanchard conceives a portrait of cubist heritage, an influence that can be seen in the chromatic range based on ochers and grays, and in the treatment of the background, which seems to pounce on the figure, totally reducing the spatiality. However, Blanchard does not abandon realism, but forms a portrait of recognizable forms, heir to the portrait tradition and also brings a mature vision, typical of his last stage, defined through the use of a broad, fast and vibrant brushstroke, thus obtaining a work that stands out for its expressionist aesthetic.María Gutierrez Blanchard, usually known by her mother's surname, trained as a painter in Madrid, where she moved in 1903. Here she studied under the guidance of the painters Emilio Sala and Álvarez de Sotomayor. In 1909 she obtained a scholarship from the Diputación de Santander to study in Paris. In the French capital he received classes from Anglada Camarasa and Kees van Dongen, freeing him from his academic training and introducing him fully into the world of avant-garde art. In 1914 he returned to Madrid and began to attend Ramón Gómez de la Serna's gatherings at the Pombo café, participating in the controversial exhibition "Pintores íntegros". After devoting himself temporarily to teaching in Salamanca, in 1916 he returned definitively to Paris. From that year until 1920 he developed a cubist stage in which figurative references never disappeared. He was part of the Parisian cubist group and became friends with some of its members, such as Juan Gris, Lipchitz and André Lhote. In the 1920s he exhibited in exhibitions organized in Paris and Belgium. Among the works of his first stage stands out "The Communicant", presented with great success at the Salon des Indépendants in 1921. Between 1920 and 1932 he returned to a type of figurative painting, although cubist from the compositional point of view, in which the light treatment generates cottony textures. In Spain there have been two anthologies dedicated to the painter, one at the Biosca Gallery in Madrid (1962) and the other at the former Spanish Museum of Contemporary Art (1982). Maria Blanchard was both a great painter and a theoretician, since she organized gatherings in her Paris apartment, where different artists, including Juan Gris, discussed painting and the new trends that were taking place at the time.

CHU TEH-CHUN (Baitou Zhen, Jiangsu, China, 1920-2014).Untitled, from the Suite Olympic Centennial, 1992.Lithograph on 270 gram Vélin d'Arches paper, copy 58/250.Signed, dated and justified in pencil.Measurements: 63 x 90 cm.Chu Teh Chun is one of the most successful contemporary Chinese painters. He was born in 1920 in Jiangsu Province. His artistic inclination comes from the cradle, since his family was composed by doctors and collectors of Chinese painting. He began studying art at the age of 15 at the Hangzhou Academy of Fine Arts and became a professor at the National Central University of Nanking. In 1949 he moved to live in Taiwan, becoming a professor of art at the National University. In 1955 he moved to Paris to learn from the best and began exhibiting in the city of lights. There he frequented the artists of the School of Paris such as Pierre Soulages, Hartung or Mathieu, and his art met an initial success that spread abroad thanks to group exhibitions in which he presented his work (Pittsburg, Jerusalem, Athens, Sao Paulo). In 1987, the National Museum of Taipei organized an important retrospective for him: it was his first return to his native country. In 1997 he is elected to the Academy of Fine Arts of the Institute of France. For the ''Year of China in France'' in 2004, no less than four exhibitions are dedicated to him. And in 1997, he was the first Chinese artist to be elected as a member of the prestigious Academy of Arts and Letters in Paris. His artistic goal since then has been to unite Eastern and Western art without abandoning his Chinese artistic roots, which gives him this exclusivity. His works, practically all of them abstract, are Chinese landscapes, very poetic, that instead of showing, suggest rocks, waterfalls, mountains, colorful clouds... allowing the viewer to feel what is in each work. His work exudes energy and vitality having a life of its own. They are incredible compositions that intermingle romantic and abstract styles to give the works a special significance. Thanks to the opening of mainland China to the outside world, today, Chu Teh Chun is known and greatly praised in his homeland, where he has held countless exhibitions.The Olympic Suite is composed of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The chosen artists are defined by diverse pictorial movements and trends.

BENGT LINDSTRÖM (Sweden, 1925-2008). Nº2 Pasan Modele, 1984. Oil on canvas. Signed in the lower right corner. Titled and dated on the back. Size: 200 x 130 cm; 203 x 133 cm (frame). Lindström was one of Sweden's best known contemporary artists with a characteristic and personal style in which he fused a multitude of colors, in which he often included figurative elements, sometimes distorted. He began his development in artistic Stockholm, and later moved on to Copenhagen, Chicago and Paris. His experiences helped him develop his own style. A unique style that would make him recognized worldwide. Stylistically Bengt's early years as an artist reveal a strong influence from local Norrland artists. Although he once moved to Paris after his short stay at the College of Arts, Crafts & Design, Bengt studied with Isaac Grünewald in Stockholm for a year. Grünewald was one of the pioneers of Swedish modernism and had studied with influential artists such as Matisse. Bengt found inspiration in this new aesthetic and began to develop his style from these premises. He abandoned Norrland landscape motifs and attempted to develop a modern style. During this period, he was strongly inspired by Picasso, Matisse and other leading artists in the avant-garde movement. When World War II ended, Bengt studied in Copenhagen at the Academy of Art under Aksel Jørgensen during 1945-1946. There he first experienced contemporary art through the basic expressions and myths of what later became the COBRA movement. Subsequently, he crossed the Atlantic to Chicago, where the Art Institute of Chicago provided new insights through the abstract expressionism of Pollock and De Kooning. But it was Paris that attracted him, as Paris once again became the international center of arts and culture. After spending a year in Chicago, the dream of France became a reality. In the summer of 1947, Bengt arrived in Paris with nothing but a few dollars he had won in late night card games with other artists and shady characters from the Chicago underworld. The first few years in Paris were difficult although Bengt was extremely productive but sold almost nothing. During this time, under the guidance of his teachers André Lhote and Fernand Léger, Bengt experimented with a wide variety of techniques. By the mid-1950s, collage was the dominant technique, he also tried working in mosaics for a year, only to switch completely to silkscreen the next year. During this stage he was forced to paint in black and white during this period because he could not afford to buy colors. If he unexpectedly got hold of some colors, he would mix them with leftover powder paint to stretch them. The turning point came in the late 1950s, when a British art dealer who traveled to Paris in search of "unusual" artists bought several of his paintings. With the money from this first sale, Bengt Lindström was finally able to paint the way he wanted to. The first thing he did was to buy suitable paints and canvases. Making pieces with thick layers of yellow, red, green and blue replaced the black and white; and because of his increasingly strong brushstrokes, the paintings took on a new dimension. The abstract and expressionistic quality of his images became more obvious. The landscape paintings gradually disappeared, replaced by the distorted mask-like faces and, later, the Nordic mythology that has characterized his art ever since. Abandoning correct anatomy and representation and concentrating instead on colors and texture, Bengt thus found his way to articulate the primitive and violent qualities he had been searching for in the mountains and forests of northern Sweden. Because of their frenetic combination of composition and color, Bengt Lindström's paintings emerged on a border between internal complexity and external simplicity. During the 1960s, he carved out a position as one of Sweden's greatest contemporary artists, with exhibitions in cities such as Paris, London, Brussels, Cincinnati and Tokyo. Bengt became particularly highly regarded in southern Europe. In Italy he was given the nickname "Vento del Nord" (North Wind) because of his vivid colors and strong brushstrokes. Many people associated his style with Sami culture. Bengt was an extremely productive artist and held several exhibitions per year in various locations around the world.

Ɵ ART: 18 volumes. [DOSSIE]. Handmaid to the Arts, 2 vols., 1758. - HARRIS. Three Treatises, signature of Richard Heber (?Reginald's uncle), 1744. - LANZI. Storia Pittorica della Italia, 6 vols., Bassano, 1809. - PILKINGTON. A Dictionary of Painters, 4to, 1810. - CELLINI. Memoirs, 2 vols., 1822. - HUNT. Hand-Book to the Official Catalogues... Great Exhibition, 2 vols., original cloth, ?1851. - CANOVA. Lettre, 1816; all but one contemporary full or half calf, Pilkington spine with loss; and 3 othersSOLD NOT SUBJECT TO RETURN.

Kempsford Mirror Contemporary Style Art Street Round Flat Decorative Wall Mirror With Copper Frame 58.5 X 121cm

Yellow Shimmer Bird Framed art print by Tiffany Lynch on Matt 250gsm conservation digital paper Tiffany Lynch was born in West Sussex and works from a studio in the heart of Brighton. Colourful and whimsical, her contemporary prints brighten up the home. 28 x 36cm

Birdies 4 Framed art print by Tiffany Lynch framed on Matt 250gsm conservation digital paper Tiffany Lynch was born in West Sussex and works from a studio in the heart of Brighton. Bright, whimsical and of the moment, her prints look great in a range of simple frames and fit well in contemporary spaces 30 x 30cm

Duval Mirror More Than Just A Mirror, The Duval Mirror Is Made Up Of Coloured Glass Panels. It Is Made With A Distinctive And Striking Design That Makes It A Focal Point For Any Contemporary Living Space. The Sculptural Elements Of The Dark Mirror Tones Provide Depth To Your Home Interior Styling. Adding This Accent Mirror To Your Wall Give It An Immediate On-Trend Feel. The Art Deco-Inspired Mirror Panels Are Positioned At Varying Heights For More Visual Impact.W800 X D25 X H700mm (5055999253635)

Hudson Oval Coffee Table Champagne Add A Splash Of Scandi Style To Your Home With The Hudson Oval Coffee Table From Gallery Direct. The Effortless Cool Of Its Clean Design Is Complemented By Beautiful And Practical Detailing, Such As Tempered Glass And An Champagne Finish. Two Oval Surfaces Deliver The Perfect Ornate Coffee Table For Easy And Elegant Entertaining. The Neutral Tones Of This Piece Also Offer Opportunities To Showcase Art, Colour And Modern Life. Sophisticated, Contemporary And Versatile, This Piece Has Been Designed For Lovers Of Fine Featured Furniture. 112cm Wide, 61cm Deep And 51cm High (SR237) Ex Showroom Display

Ɵ ARCHITECTURE and PERSPECTIVE. 5 vols, 4to, 1721-1821. comprises: KIRBY, J. dr. Brook Taylor's Method of Perspective. plates, contemporary calf, Ipswich, 1754; PALLADIO, A. The First Book of Architecture. plates, contemporary calf, 1721; SALMON, W. Palladio Londinensis, or The London Art of Building. contemporary calf, 1752; The Builder's Magazine. plates, title worn, contemporary calf-backed boards, 1744; BREWER, J.N. A Descriptive and Historical Account of Various Palaces and Public Buildings. plates, contemporary calf, rebacked, 1821. SOLD NOT SUBJECT TO RETURN.Condition Report: all bindings worn.Condition Report Disclaimer

AFTER ILANA RICHARDSON, COLOURED CHRISTIES CONTEMPORARY ART PRINT, GILT FRAMED AND GLAZED, 79CM WIDE

ANDREW TAYLOR ELDER, REVERIE mixed media on paper, signed, titled label verso image size 34cm x 59cm, overall size 54cm x 69cm Mounted, framed and under glass. Note: Taylor-Elder was a contemporary of JD Fergusson and Margaret Morris. The choreography for ‘The Forsaken Mermaid’ was by Morris and the set and costumes by the artist and then principal of Glasgow School of Art, Andrew Taylor-Elder. Celtic Ballet performed ‘The Forsaken Mermaid’, their inaugural production, at the Lyric Theatre, Glasgow, on 6 December 1940.

CONTEMPORARY ART DECO DESIGN CARPET, 300cm x 200cm.

CONTEMPORARY ART DECO DESIGN SILK RUNNER, 350cm x 80cm.

Set of six original vintage art exhibition advertising posters. 1. Abstract flowing shape in red, green, and black colours set over white background. Very good condition, fold in the top left corner. Country of issue: Unknow, designer: Unknown, size (cm): 65x45, year of printing: Unknown.; 2. Bent Holstein exhibition at Galerie Prisma Snaregade 4 in Copenhagen featuring an abstract illustration of a face looking at the viewer with black shapes in the background, double brown and black border around the image. Bent Holstein (b.1942) is a Danish graphic artist and art critic, he describes the drive in his art by a German word Fernweh / Wanderlust. Excellent condition. Country of issue: Denmark, designer: Bent Holstein, size (cm): 62x44, year of printing: 1980s.; 3. Ole Heerup Oil Painting exhibition held at the DB Galerie Copenhagen from 12 November to 17 December 1982, featuring an abstract colourful design of pink, yellow, blue, brown, and black shapes. Ole Heerup (1934-2016) was a Danish painter and artist, a map of the gallery location with details below - udstiller fra den 12/11-1982 til den 17/12-1982 Ole Heerup oliemalerier Kobmagergade 58, 1150 Kobenhavn K. Excellent condition. Country of issue: Denmark, designer: Ole Heerup, size (cm): 42x29.5, year of printing: 1982.; 4. Political Graphic Print, June 1973 - by Paul Winther / Politikens grafiske saertryk, juni 1973 - af Poul Winther featuring black round shapes on a table set over yellow background. Poul Winther (1939-2018) was a contemporary abstract art painter from Denmark. Horizontal. Excellent condition. Country of issue: Denmark, designer: Paul Winther, size (cm): 42x59, year of printing: 1973.; 5. Black and white illustration by Kehnet Nielsen depicting a stork next to a pram, large white heart with a fish, palette and painting brushes, with abstract shapes surrounding it, with LR initials on the image. Kehnet Nielsen (b.1947) is an artist from Denmark. Horizontal. Very good condition, minor crease in the top left corner. Country of issue: Denmark, designer: Kehnet Nielsen, size (cm): 42x59, year of printing: 1993.; 6. Koloristerne / The Colourists exhibition held from 5 - 20 January 1985, featuring a bright illustration of a dog, fox, and a hare in the rainbow coloured letters, the text in black below - Den Frie Udstillings Bygning / The Free Exhibition Building. Koloristerne is an artist association that was formed in 1932 in Denmark, holding various exhibitions every year exhibiting paintings, sculptures, textile, graphic and watercolours. Very good condition, minor creasing. Country of issue: Denmark, designer: Unknown, size (cm): 61x44.5, year of printing: 1985.

Original vintage advertising poster for Classic Prescott held on Sunday June 2 Organised by Bugatti Owners Club and sponsored by Mumm Cordon Rouge Champagne, the poster features a car going uphill, with stylised title lettering and text over the image that reads - Speed Hillclimb and Concours d'Elegance. This poster art of Raymond Mays hillclimbing with 'Cordon Rouge' in 1924 is based on a contemporary water-colour by Amherst Villiers, the brilliant engineer who supertuned the Brescia Bugatti for Mays. In the summer of 1924 Raymond Mays was the man to beat in British speed hillclimbs. His Brescia Bugatti was named 'Cordon Rouge' after his favourite champagne. Commemorating Mays' achievements, The House of Seagram, importers of Cordon Rouge champagne, are again sponsoring this Prescott meeting for pre-1960 cars. A special Concours d'Elegance has been organised by the magazine 'Classic Car'. Very good condition, foxing. Country of issue: UK, designer: Unknown, size (cm): 49.5x36, year of printing: 1974.

El Anatsui (Ghana, né en 1944)Nsukka Shrine, 1979 argile et fragments de poterie55 x 46 x 5 cm (21 3/4 x18 x 2 in).Footnotes:ProvenanceVente: Lagos, Arthouse Contemporary, 5 Mai 2014, lot 53Collection privée, FranceExpositionEnugu, Nigeria, British Council, 'Broken Pots: Sculpture by El Anatsui', 1979.Nsukka, Nigeria, Institute of African Studies, 'Broken Pots: Sculpture by El Anatsui', 1979.Nous remercions El Anatsui d'avoir confirmé la réalisation de ce travail en 1979.Né à Anyako, dans la région de la Volta au Ghana en 1944, et formé au College of Art, University of Science and Technology de Kumasi, dans le centre du Ghana, le travail de sculpture et de sculpture sur bois d'El Anatsui a commencé comme un passe-temps pour garder vivantes les traditions avec lesquelles il a grandi. Il a commencé à enseigner à l'Université du Nigeria, Nsukka, en 1975 et est resté dans la ville universitaire jusqu'à ce jour.« Il a fallu de nombreuses années pour trouver des artistes capables d'occuper une place de choix dans le circuit mondial tout en choisissant de résider en dehors des centres métropolitains. William Kentridge a fait sa réputation à Johannesburg et El Anatsui a conquis la planète en vivant et en travaillant dans la ville universitaire nigériane de Nsukka. » - John McDonald, critique.L'œuvre Nsukka Shrine, littéralement « tombeaux de Nsukka » fait partie d'une série de sculptures de pots en céramique, en argile et en manganèse produites au Nigeria entre le milieu et la fin des années 70, Broken pots. Dans ces œuvres, El Anatsui exprime son désir de créer un art qui réponde aux changements mondiaux et sociétaux, tout en faisant échos à son héritage africain dont l'art exploiterait les ressources à disposition.« L'argile est partout. C'est la terre sur laquelle nous marchons. C'est une chose courante avec laquelle tout le monde peut travailler.' – El AnatsuiLa série Broken Pots s'appuie sur la notion de récipients autrefois intacts, maintenant endommagés, non plus utilisés pour le grain mais pour les offrandes sacrificielles dans les sanctuaires locaux.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Damien Hirst For Manolo BlahnikSpot Boots, 2002White canvas with multi-colour spot designLabelled size 41, includes dust bag and boxFootnotes:In 2002 seven artists were matched with seven top shoe designers who produced 20 pairs of shoes each. Damien Hirst & Manolo Blahnik were matched and produced 10 pairs of 'Spot boots' and 10 pairs of 'Spin boots'.Bergdorf Goodman sold them for $650 to $1,200 a pair, using the occasion to launch its renovated shoe salon with proceeds going to the New Museum of Contemporary ArtThis lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

KAWS (born 1974)Untitled (from Alone Again at MOCAD), 2019 signed and dated in blue pencilscreenprint in colours25.4 x 20.4cm (10 x 8 1/16in).This work is a unique impression published by the Museum of Contemporary Art Detroit on the occasion of the exhibition 'Alone Again', with the MOCAD inkstamp, artist name and exhibition title stamped verso, housed in the original grey stamped envelope.For further information on this lot please visit Bonhams.com

Nick Smith (born 1984)Simpson's Couch, 2020 signed and inscribed 'AP' in pencil, an artist's proof aside from the numbered edition of 99Giclée print in colours with screenprint varnish64 x 78cm (25 3/16 x 30 11/16in).published by Rhodes Contemporary Art, London, with their blindstamp and the artist's blindstampThis 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

Seder (Anton). A collection of 14 lithographs, circa 1886, chromolithographs of fruit, animals and birds, each approximately 500 x 300 mm, 2 mounted, together with Jenny (Heinrich). Seventeen plates and the title page from 'Festalbum der Feier des Eintritts Berns in den Schweizerbund..., begangen im Jahr 1853..., Historischer Zug, Zurich, 1855, lithographs with contemporary hand-colouring showing parading ranks of soldiers, each approximately 310 x 450 mm, with five mid-20th century watercolour designs of a still life, 2 architectural elevations and two interiors (one of a casino), each approximately 420 x 500 mm, 3 mounted, plus Atkinson (T. L.). Jocko, Martin Colnaghi, 1889, hand-coloured mixed-method engraving on India wove after Sir Edwin Landseer of a Terrier and a Hedgehog, trimmed to plate mark, slight water staining, 645 x 760 mm, and two large German chromolithographic educational posters, one of chimpanzees and one of dogs, some marginal fraying, each approximately 840 x 630 mm and one other similarQty: (40)Footnote: Anton Seder was the Director of the Kunsthandwerkschule (School of Decorative Arts) in Strasburg. These Art Noveau designs, which combine design and the natural world are illustrative of the realism school which was fashionable in Europe from the mid-1880s until the outbreak of the First World War.

French (John). The Art of Distillation: or, a Treatise of the Choicest Spagiricall Preparations Performed by way of Distillation... to which is added, The London-Distiller, 2 parts in 1 vol., 2nd edition, London: E. Cotes, 1653, lacking one text leaf, numerous woodcut illustrations to text including 2 full-page and leaves lightly spotted & toned, contemporary ownership inscription to title, endpapers replaced, annotations to verso of title & first text leaf, final text lead trimmed slightly (lacking portion of 'finis'), 8voQty: (1)Footnote: Wing F2170. Contains much on the principles of distillation as well as recipes for flavoured wines. The first edition was published in 1651.

Harding (James Duffield). Harding's Portfolio, Published by Charles Tilt, 1837, 24 tinted lithographic plates including vignette title, foxed throughout, contemporary green half morocco gilt, rubbed, folio, together with: Williamson (George C.), Richard Cosway, R.A. and his Life and Pupils, Miniaturists of the Eighteenth Century, 1st edition, George Bell, 1897, portrait frontispiece, plates and illustrations, some occasional heavy spotting, top edge gilt, near-contemporary crushed blue half morocco gilt by Hatchards, 4to, (one of 350 copies), plus: Erskine (Mrs Stewart), Lady Diana Beauclerk, Her Life and Work, 1st edition, T. Fisher Unwin, 1903, colour and black & white plates including some tipped in, some spotting, top edge gilt, original gilt-decorated buckram, folio, plus other miscellaneous art, illustrated, etc.Qty: (2 cartons)Footnote: Provenance: From the Library at Spetchley Park, Worcester, home of the Berkeley family.

[Rutledge, Jean Jaques]. The Englishman's Fortnight in Paris; or the art of ruining himself there in a few days, translated from the French, 1st English edition, London: T. Durham and G. Kearsley, 1777, advertisement leaf at end, occasional light toning and a few stains, obscured previous owner name at head of title, signature of D.L. Cumming, contemporary sprinkled calf, red label to spine, joints partly cracked, 8voQty: (1)Footnote: ESTC N31079. First English translation by the author of his 'La quinzaine angloise à Paris', published in France the previous year and suppressed according to the statement at the foot of the title-page. Novelised account of an English lord's decadent visit to pre-revolutionary Paris with tales of prostitution, gambling, drinking, ending in a debtor's prison.

Middleton (John). Practical astrology. In two parts. The first part containeth an easie introduction to the whole art of astrologie, shewing the number and nature of the signes, planets, and aspects ... The second part sheweth the resolution of all manner of horary questions which concern the life of man, his estate, brethren, or short journeys. If the querent shall ever have children. Of sicknesses, and how to finde the nature and kinde of the disease. Also concerning marriages, law-suits, publick enemies: of things lost or stoln..., Together with several examples of coelestial figures erected for horary questions, and judgements thereupon, whereby any man of an ordinary capacity may soon attain to the whole art thereof, London: printed by J[ames]. C[ottrell]. for Richard Preston, 1679, [18], 281, [1]p., engraved portrait frontispiece (trimmed to ruled border and tipped to verso of front free blank), diagrams to text, occasional early marginalia, closed tear to B2 and leaf loose, repair to L4, final leaf torn with slight loss and crudely reattached, some browning and light spotting and occasional marks, lacking marbled front free endpaper, partial bookplate to upper pastedown, contemporary gilt panelled and decorated full calf, cover attachment weakening, 8voQty: (1)Footnote: Wing M1978; ESTC R844. Rare. Four copies only in the UK (BL, University of Cambridge, Oxford (Bodleian) and University of Manchester. Middleton's Practical Astrology contains a complete explanation of traditional horary astrology, and includes a number of useful examples of horary charts. Few copies survive complete, especially with the frontispiece portrait, here present. The last (defective) copy at auction was offered in 1982.

Cox (David). A Treatise on Landscape Painting and Effect in Water Colours: from the first rudiments to the finished picture: with examples in outline, effect, and colouring, London: printed by J. Tyler, for S. and J. Fuller, 1814, 35 etchings on 21 plates only (of 56, includes 12 hand-coloured), title creased and lined to verso, closed tear to fore-margin of one leaf (pages 29/30), final colour plate with long closed tear and lined to verso, some dust-soiling and marks, original cloth-backed boards, printed paper label to upper board, oblong folio (Abbey Life 115), together with: Ibid., A Series of Progressive Lessons, intented to elucidate the Art of Landscape Painting in Watercolours, 2nd edition, London: P. Clay, 1812, 12 of 13 etched plates (6 hand-coloured), some marks and soiling, sewing weak, few tears to gutter margins, contemporary red half morocco, title label to upper board, worn, slim oblong 4to, together with: Ibid., A Series of Progressive Lessons... Art of Landscape Painting in Watercolours, 3rd edition, London: P. Clay, 1816, 12 etched plates including 6 hand-coloured (complete as list), some browning to text, occasional marks, contemporary red half morocco, title label to upper board, some wear and upper board detached, slim oblong 4toQty: (3)Footnote: Sold with all faults, not subject to return.

Stuart (James & Revett, Nicholas). The Antiquities of Athens, Measured and Delineated, 4 volumes, 1st editions, London: John Haberkora,1762; J. Nichols, 1787, 1794; T. Bensley for J. Taylor, 1816, engraved title-page vignettes, engraved head- and tail-pieces, 319 engraved plates (71+74+86+88) including 2 portrait frontispieces and a folding hand-coloured map of Greece, errata leaf at end of volume 1 (not called for?), 4-page publisher's catalogue tipped in at the end of volumes 2 & 3 and 8-page catalogue at end of volume 4, some spotting and browning throughout, one double-page plate in volume 3 detached, pages uncut, a little worming to lower blank margins of final leaves (Chapter X to end) of volume 3 and worm-tracing to top blank inner margin of portrait frontispiece to volume 4, bookplates and ownership signatures to each volume, contemporary quarter sheep over marbled boards, rubbed, spines worn, folio (550 x 390mm)Qty: (4)Footnote: Blackmer 1617; Cicognara 2713; Fowler 340; Harris 857. Provenance: Denham James Joseph Cookes (1777-1829), rector of Stanford and vicar of Clifton-on-Terne, Worcestershire (bookplates); Margaret Graves (signatures, 1806); Donald Struan Robertson FBA (1885-1961), classical scholar and Regius Professor of Greek at the University of Cambridge (inscriptions by Giles Robertson); Professor Giles Henry Robertson FRSE RSA (Hon) (1913-1987), art historian and expert on the Italian Renaissance (bookplates); Caroline Robertson and Jeremy Gould (gift inscriptions by Giles Robertson). An uncut, first edition of the first accurate survey of the classical buildings of Athens and one of the most important architectural books of the century. Stuart was responsible for the measured drawings and Revett for the topographical views. A fifth supplementary volume was published in 1840.

Mackenzie (Colin). Five Thousand Receipts in all the Useful and Domestic Arts, Constituting a Complete and Universal Practical Library, and Operative Cyclopaedia, 2nd edition, G. & W.B. Whittaker, 1823, some spotting, contemporary sheep, some wear, modern calf reback with gilt-titled spine label, square 12mo, together with: Simon (André L.), The Art of Good Living, A Contribution to the Better Understanding of Food and Drink, together with a Gastronomic Vocabulary and a Wine Dictionary, 1st edition, Constable, 1929, black & white plates, partly uncut and unopened, bookplate of Charles W. Berry, original parchment-backed marbled boards, spine a little browned, small chip to upper edge of front board, 8vo (signed limited edition, 110/300 copies), plus: Savarin, Real French Cooking, with a Selection of Outstanding Recipes from other Countries, 1st English edition, Faber & Faber, 1956, black & white illustrations, original cloth in dust jacket, a little spotted and frayed along upper edges, 8vo, plus: Oliver (Raymond), The French at Table, 1st English edition, Wine and Food Society, 1967, colour and black & white plates, original cloth in dust jacket, a little chipped and soiled, 4to, plus other cookery interest, mostly original cloth in dust jackets, plus some paperbacksQty: (6 shelves)Footnote: Provenance: From the library of John Arlott (1914-1991), English journalist, author, cricket commentator, poet and wine connoisseur.

Alban Low (Contemporary Musical Artist and Miniaturist)Quince Treesigned and dated 04, titled to verso, pencil drawing, 23cm x 18cm, framed; further contemporary original works; 19th century and modern art prints, including photography, [8]

CIRILO MARTÍNEZ NOVILLO (Madrid, 1921 - 2008)."Fisherwomen", 1988.Oil on canvas.Signed in the lower right corner.Measurements: 81 x 100 cm; 99 x 118 cm (frame).Cirilo Martínez Novillo is one of the most outstanding representatives of the so-called School of Madrid, city where he began his training at the School of Arts and Crafts. During the Civil War he enters the Escuela Superior de Pintura and attends the workshop of Daniel Vázquez Díaz, who will become his teacher, supporting him throughout his career. In his workshop, Martínez Novillo met some of the painters linked to the Madrid School: Álvaro Delgado, Gregorio del Olmo, García Ochoa or San José. In 1946 he presents his work for the first time, in the framework of a collective exhibition held at the Bucholz gallery in Madrid. The following year he held his first individual exhibition at the same gallery. In 1948 he holds an exhibition in the prints room of the Museum of Modern Art in Madrid, the critics begin to echo his work and he is selected to participate in the exhibition "Spanish Art", held in Buenos Aires and organized by the Ministry of Education. From this moment on, he shows his work in several Spanish cities and in France, and participates in group exhibitions such as the Venice Biennial (1950) or the Salón de los Once (1951). Between 1952 and 1953 he travels three times to Paris thanks to different scholarships. His period of maturity begins with a new visit to Paris at the beginning of the sixties, to later travel to Switzerland, Germany, Holland and Belgium, obtaining several medals in the National Exhibitions of Fine Arts, as well as the Painting Prize of the Hispano-American Biennial of Cuba. Although he is not part of the Second School of Vallecas, Martínez Novillo's painting is aesthetically close to that of the group. His production is mainly focused on landscape painting and still lifes, although at first he also dedicated himself to the figure. The painter elaborates his landscapes by means of a direct contemplation of nature, not by copying it, because later in his studio he makes a selection of what interests him. Cirilo Martínez Novillo is represented in the Reina Sofía Museum, the Mapfre, AENA, Gaya Nuño and Santander Central Hispano Foundations, the Municipal Museum of Contemporary Art of Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Argentaria, Caja España and Telefónica collections and the Valdepeñas Museum.