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A contemporary multicoloured art glass vase of globular form, with stand. Height 43.5cm overall.

Norah McGuinness HRHA (1901-1980) Melon on Terrace Table (1950) Oil on canvas, 55.5 x 89cm (21¾ x 35'') Signed; inscribed with title verso 'Terrace Table with Melon' Provenance: With Taylor Galleries, Dublin, March/April 1979, where purchased by the current owner. In the early 20th century Irish Art was steeped in tradition. The formation of the Free State in 1922 saw a nation scrambling to recapture its identity, focussing on academic depictions of rural life to separate them from an ever more modern Britain. For those artists who wished to escape this insularity, continental Europe provided the perfect opportunity. Like many Irish artists before her, Norah McGuinness travelled to Paris in 1929 to study under André Lhote and was immersed in the excitement of the European art scene. Under Lhote, McGuinness learned Cubism but, within her circles, she would have been exposed to Fauvism, Impressionism, Futurism and a myriad of ideologies in between. Leaving Paris, McGuinness took what she had learned and went to London where she briefly settled until WWII convinced her that it was time to return to Ireland. Arriving in Dublin alongside many fellow artists in the same position, McGuinness found a country devoid of new thought. Art remained in the clutches of academia, with the RHA acting as the sole exhibition space for contemporary artists. Dissatisfied, the Irish Exhibition of Living Art was established in 1943, with McGuinness among its founding members. A year later, McGuinness succeeded Mainie Jellett as president of the foundation and she continued to head it for over twenty years, encouraging and promoting modern art in Ireland. The IELA served as a platform for non-academic artists to show their works and, following the end of the War, continental artists were invited to exhibit their pieces also, creating an influx of modern ideals to the country. Suddenly, pieces by Hockney, Picasso, Manet and Miro were all accessible from Dublin and the artistic revolution was well underway. A pioneer for the modern art movement, Norah McGuinness was selected, alongside Nano Reid, to represent Ireland at the 1950 Venice Biennale. This was the first time that Ireland had entered the exhibition and it was therefore paramount that they put their best work forward. Believing that the unique styles of Reid and McGuinness could proudly hold their own against paintings by Jackson Pollock and Willem de Kooning, they were sent off with twelve works each. The exhibition was a success, with the Italian president even purchasing one of McGuinness' works. In the same year, McGuinness painted the current lot, 'Melon on Terrace Table'. A joyful and eclectic mix of different styles, this work oozes continental charm and demonstrates McGuinness as someone who is acutely aware of the progress ravaging the art world. The neon yellow table tips its hat to the Fauves, whilst the flattened subject matter and distorted perspective shows Lhote's Cubist legacy. Furthermore, the swift, loose treatment of the spoon and cloth belie the influence of early 20th century Impressionism, yet the image is distinctly McGuinness. The bold lines remember her time as an illustrator and the carefully placed items are reminiscent of her days in set design. A beautiful piece, 'Melon on Terrace Table' is representative of mid-20th century Irish art in that, rather than following a specific and doctored method of painting, it is all-inclusive, allowing the scene's energy to dictate the style.

Ahmed Morsi (Egypt, born 1930)Untitled (Bull) mixed media on paper, framedsigned 'A.Morsi' and dated '1968' (lower right), executed in 196838 x 55cm (14 15/16 x 21 5/8in).Footnotes:Provenance:Property from a private collection, New YorkAcquired directly from the Artist by the present ownerExhibited:Aicon Gallery, New York, The Flying Poet, December 2018 – January 2019Ahmed Morsi is an Egyptian artist, art critic and poet with a career that spans decades of creative output. Drawing on his memories of his upbringing, Morsi employs a series of surrealist motifs that appear to take a dip in the metaphysical in his works. In the 1950s, he simultaneously studied literature at Alexandria University and painting at the studio of Italian master Silvio Becchi. In 1974, Morsi moved to New York City, where he continues to paint, write and critique from his Manhattan home. His variously populated images seem to have origins in ancient Egyptian iconography – the sadness of his creatures derived by animating an ancient past with modern life. He does this by assembling his compositions as a series of continuums between different planes. The theatricality of his painted spaces is undeniable. Ambitious visual plains, characters in varying degrees of definition and a sense of pathos, all pointing to a moor that exists out of time. Having grown up in Alexandria, Egypt, Morsi was exposed to a cosmopolitan culture. Visions of a fictive, invented Alexandria run through most of Morsi's work and his practice offers a powerful and mystical meditation on remembrance and the passage of time. It is important to understand the context in which Morsi developed his language of surrealism. Alexandria in the 1940s became a haven for artists and activists fleeing the Third Reich, culminating in the formation of the Art and Liberty Group and later the Contemporary Art Group. It is here that Egyptian Surrealism realized its full form, its proponents using the metaphysical in revealing a deep sense of anguish and displacement. Morsi's visual vocabulary takes root in this potent soil.As Kaelen Wilson-Goldie wrote in Artforum, 'Distant Shores,' during the 1960s, Morsi experimented with color ad cubism. She stated that in many of Morsi's works, there are allusions to Picasso, as he is most familiar with Picasso's work in comparison to any other painters. In Untitled (Bull) (1968), the bull has been drawn in profile with an absence of shadow. This work showcases the experimentation that led to Morsi's refinement of his Surrealist visual language.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

Kadhim Hayder (Iraq, 1932-1985)How He Wandered with the Heart of a Martyr (From the Epic of the Martyr Series) oil on canvas, framedexecuted in 1963127 x 176cm (50 x 69 5/16in).Footnotes:Provenance:Property from a private collection, EnglandFormerly property from the collection of the renowned Iraqi architect Said Ali Madhloom (1921-2017)Acquired directly from the artist by the above Exhibited:The Marty's Epic, Kadhim Hayder, Baghdad National Museum, 1965 (the present work is composition No.6 from the cycle)The Marty's Epic, Kadhim Hayder, Sursock Museum, Beirut 1965Published:Hiwar, Vol.3 No.3, Kadhim Hayder: Waddah Faris, 1965 (preparatory sketch)A MONUMENTAL 1963 MASTERPIECE FROM KADHIM HAYDER'S MARTYR'S EPIC: THE LARGEST COMPOSITION FROM THE SERIES EVER TO COME TO AUCTION'The horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.'- Kadhim Hayder'The exhibition of The Epic of the Martyr took place in circumstances that were politically and culturally complicated; it turned the idea of martyrdom into a modern symbol that cried out in tragedy apart from any religious interpretation.'- Dia al-AzzawiHow He Wandered with the Heart of a Martyr, by Saleem Al-Bahloly How He Wandered with the Heart of a Martyr belongs to a landmark series of paintings shown at the National Museum of Modern Art in Baghdad the last week of April 1965 under the title The Epic of the Martyr. The series drew immediate critical acclaim for the way that the artist, Kadhim Haidar, was able to derive from popular culture not simply visual motifs to tailor the styles of modernism to the local context of Iraq but a means of expression for articulating the human condition. The human condition preoccupied artists and thinkers across the world in the middle of the twentieth-century; but in Iraq the concept of the human took on a particular significance following the persecution of leftists in the aftermath of the Baʿath coup in 1963. The Epic of the Martyr was so important largely because it demonstrated how artists could represent modern experience by drawing upon their cultural history.Haidar began working on the series in 1963 shortly after returning from London where he had studied printmaking and stage-design at the Royal College of Art. On the one hand, the paintings were a continuation of the interests of artists in the 1950s: in the inspiration Haidar found in popular culture and in his adoption of certain pictorial devices from ancient Assyrian sculpture to modern art (associated with the Baghdad Group for Modern Art) as well as in his concern with political struggles for justice (associated with the Pioneers art group). On the other hand, however, Haidar opened a new horizon for the practice of art by structuring the paintings around an act of symbolism.The paintings are composed of horses and warriors, wielding spears and swords and bearing banners and shields, that are positioned on a flat, mythical landscape. This imagery was drawn from the annual taʿziya celebrations that mourn the martyrdom of al-Husayn and other members of the Prophet's family in a stand-off with the Umayyad army in 680 AD; in particular, the imagery is taken from the processions in which a pageant of costumed figures representing characters from the battle fought on the 'plain' west of the Euphrates parade through the street accompanying poets who narrate in a vernacular tradition of verse the injustice suffered by the Prophet's family. In the paintings, this imagery has been reconstructed according to a variety of devices inspired by a range of sources: the bodies of the horses and figures are turned toward the viewer, as if they are appearing on a stage or in an ancient frieze depicting a historic battle; a sense of performance is carried into the image by the intense expressivity of their gestures which seem to dissolve anatomical features and the outline of shapes in a fervour of emotion; the limbs of human and animal bodies alike are often multiplied (an influence of Assyrian sculptural reliefs that Haider almost certainly saw at the British Museum in London) and tapered (a form of modelling inspired by the sculpture of Henry Moore).The reconstructed imagery is arranged in the paintings not to narrate a historical event but to elaborate a concept of the martyr that emerged out of that event—a hero who by his death in a struggle for truth paradoxically triumphs. Haidar developed this concept of the martyr in painting by focusing on the symbolic relation between the fallen martyr and his horse. As he explained to the newspaper al-Jumhuriyya in 1965: 'the horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.' That symbolism is present in the mourning processions where al-Husayn is represented by a riderless white horse; but it has its roots in a legend that, when al-Husayn's horse saw his beheaded corpse, it circled around his body, rubbed its head in his blood, let out a ferocious whine and killed forty men.That moment when the martyr is transfigured into the symbol of the horse is in part dramatized in How He Wandered with the Heart of a Martyr. A white horse stands in the foreground carrying on its back a decapitated body. It groans violently into the helmeted warrior on the left who holds a sword triumphantly over his head; arrayed behind the white horse at centre are other horses in crimson and mustard-orange and warriors whose spears and shields resolve into simple shapes and strokes in the distance. The body of the headless corpse astride the white horse is unlike the other bodies in the paintings: it has volume and weight, it casts a shadow, and it gathers together the pinks, grays and browns in the picture. This painting was the sixth in the series; in another painting that comes near the end of the series, in the collection of the Barjeel Art Foundation, Fatigued, Ten Horses Converse with Nothing, the headless corpse morphs into the heads of two horses. The paintings in The Epic of the Martyr were different sizes, and this was one of the largest. Its size reflects Haidar's interest in the mourning processions as a kind of street theatre, his work in stage design, and the monumental scale of ancient Mesopotamian sculpture. But it also reflects, as Dia al-ʿAzzawi has written, Haidar's desire to collapse the distinction between gallery and street, and between art and ritual, by reproducing the atmosphere of the folk celebration inside the museum. To that end, for the exhibition in 1965, Haidar composed a poem in which each line corresponded to a painting in the series, in this way reproducing the coupling of pageant and poetry in the mourning processions. This attempt to go beyond the conventional materials of painting, in order to use the artwork to stage an experience that is not only visual but also emotive, makes The Epic of the Martyr one of the earliest pieces of contemporary art in the Middle East.Saleem Al-Bahloly received a PhD from the University of California, Berkeley, and has held fellowships at Johns Hopkins and the University of California, Santa Barbara. He is writing a book about an intellectual shift that occurred in Iraq during the 1960s in response to disillusionment with left-wing politics.For further information on this lot please visit Bonhams.com

Jewad Selim (Iraq, 1919-1961)Mother and Child macassar ebony and metal wire in two figurinesexecuted in 1953Height: Mother: 56cm, Child: 27cmFootnotes:MOTHER AND CHILD, AND MOTHERHOODTWO ICONIC SCULPTURES BY JEWAD SELIMProvenance:Property from a private collection, EnglandFormerly property from the collection of the renowned Iraqi architect Said Ali Madhloom (1921-2017)Acquired directly from Lorna Selim, the artists wife, by the above, circa 1971Exhibited:House of Medhat Ali Madhloom, Jewad Selim, Baghdad, 1954The Jewad Selim Touring Exhibition, organised by the American Friends of the Middle East, March-April 1954:Maine, Portland, L.D.M Sweat Museum, 1954Philadelphia, De Braux Gallery, 1954Pittsburgh, Bellefield Avenue Gallery, 1954Chicago, Headquarters of the Midwestern office of the American Friends of the Middle East, 1954New York, Middle East House, 1954Baghdad Exhibition of Paintings and Sculptures, Al Mansur Club under the patronage of the King, February 1956;National Museum of Modern Art, Jewad Selim, Baghdad, January 1968Published:Jabra Ibrahim Jabra, Art in Iraq, Hayat Fil America, No.43, 1966, P26-29Jabra Ibrahim Jabra, Art in Iraq Today, Stephen Austin and Sons, 1961, p.2Majid Al-Samara'ai, The Baghdad Group for Modern Art: A Year of Giving and Continuity, 1971, Al-Adab 19, June 1971Exhibition Catalogue, Jewad Selim, National Museum of Modern Art, Baghdad, January 1968Abbas El-Saraf, Jewad Selim, Baghdad, 1972Shakir Hassan Al-Said, The History of the Plastic Arts in Iraq Part 1, p.211Ahmed Naji, Under the Palm Trees, Modern Iraqi Art with Mohamed Makiya and Jewad Selim, 2019, Rizzoli International, Page 86The present sculptures (lots 16 and 17) are two of Jewad Selim's most emblematic compositions. Instantly recognisable, striking, and deeply symbolic, Motherhood and Mother and Child are signature works by the pioneer of Iraqi modernism.Exhibited, published and critically acclaimed, these works took part in Selim's landmark retrospective exhibition at the Baghdad National Museum in 1968. Executed in divergent mediums and in radically distinctive styles, they nonetheless present us with poignant and penetrating meditations on one of Selim's key artistic subjects: the concept of motherhoodExecuted upon Jewad's return to Iraq after studying at the Slade, the sculptures are a hallmark representation of the Baghdad Group of Modern Art, with use of traditional Iraqi themes and motif's related within a distinctly modernist visual language. From the collection of the late Said Ali Madhloom who continued to preserve and care for these delicate masterpieces after resettling in the United Kingdom, they carry an immense significance within the history of Iraqi of modernism'I used to play with the Mother and Child and wanted to bring them with the to England but my mother couldn't, so she left them with Said Ali Madhloom. I am delighted that one of my childhood loves is safe' – Miriam SelimMother and Child is a remarkably original sculpture and perhaps one of the most unique and distinct creations by Selim. A simplified, semi-abstracted depiction of wire and ebony figurines depicting a mother with open arms ready to embrace her child, the work feels like a wooden transfiguration of Selim's painted works. The sculpture has been shown in over eight major exhibitions, including Jewad's one-man touring show of the United States, a travelling exhibition which would result in a heap of critical acclaim and which was widely reported on in local American media; an extraordinary achievement for a Middle Eastern artist at the time.Stylistically, the work shows clear influence from Modern British sculptural movements active while Selim was studying at Slade in the late 1940's. A combination of the soft lyrical curvature and flowing smoothness of Henry Moore who Jewad Studied under at the Slade, and the distinct, mechanical wire sculptures of the 'Geometry of Fear' movement. The leading protagonist of the Geometry of Fear movement, Reg Butler, was one of Jewad's most notable teachers at the Slade; Butler grew up in the workhouse his parents managed. Close to a maternity ward, an asylum and old people's home, he encountered birth, life, difficulties and death from childhood. This Victorian setting inspired narratives in his art, which he interpreted through a Freudian framework and the human body was his most enduring subject. These complex, sometimes disturbing interpretations of the human form and familiar relations clearly influenced Jewad although Selims own work would exclude some of the darker aspects of the Geometry of Fear movement which placed more emphasis on the distortion of post-War trauma. Selim considered the Mother and Child theme a universal subject 'from the beginning of time'; an 'inexhaustible' motif that offered multiple sculptural possibilities. Throughout his works that deal with this subject matter, Jewad's fixation with the Mother and Child can in some ways be seen in straightforward compositional terms – the relationship of a small form with a big form – and ideas of protection and nurture.Selim's sculptural composition is unlike anything produced in Iraq at the time. In its novel use of material, its anatomical framework, its kineticism it demonstrates the creative power of an artist with a bold and un-daunting conviction in his own originality. A deeply personal sculpture, Mother and Child began life in Selim's own personal collection, and was a favourite toy of the artists daughter Miriam. Upon their sudden departure from Baghdad in 1971, Miriam and Selim's wife Lorna were unable to transport the fragile work to London and decided to give it to Said Ali Madhloom.'From very early on I had an obsession with the Mother and Child theme - a big form protecting a little form - it has been a universal theme from the beginning of time and some of the earliest sculptures we've found from the Neolithic Age are of a mother and child.'- Henry MooreJewad 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... For further information on this lot please visit Bonhams.com

Jewad Selim (Iraq, 1919-1961)Women Waiting oil on canvas, framedexecuted in 194343 x 30cm (16 15/16 x 11 13/16in).Footnotes:WOMEN WAITING: ONE OF JEWAD SELIM'S MOST SIGNIFICANT PAINTINGS'Artists were appalled at the conditions of poverty, illiteracy and subjugation of a lot of Iraqi women during this period in Iraq's history. They were concerned about the situation of illiterate women who were 'waiting' for marriage or who were forced to work as prostitutes. Jewad was very proud of his sister Neziha for having the courage to break out of the tradition of 'waiting' and leaving to study art in Paris. The painting will have been a statement of the plight of women at this time'- Miriam Selim, the artists daughterProvenance:Property from a private collection, EnglandFormerly property from the collection of the renowned Iraqi architect Said Ali Madhloom (1921-2017)Acquired directly from the artist by the abovePublished:Exhibition Catalogue: Jewad Selim, National Museum of Modern Art, January 1968, Ministry of CultureExhibited:Jewad Selim, House of Nizar Ali Jawdat in 1950, Baghdad, Iraq, 1950, No.9 (the artists first solo exhibition)Jewad Selim, National Museum of Modern Art, Baghdad, January 1968Bonhams are most privileged to present perhaps one of the rarest and most sought after works of Iraqi art to come to auction in recent history, from the father of Iraqi Modernism, Jewad Selim.Jewad Selim painted Woman Waiting in 1943, the work was not only exhibited at Jewad's first ever solo exhibition in the house of Ali Jawdat Ayoubi, but also featured in his major 1968 retrospective at the Baghdad National Museum.Executed in Jewad's key transitional period; during a five year stay in Baghdad after returning from Rome and before enrolling at the Slade, the work is a powerful and unique commentary on the plight of Iraqi women, and perhaps one of the first overtly feminist artworks painted in the Middle EastIn this painting Jewad depicts the prostitutes that loitered in the back alleys of Baghdad, entreating business for passers by. Far from being a merely literal appreciation of its subject matter, Jewad's depiction of the women is a wider commentary on the plight of a generation of Iraqi women whose fate and destiny were tied to the men for whom they were 'waiting'; this including not only Women Waiting for male custom, but for girls waiting to be betrothed whose transition to adulthood depended on the presence of a male provider.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 the humorous and extravagant characters encountered in everyday life. Light hearted and boisterous, the 'Women Waiting' is in part a stylistically sophisticated example of a burgeoning modernist movement in Iraq and in part a playful take on life in streets of Baghdad.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 affects 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. During this wartime period in Baghdad, Jewad and a group of Iraqi artists became acquainted with several Polish officers who were painters, two of whom had studied with Pierre Bonnard. The Polish artists introduced the young Iraqis to the latest European styles and concepts, leading Jewad to comment in his diary that after discussion with the Poles, he understood the importance of colour and its application; and only then was he able to fully understand the works of European artists such as Rembrandt, Goya and Cezanne.'...A new trend in painting will solve the identity crisis in our contemporary awakening, by following the footsteps of the thirteenth century Iraqi masters. The new generation of artists finds the beginning of a guiding light in the early legacy of their forefathers' – Jewad SelimFor further information on this lot please visit Bonhams.com

Dia Azzawi (Iraq, born 1939)Oh Ali! oil on canvas, framedsigned and dated 1964 78 x 82cm (30 11/16 x 32 5/16in).Footnotes:A HIGHLY IMPORTANT 1964 PAINTING BY DIA AZZAWI FROM HIS FIRST EVER SOLO EXHIBITION AT THE AL-WASITI GALLERYProvenance:Property from a private collection, EnglandFormerly property from the collection of the renowned Iraqi architect Said Ali Madhloom (1921-2017)Acquired directly from the artist by the aboveExhibited:Baghdad, Al-Wasiti Gallery, The First Exhibition of Paintings by Dia Azzawi, 1965Published:Baghdad, Al-Wasiti Gallery, Exhibition Catalogue, The First Exhibition of Paintings by Dia Azzawi, 1965'After 1963 it became clear for many artists that one-man shows were more important than group exhibitions with others, which had been the norm in the fifties. What was it like to work during that period? It wasn't really that easy because of the chaos and the politics and the uncertainty for most artists and writers. Some of them left Baghad to work in Beirut, others left to different parts of the world. For me, when I had my own first one-man show, in 1965 at Al-Wasiti Gallery, it was there that I met Kadhim Haider, Ismail Fattah and other artists, it was obvious that I was an artist who tried to be involved in the identity question which had been raised by the Baghdad Group of Modern Art'-Dia AzzawiThe present work is one of Dia Azzawi's most significant works to come to auction and participated in his maiden solo exhibition at Baghdad's Al-Wasiti Gallery in 1965. Replete with rich symbolism, it is from one of the artists earliest bodies of work exploring the role and significance of folkloric, popular religious and cultural iconography in modern painting.As Saleem Al-Baholy notes, 'stylistically, Azzawi's work of the early 1960s remained more figurative with stronger ties to mythology and history, which was the thread that maintained his connection to the Baghdad Group of Modern Art as their anticipated inheritor who could further their goals. Equally, Azzawi's use of colour reflected the inspiration of his teacher Faeq Hassan. He was thus able to negotiate two distinct strands of development in modern Iraqi art: the philosophical abstractions of Iraqi Signs and symbols by the Baghdad Group of Modern Art and Faeq Hassan's mastery of technique. In the present work 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. The dominant feature, the central hand reading Ya Ali! Is a popular sculptural motif forged as part of the 'alam', the large sculptural standard which accompanies Sh'iite martyrdom rituals.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: ARAR 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)Hob al-Watan min al Iman (Loving the Homeland is Part of Faith) mixed media on wooden panelsigned and dated 1982110 x 90cm (43 5/16 x 35 7/16in).Footnotes:Provenance:Property from the collection of the renowned Iraqi architect Mohammed Saleh Makiya (1914-2015)Thence by descent to the present ownerExhibited:The Commemorative Exhibition of Shakir Hassan Al-Said, Salam House, The Humanitarian Dialogue Foundation, 2011Published:Catalogue of The Commemorative Exhibition of Shakir Hassan Al-Said, Salam House, The Humanitarian Dialogue Foundation, 2011Ahmed Naji, Under the Palm Trees, Modern Iraqi Art with Mohamed Makiya and Jewad Selim, 2019, Rizzoli International'The wall for Al Said since late 1970s was a 'mirror of reality' with all its cracks, marks, and graffiti . Al Said's wall paintings are a static surface with a dynamic record''Loving the homeland is part of faith'Shakir Hassan Al SaidBy Dr Ahmed Naji25 April 2021In 1983, the same year in which this outstanding artwork by Al Said was made, Jabra Ibrahim Jabra wrote in his famous concise survey of art in Iraq : 'No Iraqi artist has written about art in general, and about the artist's reflections on his own work in particular, as much as Shakir Hassan al Said.' Jabra went on to explain the significance of Al Said's writing not only on his art but also on Iraqi art in general; 'His writings over the last twenty-five years have come to form a sort of a body of doctrine which, though not easy to define, has had a considerable influence on the direction the Iraqi art movement has sometimes taken after Jewad Selim's death.' Reflecting on art to Al Said was an integral part of his art, as much as art was an integral part of his thought and existence. The artist had a progressive diverse oeuvre, though equally not easy to sum up, that is akin to a scientist looking into the entire universe through a powerful microscope; with every increasing power of magnification, a new layer of the universe is revealed without losing its relation to the preceding or succeeding layers. In his early career with Jewad Selim and the Baghdad Modern Art Group of 1951, he used figurative representation as a medium for appropriating Iraq's ancient heritage through an international modernist art lens in dialogue with cubism, fauvism etc, to create a local art movement. A few years later, during his studies in Paris between 1955 and 1959, Al Said discovered the importance of the surface texture of the artwork made by the layers of paint, instead of figurative representation, as the connection between the ancient, modern and contemporary art. Al Said discovered that texture was the essence which he saw daily in Paris both in Mesopotamian art in the Louvre and the modern art on display in the art galleries of Rue de Seine. This discovery; which he termed as 'a time-period migration towards modern art' , unlocked a technical paradigm that transformed his art in the subsequent years. The objective of Al Said's reflection was and remains to seek 'a truth that keeps escaping the frameworks of material or subjective reality' . As an artist, he sought and expressed the truth by distinctly evolving his art from the 'figure' or 'shape' to the 'trace' which serves as medium to connect the self/person directly with the world through the artwork, without a perceived mediation of the artist himself. In 1973, Al Said utilised the Arabic letter as a tool to etch space and time on the surface of the artwork in a meticulous harmony between the artist, the artwork, and the environment; a practice and theory he termed as One Dimension . The environment we see in Houb al-watan min al-iman (Loving the homeland is part of faith), which was exhibited in Baghdad in 1983 is a wall from the early years of the Iraq-Iran war (1980-1988) made of white cement and plaster, it resembles many walls that survived the aerial bombardment which the artist examined and reflected upon, for example, during his visit to Mandali , the town on the Iraq-Iran border to the east of Baghdad. The wall for Al Said since late 1970s was a 'mirror of reality' with all its cracks, marks, and graffiti . Al Said's wall paintings are a static surface with a dynamic record, as much as the mirror is a static piece of glass with a dynamic reflection of its surroundings, except that Al Said scores his walls with temporal and spatial codes that draws the viewer to delve into a deeper world, through the One Dimension of the surface and interpretation of the written letter. The word Houb (Love) captures the attention as the rest of the sentence gradually disappears into the whiteness of the scored cement. Al Said's love for his homeland during the war exists and persists like the multi-layered graffiti slogan 'Loving the homeland is part of faith' on the richly textured surface of the painting, a metaphor for the rugged and embattled Iraq. The popular slogan in this painting's graffiti resurfaces every now and again during different periods in Iraq, such as the war against ISIS in recent years, while many walls in Iraq still carry the scars of wars in a solemn remembrance of those who lost their homeland, or their lives, or both. This painting serves a spatio-temporal marker placed by Al Said in the physical and meta-physical conscience as an indelible trace of the truth. Born in Samawah, Iraq, in 1925, Shakir Hassan Al Said studied social sciences at Baghdad's Higher Institute of Teachers, obtaining his BA in 1948. He initially worked as a teacher of Social Sciences at Malak Secondary Education, the Ministry of Education from 1949 to 1954 before studying painting at the Institute of Fine Arts in Baghdad and teaching art education later on. After his graduation in 1954, he received state scholarships to pursue his studies abroad. From 1955 to 1959, he studied painting and art history in Paris, at the Académie Julien, the École des Arts Décoratifs, and the École Nationale Supérieure des Beaux-Arts.On his return to Baghdad, he taught art history at the Institute of Fine Arts from 1970 to 1980, and also taught painting and art history at the Institute of Art Education in Saudi Arabia from 1968 to 1969. From 1980 to 1983, he headed the Department of Aesthetic Studies at the Ministry of Culture and Information. In 1992, he worked as a counselor at the Abdul Hameed Shoman Foundation in Amman, Jordan.In 1994, he founded the symposium of Aesthetic Discourse at the Saddam Art Center in Baghdad. Al Said was also a Member of the National Committee League of Art Critics, the Iraqi Artists Syndicate, the Society of Iraqi Plastic Artists and the Iraqi Teachers' Syndicate. He stayed in Baghdad until his death in 2004.Dr Ahmed Naji is an independent researcher and cultural advisor on art in Iraq and the Arab world. He is the author of Under the Palm Trees: Modern Iraqi Art with Mohamed Makiya and Jewad Selim, Rizzoli New York, 2019. (Instagram: ahmednaji_alsaid)For further information on this lot please visit Bonhams.com

Charles Hossein Zenderoudi (Iran, born 1937)ZAMIN LARZEH acrylic on canvas, framedsigned and dated 1971150 x 134cm (59 1/16 x 52 3/4in).Footnotes:'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.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

Mohsen Vaziri Moghaddam (Iran, 1924-2018)Line in the Sand mixed media with sand on canvassigned 'M.Vaziri' and dated '2000' (lower right), executed in 2000100 x 70cm (39 3/8 x 27 9/16in).Footnotes:Provenance:Property from a private collection, Dubai'Painting is not a reconstruction of objective reality, the artist has to create something that never existed before'- Mohsen VaziriA pioneer of Iranian Modern art, Mohsen Vaziri was born in Tehran in 1924. In 1943, he attended the Faculty of Fine Arts in Tehran. He had his first solo art exhibition at the Iran-America Society in 1952. Vaziri left to Europe in 1955 to study at the Academy of Fine Arts in Milan where he learned about the western modern and contemporary art movements. In 1956, he had his first exhibition in Italy at the Portonovo Art Gallery in Rome and later that year in Germany at the Die Brucke Gallery in Düsseldorf and the Stenzel Gallery in Munich. In 1957, Mohsen Vaziri's artistic career took a turning as he moved away from figurative painting into non-objective or abstract art. He attended Italian artist Toti Scialoja's classes at the Academy. It was during those six months that Vaziri began exercising the depth of his imagination and experimenting with the use of materials, space, form and composition.This monumental work from the sand paintings series was conceived in 1959. Vaziri focused on working with sand for four years using different types of sands and applying them on canvas mixed with colour or in their natural state. While seeking for his individual style, in the spring of 1959 he found his source of inspiration on the shores of Lake Albano. The traces of his hands in the sand caught his attention and his childhood memories by the sea came flooding back. He went back to Rome and began experimenting playfully with sand and transferring the patterns onto primed canvases, which lead him to create his most powerful and ground-breaking works. He successfully evolved a richly emotive expressive style through colour, space and form. This series of works grabbed the attention of many including some of the most prominent Italian art critics at the time and in 1964 MoMA acquired one of his sand paintings for their permanent collection. He then went on to win several awards and his sand paintings have appeared in several Biennales across the world.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

Ramses Younan (Egypt, 1913-1966)Untitled oil on canvas, framedexecuted circa 1964-6650 x 72cm (19 11/16 x 28 3/8in).Footnotes:Provenance:Property from a private collection, BeirutChristies, Dubai: Modern & Contemporary Art, October 2015, lot 47Notes:Sylvie and Sonia Younan and Jean Colombain have kindly confirmed the authenticity of this work. This work will be included in the forthcoming Ramsès Younan Catalogue raisonné.Younan was an artist, writer and political activist. In the late 1930s he co-founded the Egyptian surrealist group Art and Freedom. He believed in the revolutionary power of the imagination, and used the unconscious mind as a source for his art. Starting from an initial improvisation he would develop and refine the surface of his paintings to produce complex abstract compositions. Here forms seem to dissolve and merge into each other. The colours resemble those of an Egyptian earthen landscape.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

Ismael Fattah (Iraq, 1934-2004)Standing Nudes ink on paper, framedsigned 'Ismael Fattah' and dated '88' in Arabic and English (lower left), executed in 1988101 x 69cm (39 3/4 x 27 3/16in).Footnotes:Provenance:Property from a private collection, UK'With Ismail Fattah who like Rahal and Ghani also studied inRome –his works are related to his country's experience by virtue of their themes rather than their actual style. His beautiful statue of the great Abbasid poet Abu Nuwas may look like a Gothic Christ, but he knows it. He knows his bronzes owe more to modern sculpture than to Sumer or Assyria. To him, this is a technical point which is no cause for worry as long as he can express his Iraqi themes in a manner related to the present. If his style, which has its emphatic qualities, derives from contemporary [art], his confidence may lie in the fact that [art] in our time derives from a vast mixture of cultures mostly medieval or ancient, and especially middle-eastern' - Jabra Ibrahim JabraFor further information on this lot please visit Bonhams.com

Salah Abdel Kerim (Egypt, 1925-1988)Oreste oil on paper, framedsigned and dated 1969, executed in 196960 x 80cm (23 5/8 x 31 1/2in).Footnotes:Provenance:Property from a private collection, CairoPublished:L'Oeuvre De Salah Abdel Kareem, Egyptian Ministry of Culture, 2000, p.166 'Nothing forces us to knowWhat we do not want to knowExcept pain'― Aeschylus, The OresteiaBonham's are delighted to present an important and exquisite published work by the pioneering Egyptian painter, Salah Abdel Kerim. Depicting an architectural fantasy conceived of as a theatre set for Handel's Oreste, the present work combines Grecian, mythological and surreal visual elements to frame the famous ancient tale following Orestes mission of revenge for the murder of his father Agamemnon. Harrowing and other worldly, Kerim's almost supernatural landscape mirrors the nature of the mythological story it conveys, as something existing in the realm between fantasy and reality It was Hussein Bicar who first discovered the talent of Salah Abdel Kerim and instructed him in the basics of drafting. This encouraged Salah Abdel Kerim to enrol in the Faculty of Fine Arts. When Salah Abdel Kerim went to Paris to study theatre design and advertising from two great masters, André-Marie Cassandre and Paul Colin, he became familiar with expressionism and abstract art; but he chose a different path, having been seduced by the works of the SurrealistsBorn in Fayoum to a large family of five brothers and sisters. In 1938 he met the famous painter Hussein Bikar and became his student in the Faculty of Arts in Qena. He remained very attached to his professor all through his life. In 1940 he meets Hussein Youssef Amin and the Group of Contemporary Art at the secondary school of Farouk First in Abasya district in Cairo when he was introduced to surrealism for the first time.In 1943 he becomes a student at the Faculty of Fine Arts and graduates with honors in 1947. In 1948 he becomes an assistant to the interior decoration section at the FFA. He is then sent to a mission in Paris in 1952 and he becomes a student to Paul Colin and A.Marie Cassandre for publicity and theatre design.He then moves to Rome in 1956 to study design for cinema. In 1957 he received the international prize in painting from San Vito Romano, Italy and obtains his PHD from Centro Sperimental di Cinemato Grafia. Back in Egypt in 1958 he is appointed professor at the FFA where he started experimenting with sculpture. In 1959 he received the first prize for sculpture at the Biennale of Alexandria. At the same year he received from the Biennale of Saint Paolo, Brazil an honorary merit for his sculpture 'The Fish'. In 1960 he received the award of the Guggenheim National section for his painting 'Fighting Roosters'.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

REMINGTON, FREDERIC1861 Canton/New York - 1909 Ridgefield/ConnecticutTitel: The Bronco Buster. Technik: Silberguss.Maße: 57cm. Bezeichnung: Bezeichnet auf der Plinthe: Frederic Remington. Beiliegend das Zertifikat des Gießers Charles L. Wambold III, 10.08.1994.Provenienz:Privatbesitz, Deutschland.Die Figur des Cowboys auf dem wilden Pferd, 1895 von Remington erstmals gegossen, ist heute eine der Inkunabeln der amerikanischen Kunst. Remington selber hat sich mit diesem Stück vom Maler und Zeichner zum Bildhauer entwickelt. Zahlreiche zeitgenössische Güsse finden sich in den Museen oder auch im Oval Office im Weißen Haus.Erläuterungen zum KatalogFrederic Remington USA Amerikanischer Realismus 2.H. 19.Jh. Bronzen Pferde Bronze Reiter / Reiterin REMINGTON, FREDERIC1861 Canton/New York - 1909 Ridgefield/ConnecticutTitle: The Bronco Buster. Technique: Cast silver.Measurement: 57cm. Notation: Inscribed on the plinth: Frederic Remington. Enclosed certificate of the founder Charles L. Wambold III, 10.08.1994.Provenance:Private ownership, Germany.The figure of the cowboy on the wild horse, first cast by Remington in 1895, is today one of the incunabula of American art. Remington himself evolved from painter and draughtsman to sculptor with this piece. Numerous contemporary casts can be found in museums or even in the Oval Office in the White House.Explanations to the Catalogue

A contemporary Art Deco three piece tea service, on shaped tray, in the style of Hukin and Heath

LOVE, John, Geodaesia, or, the Art of Surveying and Measuring of Land Made Easy. 5th edition 1744. Worn contemporary sheep

Ouattara Watts (b. 1957)"Samo the Initiated"Diptych Acrylic on canvas Signed and dated 1988 on the reverse of both canvases With label from Vrej Baghoomian Gallery, New York, on the reverse of both canvases. Exhibitions: "Africa Explores: 20th Century African Art", The New Museum of Contemporary Art, New York, USA, 1991; University Art Museum, Berkeley, California, USA; Dallas Museum of Art, Dallas, Texas, USA; St. Louis Art Museum, St. Louis, Missouri, USA; Mint Museum of Art, Charlotte, North Carolina, USA; The Carnegie Museum of Art, Pittsburgh, Pennsylvania, USA; The Corcoran Gallery of Art, Washington, DC, USA; The Center for Fine Arts, Miami, Florida, USA; Ludwig Forum, Aachen, Germany; Tapies Foundation, Barcelona, Spain; Escape Lyonnais d'Art Contemporain, Lyon, France; Tate Gallery Liverpool, England. 216x360 cm (total)

Melvyn Evans (British Contemporary), linocut, 'Fishing Boats on Hastings Beach', signed in pencil, dated 2018 and numbered 36/60, framed (Rye Art Gallery), 40 x 50cm

Hans Tisdall (German 1910-1997), lithograph, 'Fisherman's Hut' from The School Prints series, a set of 24 lithographs produced in the 1940s with the intention of bringing contemporary art to young children, signed in the plate, printed in England at the Baynard Press, Goldmark and Mascalls Gallery labels verso, framed, with accompanying book by Ruth Artmonsky and purchase receipt, 48 x 75cm

Roland Collins (1918-2015), gouache, 'Newhaven, 1979' and a lithograph by Jeremy King (b. 1933), 'Winter Reeds', the former signed, framed, with accompanying exhibition publications from Mascalls Gallery, Paddock Wood ('Found Landscapes' 20 April - 30 June 2012') and Browse & Darby invitation to a private view ('Roland Collins Drawings & Gouaches - a Retrospective', 10-26 February 2016), the latter signed and numbered 22/50 (Christies Contemporary Art print), 38 x 53cm & 40 x 63cm

Emma McClure (b.1962) March Flowers Signed with initials EM (lower right) Oil on linen 30cm x 30cm Framed (48cm x 48cm including frame).  Horatio's Garden will receive 50% of the hammer price. Emma McClure was born in London in 1962 and spent her childhood in Oxfordshire and Cornwall. After completing a foundation course at Falmouth School of Art, she did a BA Hons in Fine Art at Winchester School of Art followed by an MA in Painting at Chelsea School of Art. Since leaving art school she has been a practising artist working mainly as a painter and has exhibited regularly. Over the last 25 years, she has had several solo exhibitions with Cadogan Contemporary in London and more recently with Cornwall Contemporary in Penzance. She lives and works in Cornwall.

Lady Ann Fraser Autumn Leaves Watercolour Signed and dated Ann Fraser October 2018 (lower right) 61 x 73.5cm (including frame) Horatio's Garden will receive 100% of the hammer price on this lot. Not having had the opportunity to study art as a youngster Lady Ann Fraser went to Edinburgh College of Art in the 1980s as a mature student for four years to study Drawing and Painting. Having completed the course, where you were not encouraged to choose botanical subjects, she went to do a general course in watercolour painting at the Royal Edinburgh Botanical Garden with John Mooney and Paul Nesbit. She had her first solo Exhibition in London in London in 1991 at The Malcolm Innes Gallery and since then has exhibited widely in Scotland and London. Her work features in 'Contemporary Botanical Art' by Shirley Sherwood and is represented in many private collections. In May 2019 she had her third solo Exhibition at The Rountree Tryon Gallery in Petworth and St. James's, London. She has been awarded a Silver, a Silver Gilt and a Gold Medal by the Royal Horticultural Society.

Boo Mallinson (b.1967) Spring Landscape Signed Boo Mallinson (lower right) Charcoal, ink and acrylic on canvas 40cm x 40cm Horatio's Garden will receive 100% of the hammer price on this lot. Boo's paintings act as a visual diary and a way of recording her everyday walks and journeys through the landscape. When walking we absorb the sights, sounds and smells as they come together to form a very strong memory of place. Our minds can drift and wander, yet we are very much in the present. Memories of a repeated walk along a known pathway, the distant horizon, the dramatic changes of colour and light from one moment to the next, day to day, season to season, these immersive encounters with the natural world form the starting point of Boo's paintings. Some paintings remain very close to their origins, hinting at a place visited or remembered. These paintings are often smaller and more gestural, translating an idea quickly and embracing chance and accident. Other paintings evolve slowly and are reworked, building up the surface organically and allowing Boo to translate ambiguous images into new compositions. They are still about a visual encounter with the landscape yet there is a process of simplification, allowing her to explore colour and abstraction and to move intuitively between the real and the imaginary. This ambiguity allows the viewer the freedom to put their own interpretation into the paintings and be reminded of their own experiences of being within the landscape. Boo is represented by Highgate Contemporary Art in London and The Limetree Gallery in Bristol.

Mary Cox (Contemporary) Piggy Back Bronze resin 33" high x 12" (diameter of base) Horatio's Garden will receive 100% of the proceeds from this lot. Mary Cox studied at Chelsea Art School under Willi Soukop, Bernard Meadows and Elizabeth Frink. Since leaving art school she has lived and worked in Sussex, where she has been commissioned to create works for churches and hospitals. Her work is characterised by its liveliness and sensitivity. Her sculptures of children, many based on her own family, are full of life and careful observation. Her sculptured portraits in bronze include Malcolm Muggeridge and eminent members of the legal profession, but she specialises in children's portraits. She also sculpts small Limited Edition bronzes of mythological and religious subjects. Mary Cox has created many life size sculptures for gardens. Her life size figures can be cast in bronze or bronze resin, and are a lovely focus in a garden. She also undertakes commissions.

Brenda Martin (Contemporary) Lockdown Beach Walk Oil on board, 2020 50 x 60cm.  Horatio's Garden will receive 50% of the hammer price. After graduating from The Royal College of Art in London, Brenda worked as a designer in the fashion industry for Monsoon in India and Studio West in San Francisco, before returning to the UK to work as a BBC costume designer. During this time she specialised in period dramas and comedy sketch shows including 'Alas Smith and Jones', 'Scotch and Wry' and 'Naked Video', whilst also illustrating articles for the women's page of The Herald. She has been a visiting lecturer and examiner at Edinburgh College of Art and has run sketchbook and fashion-based workshops at Leith School of Art. Now based in Edinburgh, much of her current work is painted on location at her home in the Highlands and on the beautiful beaches of Northumberland. She has recently been commissioned to do personalised life drawings of clients.

CONTEMPORARY SCHOOL, mirrored wall art, 120cm x 80cm.

CONTEMPORARY ART DECO DESIGN SILK CARPET, 300cm x 200cm, geometric silver field.

Lothar Baumgarten. Carbon. Los Angeles, The Museum of Contemporary Art / Pentti Kouri [1991]. Mit zahlreichen ganzseitigen Abbildungen nach Fotografien. Originalleinenband mit -schutzumschlag.Erste Auflage. - Eins von 1750 Exemplaren. - Der Bildband und das beiliegende Textheft wurden vom Künstler im Druckvermerk signiert. - Lothar Baumgarten (1944-2018) studierte unter anderem als Beuys-Schüler an der Kunstakademie Düsseldorf. Während einer monatelangen Reise durch die USA dokumentierte er das dortige Eisenbahnnetz, das unmittelbar mit der Kolonialisierung des amerikanischen Kontinents verbunden ist. Das Künstlerbuch bietet eine Auswahl aus den tausenden Fotografien, begleitet von elf Texten. - Der hier auch als Ethno- und Anthropologe wirkende Fotokünstler fokussiert den Blick des Betrachters auf die Beziehung zwischen Naturlandschaft und der menschlichen Kultur und stellt die Konventionalismen westlicher Wahrnehmung in Frage.31,2 : 39,2 cm. [6], 142, [2] Seiten.

Richter, Gerhard (Dresden 1932). Zwei Kerzen, 1982. Farbiger Offsetdruck. 2006. Signiert. 47 x 60; Blattgr. 61 x 76 cm. Plakat zur Ausstellung 'Fast Forward' der Contemporary Collections for the Dallas Museum of Art mit der Darstellung des Ölbildes 'Zwei Kerzen' (vgl. WVZ 512-3).

Antiquarian literature. A large collection mainly of antiquarian literature, 19th century and later, including: The Plays of William Shakespeare, Accurately printed from the Text of the Corrected COpy left by the late George Steevens [sic], London: for F. C. and J. Rivington [and others], 1805, 9 volumes, octavo, contemporary diced calf, a few covers detached - The National Comprehensive Family Bible ... edited by the late Rev. John Eadie, c.1880, large quarto, contemporary black morocco with brass mounts, chromolithographic additional title-page, colour plates - Old English Sporting Prints and their History [by] Ralph Nevill, 1st edition, number 748 of 1500 copies only, London: The Studio, Limited, 1923, quarto, original red cloth - and numerous others including children's and some art reference (qty: 6 cartons) The lot sold as seen, not subject to return.

Nuala Mulligan (Contemporary) ''Cover Girl'' Twiggy Signed and numbered 55/195, silkscreen on paper, 69cm by 53cm Sold together with a De Montfort Fine Art Certificate of Authenticity Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business . In good overall condition, not examined out of the frame. The odd minor chip/scratch to frame.

Britain.- Pyne (William Henry) The History of the Royal Residences of Windsor Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore, 3 vol., first edition, 100 fine hand-coloured aquatint plates, many heightened with gum arabic, list of plates at end of vol.3 spotted, otherwise an excellent clean and bright copy, bookplates of George E.Goodwin and Louise Ward Watkins, handsome contemporary burgundy morocco cathedral binding with large gilt ecclesiastical window to covers and elaborate gilt foliate borders, spines gilt in compartments, g.e., boards slightly mottled, a little rubbed at edges, [Abbey, Scenery 396], 4to, 1819.⁂ William Henry Pyne (1770-1843) was an artist and printmaker who commissioned the artists and engravers of these plates to show an exact record of the interiors of royal residences. The illustrations have been consulted by art historians, curators and archivists at the Royal Collection to research interior schemes and decorative fashions, even down to such details as the arrangements of hanging pictures.

Emilie Mediz-Pelikan (Austrian 1861-1908)Portrait of Theresina DuinoPencil and coloured crayonSigned with initials (upper right) and dated 1905 Juni (upper left)42 x 23cm (16½ x 9 in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts.David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: The work is faded, most noticeably to the green detail around the sitter's neck. Brown spots throughout the sheet. The work has been unexamined out of glazed frame.Condition Report Disclaimer

Emilie Mediz-Pelikan (Austrian 1861-1908)Study of a sleeping womanPencilDated Februar 1905 and indistinctly inscribed (lower right)21 x 50cm (8¼ x 19½ in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts. David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year. 

Emilie Mediz-Pelikan (Austrian 1861-1908)Blossom treesMixed media on cardboardSigned with initials and dated 10 Mai 1903 (lower right)44 x 49cm (17¼ x 19¼ in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts.David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: Unframed. Discolouration to the sheet. Staining to the edges of the sheet under the mount. The work has been laid down to a card mount. Discolouration to the sheet. The front of mount has become partially unstuck and has left a layer of white card to the extreme edges to the sheet (where it was previously stuck down) there are also traces of glue residue. Some discolouration to the sheet and brown spots of foxing scattered throughout. There is a small area of skinning to the lower centre, which is lifting approx. 2cm. There is an area of heavy surface scratching and some associated skinning and lifting to the lower right quadrant. Very small nick to the sheet approx. 1mm to the left of the left tree. Small area of water damage approx. 1cm to the upper right corner. Condition Report Disclaimer

Emilie Mediz-Pelikan (Austrian 1861-1908)A triple portrait of Hermine, Emilia and HelenaPencil and coloured crayonSigned, dated 1897 and variously inscribed (lower right)45.5 x 67cm (17¾ x 26¼ in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts. David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year. 

Betty Joel (1894-1985), a large pair of cream upholstered modernist armchairs,with squared arms and raised on casters 83 x 100 x 88cmFootnote: Provenance: Cheffins, The Art & Design Sale, 25th January, 2018, and formerly of 66 Frognal, Camden, London, the modernist house designed by architects Colin Lucas, Amyas Connell and Basil Ward. Connell Ward & Lucas were a pioneering firm of architects working in the Modern Movement in the UK. Connell and Ward were early admirers of Le Corbusier; Lucas, similarly influenced and frustrated by conventional builders, had set up his own company to develop ideas for reinforced concrete. The three worked as a team from 1933, for six years producing a series of houses that no contemporary firm could match. 66 Frognal is illustrated in 'Connell Ward & Lucas "Modern movement architects in England 1929 -1939"

§ Douglas Wilson RCA (British 1936-)Summer Evening, Shropshire signed 'DOUGLAS WILSON' (lower right) oil on board 23 x 29cmFootnote: Provenance: With Highgate Contemporary Art, London, where acquired in November 2012

§ Hughie O'Donoghue RA (British 1953-)Recoil signed and dated 'Hughie O'Donoghue 1989' (lower right); titled and numbered 12/25 photogravure, printed by Hope Sufferance Press, London; published by Fabian Carlsson Gallery, London 65 x 76cmFootnote: Provenance: With Purdy Hicks Gallery, London Born in Manchester in 1953, Hughie O’Donoghue spent much of his early childhood in his mother’s native County May in Ireland, the landscape and history of which would later influence O’Donoghue’s work, which he has previously described as “reverse archaeology”. Meditating on memory, history, and the universal human experience, O’Donoghue’s work typically utilises an expressionist palette and synthesises figural and abstract painting. Elected RA in 2009, O’Donoghue has held solo exhibitions throughout Europe, including at the Haus der Kunst, Munich, the Imperial War Museum, London, the Fitzwilliam Museum, Cambridge, the DOX Centre for Contemporary Art, Prague, the Irish Museum of Modern Art, Dublin, the Gemeentemuseum, The Hague, and the Centre Culturel Irlandais, Paris.

Philip Guston (1913-1980)Tony and PeteGraphite drawing on wove paper, 1945, signed, dated and titled in pencil, sheet 360 x 460mm (14 1/8 x 18 1/8in) (unframed)Provenance: The private collection of H.W. Janson, and thence by descent.Freeman's, Modern & Contemporary Works of Art, ex-lot, 4th November 2012.Private collection, USA, 2012-Present.

Henry Moore (1898-1986) Reclining Figure and Mother and Child Studies (Cramer 453), 1977 52/75, signed and numbered in pencil (in the margin) lithograph printed by Curwen Prints Ltd., London, published by Christie's Contemporary Art Ltd. 43 x 53cm.

Eugen Bracht – "Die drei Türme", datiert 1909 Öl auf Leinwand, doubliert. Großformatige Ansicht der drei Türme von der Sporer Alm aus gesehen. Links unten signiert "Eugen Bracht 1909". Auf dem Spannrahmen bezeichnet "782 Die drei Thürme von der Sporeralp aus. Eugen Bracht, Dresden". In zeitgenössischem, goldfarbenem Holzrahmen. Bildmaße 168 x 135 cm, mit Rahmen 182 x 144 cm. Eugen Bracht (1842 - 1921): deutscher Landschafts- und Historienmaler sowie Hochschullehrer. Nach einer Ausbildung an den Kunstschulen in Karlsruhe und Düsseldorf war er ab 1882 Dozent an der Berliner Kunstakademie und avancierte zwei Jahre später zum "ordentlichen Professor". 1901/02 übernahm er die Leitung des Meisterateliers für Landschaftsmalerei and der Dresdener Kunstakademie. Zustand: IIEugen Bracht – "Die drei Türme" (The Three Towers), dated 1909 Oil on canvas, re-lined. A large-format scene of the three towers, viewed from the Sporer Alm. Signed "Eugen Bracht 1909" at the bottom left. The stretcher marked "782 Die drei Thürme von der Sporeralp aus. Eugen Bracht, Dresden". In a contemporary, gold-coloured wooden frame. Size of the painting 168 x 135 cm, including frame 182 x 144 cm. Eugen Bracht (1842 - 1921) was a German landscape and historical painter, as well as a professor. After completing his studies at the art academies in Karlsruhe und Düsseldorf, he became a lecturer at the Berlin Academy of Arts in 1882 and was promoted to "full professor" two years later. In 1901/02, he was appointed director of the master studio for landscape painting and of the Dresden Academy of Fine Arts.Condition: II

A MAGNIFICENT DIAMOND BRACELET, BY BULGARI, CIRCA 1950The highly articulated bracelet designed with three rows of brilliant-cut diamonds within claw-setting, mounted in platinum, diamonds approximately 20-22cts total, signed Bvlgari, with maker's case, length 17cmThe Pindhos mountain range in Greece has long been revered as an esteemed place. The peaks were once seen as a place for worship, reverent believers congregating at the Sanctuary of Dodona to praise Zeus. Others acknowledged the mountains as concealing the entrance to the Underworld and poets, such as Homer, immortalised the range through their words. In more recent years, the mountains have yielded something more tangible, but nonetheless remarkable. Here, in the village of Kallarrytes, we find an ancient silversmithing trade whose humble origins gave rise to one of the greatest jewellery houses in the world: Bulgari.The Pindhos silver trade was painstakingly passed from father to son and, with the birth of Sotirios Boulgaris in 1857, the tradition was continued. Growing up in the village of Paramythia, Sotirios deftly developed his skills as a silversmith and when his family was forced to leave the town, he and his father travelled from place to place selling their trade. However, unrest continued to grow under Ottoman rule and the Boulgaris family made the decision to leave Greece and settled in Corfu. Here, the young Sotirios grew restless, pulled by his desire to achieve greater things and, thus, when the opportunity was offered to him by his old acquaintance and fellow silversmith, Demetrios Kremos, he left his father and travelled to Italy. After a brief spell in Naples, Kremos and Boulgaris arrived in Rome in 1881, virtually penniless but determined to make their mark. They set up a small shop at 75 Via Sistina but within three years their success had spurred Sotirios to leave the partnership and he established his own shop at No.85.Sotirios' business flourished and, ten years later, he opened a second shop, trading in antiques, silver and jewels. It is from this point that we see Sotirios losing his Greek identity and reinventing himself under the name of Bulgari.In 1905, Sotirios began to put a greater emphasis on jewellery and introduced his sons, Constantino and Giorgio to the business. He purchased a new building at 10 Via dei Condotti and, by the end of WWI, jewellery had become the focus of Bulgari, with silver and antiques only being sold on a small scale.In 1932, Sotirios passed away, leaving his company and the foundations of a legacy in the capable hands of his two sons. Constantino and Giorgio wasted no time in transforming Bulgari's image and they expanded the shop at Via dei Condotti, reopening in 1934. The Condotti premises encapsulated what 30s' decadence truly meant. Porphyry urns and marble columns rose from highly polished floors whilst gilded surfaces softly reflected those lucky enough to walk by. Yet the true luxury was cradled within finely made cabinets as jewels glimmered alongside carefully worked silver and gold.With a particular interest in jewellery, Giorgio took the over the main running of the business, which allowed Constantino to follow his true passion which, loyal to his ancestors, was the study of silver. As the centre of jewellery production, Giorgio made frequent trips to Paris to buy high quality jewels and was exposed to the latest ideas in fashion, allowing Bulgari to be a spearhead for fine jewellery design. After thirty years at the helm, steering Bulgari into position as one of the leading names in jewellery, Giorgio passed the business to his three sons, just one year before he died in 1966. They inherited a company that was now synonymous with celebrity and high-end luxury. Bulgari was jeweller to the stars, counting amongst its patrons royalty, business magnates, actors and heiresses. Since then, the company has only grown in strength, with stores around the globe and a strong international following.The 1950s and 60s heralded in a golden era for Bulgari. Already prosperous, the post-war economic boom lifted jewellery to new heights. During this time, Bulgari become known for its rare and precious stones and was keenly sought after by all who wanted a jewel more inspiring than any they had ever owned. During the 50s, Paris was still the centre of jewellery production and thus Bulgari's designs were heavily influenced by French style. Asymmetrical floral sprays were particularly popular, the motifs born from the Rococo period of the 18th century. Curving lines and feminine bows worked to offset exquisite, coloured stones, set against white metal to enhance the lucidity of the gems.In the early 1960s, Italian jewellery was finally given the pedestal that it deserved and was able to step forth from France's shadow. 1962 saw the first exhibition of Italian jewellers in Paris and one English trade magazine noted that 'Italy has built her post-war revival upon design'. Bulgari now began forging its own style, moving away from dainty pieces and creating bold, symmetrical items in compact forms. Borders lost their more natural, rugged shapes and became smooth, aided by Bulgari's signature use of marquise cut stones angled in the one direction.The flourishing film trade further catapulted Bulgari's name during the 50s and 60s. Enabled by The Cinecittà Studios, directors and filmmakers shot on location in Rome, dubbing the city 'Hollywood on the Tiber'. Stars flocked to the eternal city, sent by work but captivated by the luxury held within. In particular, Bulgari became the go to place for the visiting elite, with Elizabeth Taylor stating that "undeniably one of the biggest advantages to filming Cleopatra in Rome was Bulgari's shop". Taylor's relationship with the brand became a lifelong love affair and she amassed a jewellery collection which went on to set records when it was sold at auction in 2011.Andy Warhol could also be seen walking through the doors at Via Condotti. An advocate for design, Warhol declared Bulgari as aesthetic creators when he claimed that a visit to Bulgari provided 'the best exhibition of contemporary art'. As they strived ahead with ever more daring designs, Bulgari's signature creations were bold and unashamed. They boasted bright stones, dazzling diamonds and formidable shapes, all artfully coming together in such a way that they might enhance the wearer but not outshine them.Condition Report: Diamonds: approx. 20-22cts total, estimated colour E/F/G, estimated clarity VS (loupe clean)Signature located on the claspTested by the jewellery department to be platinumVerbally authenticated by Bulgari Heritage department in Rome Normal signs of wear, overall in good conditionTotal gross weight approx. 47.62g

Poul KjærholmDaybed, model no. PK 80, produced 1957-1981Leather, stainless steel, painted plywood, rubber.32 x 192 x 81.5 cm Manufactured by E. Kold Christensen A/S, Copenhagen, Denmark. Frame impressed with manufacturer's mark.Footnotes:ProvenancePrivate collection, the Netherlands, 1960sAcquired from the above, 1973Thence by descent to the present ownerLiteratureFrederik Sieck, Contemporary Danish Furniture Design: A Short Illustrated Review, Copenhagen, 1990, p. 149Christoffer Harlang, Keld Helmer-Petersen and Krestine Kjærholm, eds., Poul Kjærholm, Copenhagen, 1999, pp. 104-105, 177Michael Sheridan, Poul Kjærholm: Furniture Architect, exh. cat., Louisiana Museum of Modern Art, exh. cat., Esberg, 2006, pp. 9, 14-15, 77, 144, 162-163Michael Sheridan, The Furniture of Poul Kjærholm: Catalogue Raisonné, New York, 2007, pp. 104-105This 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

* Daniel Mafé [Contemporary]- Expanding Grey,:- signed with entails and dated '88mixed media, 32 x 40cm.* Provenance. Contemporary Art Society Market. Arthur Andersen & Co Art Collection.

Two contemporary rugs by The Ultimate rug Co., both of similar design 'Ohelo' from the Flora Art series, the largest 173cm x 123cm, the smallest 152cm x 92cm.

(See English version below)Richard Diebenkorn (Portland 1922 – 1993 Berkeley). Ohne Titel (Club/Spade Group) aus: „Eight by Eight to Celebrate the Temporary Contemporary“. 1982Farblithografie auf Velin. 101,5 × 68,6 cm ( 40 × 27 in.). Monogrammiert und datiert.Einer von 250 nummerierten Abzügen. The Museum of Contemporary Art, Los Angeles, 1984. [3182]Provenienz: Privatsammlung, BerlinZustandsbericht: Ex. 178/250. In sehr gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. An einer Stelle mit winzigen hellen Pünktchen. Unter UV-Licht sind keine Restaurierungen erkennbar. Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.Richard Diebenkorn (Portland 1922 – 1993 Berkeley). Untitled (Club/Spade Group) from: ”Eight by Eight to Celebrate the Temporary Contemporary”. 1982Colour lithograph on wove paper. 101,5 × 68,6 cm ( 40 × 27 in.). Monogrammed and dated.One of 250 numbered prints. The Museum of Contemporary Art, Los Angeles, 1984. [3182]Provenance: Private Collection, BerlinCondition report: No. 178/250. In very good condition. Sheet edges without any tears or losses. Tiny bright spots in one area. There are no repairs visible under UV-light. Fine harmonious overall appearanceWe charge 30% premium on the hammerprice.

(See English version below)Norbert Schwontkowski (1949 – Bremen – 2013). Purple Haze. 2008Öl auf Leinwand. 110 × 90 cm ( 43 ¼ × 35 ⅜ in.). Rückseitig signiert und datiert: Schwontkowski 2008 / Der Keilrahmen beschriftet: NS/M 923 / Mit einem Etikett und Stempeln der Galerie Contemporary Fine Art, Berlin / Mit einem Etikett der Galerie Monica de Cardenas Galleria, Zuoz, Schweiz.[3012]Provenienz: Privatsammlung, DeutschlandZustandsbericht: In sehr gutem Zustand. Die Leinwand ist nicht doubliert und befindet sich auf dem originalen Keilrahmen (originale Aufspannung). Unter UV-Licht sind keine Retuschen oder Restaurierungen erkennbar. Sehr schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.Norbert Schwontkowski (1949 – Bremen – 2013). Purple Haze. 2008Oil on canvas. 110 × 90 cm ( 43 ¼ × 35 ⅜ in.). Signed and dated on the reverse: Schwontkowski 2008 / Inscribed on the stretcher: NS/M 923 / With a label and stamps of the gallery Contemporary Fine Art, Berlin / With a label of the gallery Monica de Cardenas Galleria, Zuoz, Schweiz.[3012]Provenance: Private Collection, GermanyCondition report: In very good condition. The canvas is not relined and mounted on the original stretcher (original tacking). Ultraviolet light reveals no retouchings or repairs. Very fine harmonious overall appearanceWe charge 30% premium on the hammerprice.

Richard Walker (British contemporary artist) - London Blue and Paris Pink, pair of signed coloured limited edition screen prints, both signed and dated 95, both edition number 16/50, 52.5 x 63.5cm approx sheets size, together with a quantity of unframed art exhibition posters including Elizabeth Blackadder at the Mercury Gallery, London and Edinburgh, 80 x 60cm approx, Bath Festival posters from the 1980s, including Howard Hodgkin prints Exhibition 1984, etc, all unframed (collection)

* PETER GOODFELLOW (BRITISH b 1950), THE PEAK oil on board, signed 12.5cm x 17cm Mounted, framed and under glass. Provenance: From the private collection of the late Jan Morrison, proprietor of the Leith Gallery, Edinburgh. Note: Peter Goodfellow's paintings rarely appear at auction and his UK auction record price was achieved in The Scottish Contemporary Art Auction 26th February 2017 when lot 15 BUACHAILLE ETIVE MOR sold for £2800 (hammer).

* STEPHANIE DEES RSW, TREES AND RIVER mixed media on paper, signed 20cm x 24cm Mounted, framed and under glass. Label verso: The Scottish Gallery, Edinburgh. Note: Stephanie Dees attended Edinburgh College of Art, obtaining MFA Degree in Painting 1996 to 1998, adding to her Edinburgh College of Art, BA(Hons) Degree in Drawing and Painting from 1992 to 1996. Dees is a regular exhibitor at Society and Commercial Gallery group exhibitions throughout the UK and has been showing with The Scottish Gallery since 1997. Her works feature in private and public collections worldwide. Stephanie’s Works of Edinburgh capture different seasons and changing light. From the pale light of winter with silhouetted bare trees, to the light and shade of a beautiful summer day and the bright bursts of green and vibrant colour that summer brings, through to the warm comforting glow of an autumnal day. With her East Lothian paintings, she considers the importance of space and the calmness and serenity she feels when looking out to sea. Having been brought up in North Berwick the certainty of the sea gives Stephanie time to reflect and look back to nature in the chaotic and busy time we live in. The warm character and joyous colours of the East Neuk harbour paintings conjure happy memories of her childhood holidays as she hopes to convey the unspoilt charm of this part of Scotland. Stephanie has enjoyed no less than seven solo shows at The Scottish Gallery (Edinburgh) which is widely regarded to be the most prestigious contemporary art gallery in Scotland. He most recent solo show at the gallery was in 2019.

* MICHAEL SCOTT (SCOTTISH 1946 - 2006), COME SAIL YOUR SHIPS AROUND ME oil on canvas, signed 120cm x 117cm (approximately 48 x 46 inches) - excludes frame. Framed. Label verso: The Contemporary Fine Art Gallery, Eton. Notes: This lot includes a hardback copy of "Michael Scott, Testament" published in 2010. The painting features as a full page image on page 81 and confirms it was completed in 2001.This painting was inspired by "The Ship Song", the 1990 indie classic love song written and first performed by Nick Cave. The title of the painting is the first line of the song. The song has been covered by numerous artists most notably the 2010/11 collaboration of over 100 musicians as a promotional film and song for the Sydney Opera House. What became known as "The Ship Song Project" took almost a year to complete and in the first 24 hours after its launch, the film clip was shared online more than 1.7 million times. It became a major media success and is credited with bringing about a 40% increase in ticket sales at the Sydney Opera House. (extensive details online and video on YouTube). Michael Scott's large work rarely appears at auction but The Bathers, a 36 x 40 inch oil on canvas sold at Christie's, London on 28th October 2004 (lot 299) for £7170 (premium) and At The Riverbank, a smaller example was sold by McTear's for £4000 (hammer) - lot 1720, 26th August 2014. Born in Aberdeenshire in 1946, Michael Scott (Mike Scott) studied Political Science at Liverpool before doing a one year's teacher training course in Huddersfield. After moving to Glasgow, Scott took a full-time research post at Glasgow University followed by a lecturing post at the re-named Glasgow Caledonian University. By 1997 demand for his work had become so great that he had to resign his post at the University to paint full time. Awards Include: The David Cargill Senior Award, Royal Glasgow Institute. Exhibitions Include: 1988~John D Kelly Gallery, Glasgow: 1994~Roger Billcliffe Fine Art, Glasgow ~Contemporary Fine Art, Eton; 1995~Portland Gallery, London; 1997~Fosse Gallery, Stowe on Trent ~Contemporary Fine Art, Eton; 1998~Portland Gallery, London; 2001~Portland Gallery, London, 2004~Portland Gallery, London; 2010~A Memorial Exhibition, Roger Billcliffe, Glasgow. Collections Include: Distillers plc, Robert Fleming Holdings Ltd, Spencer Stuart & Associates, Teachers Whisky, Whyte and Mackay and others. To mark the 10th anniversary of Michael Scott's death, The Roger Billcliffe Gallery staged an exhibition of his work 1st April - 30th April 2016. We believe "Come Sail Your Ships Around Me" is the finest example of Michael Scott's work to have been offered at auction.

* FIONA STURROCK, STILL LIFE OF FLOWERS IN A VASE oil on board, signed 59cm x 59cm Framed. Note: Fiona Sturrock’s paintings demonstrate her love of colour and the practice of mixing colour, laying down patterns of light, shade and texture to produce bold representations of what she is observing. She tends to work on one painting at a time, giving it full focus and energy, which often translates visibly in the intensity of colour and boldness of the finished piece of work. Fiona paints from a mixture of life scenes, photographs and imagination. She is influenced by historical works of Colourists and Impressionists, and is hugely inspired by the wealth and richness of contemporary Scottish art that surrounds us in the present day. Fiona’s work features across a number of galleries and is held in private collections internationally.

CONTEMPORARY ART DECO DESIGN SILK CARPET, 300cm x 200cm, geometric silver field.

Alfred Cohen (American/British 1920-2001) Folkestone, signed and titled in pencil in the margin, numbered 10/75, hand-coloured print.plate size 26.5cm x 34cm (10.5in x 13.5in)Footnote:* Studied at the Art Institute of Chicago. In 1929 was awarded a foreign travel scholarship which took him to Europe. He continued studying in Paris at L'Academie de la Grande Chaumiere, showing his work in France and Germany. In 1960 Cohen settled in England and had a long series of shows with Roland, Browse & Delbanco. Cohen's work is in many public collections including Contemporary Art Society, Nuffield Foundation, Pembroke College in Oxford and galleries in Rye and Hull, as well as widely abroad.Condition report:The print is in very good, original condition with no obvious faults to report. The print is framed and glazed.

* ALEXANDER (ALEX) LECKIE (SCOTTISH 1932 - 2010), DUNVEGAN CASTLE watercolour, signed and titled 24.5cm x 34.5cm Mounted, framed and under glass. Note: So far as we can determine, this is the first watercolour by Alex Leckie to be offered at auction. It is assumed that this work dates from around 1950. Note 2: Alex Leckie’s name was inextricably linked to The Glasgow School of Art. It was where he had begun studying in 1950 when, as the then Academic Registrar (Sir) Harry Barnes would later recollect, he was admitted ‘by the back door’, having shown a great deal of promise but possessing none of the normal qualifications to gain entry. It is unsurprising that the young Alex Leckie didn’t take to the disciplines of the post-war British education system, given his rather idiosyncratic upbringing. His father was an ardent communist and political activist who, nonetheless, instilled an appreciation of the arts into his son. The Leckie household library was extensive, containing several thousand books, and there were visits to art galleries and museums where he developed his appreciation of the work of ancient cultures, echoes of which would be found in his own ceramics in later years. Leckie excelled at art school and was offered the chance to complete a Post-Graduate Diploma. In 1955, and in imminent danger of being called up for National Service, Leckie decided to move to Australia. Having relatives in South Australia he settled in Adelaide where he soon found employment throwing garden pots at Bennetts Magill Pottery, a job which he would later describe as providing ‘good discipline’. Enquiries at the South Australian School of Art led him to discover that he was the most highly qualified potter in South Australia, a situation which, rather ironically given his background, led to him being employed in 1956 as a teacher of ‘pottery and sculpture’. The episode of Leckie swimming naked in the River Torrens and of his subsequent arrest (a seemingly trifling incident which provided front page titillation for the tabloid press and ultimately led to Leckie’s dismissal from his teaching post in 1962), introduced a surprisingly productive period during which he exhibited widely, undertaking many important commissions and becoming President of the Contemporary Art Society of South Australia. In 1964, he was one of three Australian ceramicists chosen to represent that country in the International Ceramics Exhibition in Tokyo, with his work, Destroyed City also appearing on the cover of Pottery in Australia. In 1966, Alex Leckie decided to return to Britain. He spent a short time in London at the Central School of Art before returning to Scotland, where he was appointed Head of Ceramics at the Glasgow School of Art in 1968, a position he held for the next twenty years. In an obituary published in The Scotsman, Jimmie Macgregor wrote that Alex Leckie ‘ … took a moribund ceramics department by the scruff of the neck, completely transforming it and turning out students who were a credit to the school.’ Alex Leckie died in Paisley in 2010 aged 77. Three of Alex Leckie's ceramic decanters were sold by McTear's in November 2018 achieving hammer prices of £480, £550 & £650.

Rallis Kopsidis (Greece 1929-2010)Lac de rêve signé en grec et daté '1988' (en bas au centre)acrylique sur toile100 x 145.5cm (39 3/8 x 57 5/16in).signed in Greek and dated (lower center) acrylic on canvasFootnotes:ExposéAthens, National Gallery - Alexandros Soutzos Museum, Rallis Kopsidis, March 1 - April 2, 1989, no. 162 (illustrated in the exhibition catalogue, p. 44).Alexandroupolis, Rallis Kopsidis, 1994. Patras, Municipal Art Gallery, Rallis Kopsidis Retrospective Exhibition of Painting and Engraving, April 6 - May 16, 1994.Athens, Aenaon International Centre of Fine Arts, The Metaphysical in Modern Greek Painting, December 1996 (illustrated in the exhibition catalogue, p. 37). LittératureContemporary Greek Art institute Digital Platform, dp.iset.gr, Rallis Kopsidis Works, p. 5 (illustrated). This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Nikos Engonopoulos (Greek, 1907-1985)Sur la guerre d' Indépendance (Paysage orphique) huile sur toile120 x 100cm (47 1/4 x 39 3/8in).Peint en 1939oil on canvasFootnotes:ProvenanceThe artist's collection.Private collection, Athens. ExposéAthens, Nicolas Calas residence, Exhibition of Paintings by Nikos Engonopoulos, 1939 (possibly).Venice, XXVII Biennale, June 19 - October 17, 1954, no. 12, under the title Paesaggio Orfico con Eroi (listed in the exhibition catalogue, p. 295).Athens, Institut Francais d'Athènes, Nikos Engonopoulos, Peintre et Poète, Huiles, Tempera et Livres, November 13-28, 1987, no. 7 (illustrated in the exhibition catalogue).Athens, Astrolavos Gallery, N. Engonopoulos, Mythology, Byzantium, Revolution, March 16 - April 3, 1999, no. 3 (illustrated in the exhibition catalogue, fig. 1).Thessaloniki, Macedonian Museum of Contemporary Art, Place: Engonopoulos, May 18 - July 29, 2007 (illustrated in the exhibition catalogue, p. 13).Andros, Museum of Contemporary Art - Basil & Elise Goulandris Foundation, Nikos Engonopoulos, June 25 - October 1, 2017 (illustrated in the exhibition catalogue, p. 62).LittératureChartis magazine, no. 25-26, November 1988, p. 162 (illustrated).Ta Nea tis Technis, no. 34, 1995, p. 20 (discussed and illustrated).R. Zamarou, The Poet Nikos Engonopoulos, a Visit of Places and Figures, Kardamitsa editions, Athens 1996, p. 139 (mentioned).Nikos Engonopoulos, The Angels in Heaven Speak Greek, Interviews, Comments and Opinions, Ypsilon editions, Athens 1999, p. 64a (illustrated).Athens News, March 25, 1999 (illustrated).The National Herald (New York), March 27-28, 1999 (illustrated).Eleftherotypia newspaper, December 19, 1999 (illustrated).M. Ioannidou, The Theoretical Conditions and the First Phase of Surrealism in Greek Painting, Doctoral dissertation, Thessaloniki 2000, pp. 145-147 (discussed), no. 34 (illustrated).N. Andrikopoulou, Tracing Nikos Engonopoulos, Potamos editions, Athens 2003, p. 59 (mentioned). K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 258, p. 128 (illustrated), p. 249 (illustrated), 418 (illustrated).N. Engonopoulos, Love is the Only Way, National Book Centre of Greece, Athens 2007, p. 38 (illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, no. 186, pp. 471-472 (discussed), p. 473 (illustrated).Culture magazine, no. 11, March 22-23, 2008 (illustrated on the front cover).O. Tachopoulou, Modernist Primitivism, Surrealist Versions in the Poetic Work of Nikos Engonopoulos, Nefeli editions, Athens 2009, p. 323-324 (discussed), no. 4 (illustrated).Nikos Engonopoulos, Painter and Poet, conference minutes, November 23-24, 2007, Benaki Museum, Athens 2010, pp. 94, 96, 98 (discussed), no. 28 (illustrated).K. Voulgaris, Kolokotronis has the Beauty of a Greek, Vivliorama editions, Athens 2020, pp. 50-54 (discussed), p. 53 (illustrated). 'For Engonopoulos, the 1821 uprising was a celebration, a feast, an outburst, like nature's explosion in early spring.'1A tour de force inspired by the Greek Revolution and War of Independence, this emblematic Engonopoulos is a leading example of the artist's fervently sought after pre-war period. Using an avant-garde surrealist vocabulary and at the same time deeply rooted in Greekness, Sur la Guerre d'Indépendance (Paysage Orphique) was exhibited in the 1954 Venice Biennale, where, for the first time, Greece was represented by one artist alone. There, Engonopoulos showed alongside such towering figures of modern art as Arp, Ernst, Miro, Klee, Bacon and Magritte, since the exhibition had requested participating countries to adhere to the central theme of Surrealism. Using cross-temporal iconographic leaps that were common during the Byzantine and Post-Byzantine eras in both miniature manuscripts and narthex decoration, Engonopoulos transports the viewer from ancient to modern times, staging a dream-like scene from the treasure trove of Greek history. The coexistence of ancient past (exemplified mainly by the lyre-holding Orpheus2 with the Minotaur head), recent history (illustrated by the hero of the Greek War of Independence in his traditional fustanella kilt) and modern reality (captured in such apt details as the round coffee shop table on the left, the still life with fruit in the foreground and the striped beach cabin in the distance) sets forth the main aesthetic and ideological preoccupations of the 1930s generation and faithfully reflects the artist's attitude towards painting, both as a long and rich tradition to draw from, as well as an ideal vehicle to probe into the inner world of Greekness. Discussing Composition (Sur la Guerre d' Indépendance), art historian O. Tachopoulou notes: 'The picture shows a Minotaur/warrior, who is also a musician, holding with one hand a lyre while with the other seems to exhort a Greek warrior to make a triumphant gesture by waving a horse head. The modelling of the minotaur-like face with two geometric volumes—a recurrent convention in Engonopoulos's pictorial output—alludes to the artistic symbolism of the Minotaur motif that has nothing to do with feelings of fear or animosity. Instead, the artist uses the image of the Minotaur as a symbol of the subconscious, much the same way the surrealists used it before transforming it into a scary figure following the devastating experience of World War II.'3This persistence on indigenous cultural experiences combined with a deep sense for the historical past clearly indicates that 'while European surrealists used an irrational vocabulary to break free from the shackles of traditional conventions, Engonopoulos perceived tradition as a 'connecting link' that would restore cultural continuity.'4 As noted by Athens National Gallery Director M. Lambraki-Plaka, 'his figures may draw their origin from Giorgio de Chirico but they are unmistakably Greek, reminiscent of the Minoans immortalized on the Knossos frescoes and the early kouroi, while alluding to the tall and slender formula of the Byzantine saints also evident in El Greco's work.'51 Professor S. Rozanis as quoted in 'This is how Engonopoulos Saw 1821' [in Greek], O Kosmos tou Ependyti newspaper, March 21, 1999.2 Orpheus, the archetype of the poet as liberator and creator, held a particular fascination for Engonopoulos, who depicted him many times over a period of more than thirty years, often adopting him as his own persona. 3 O. Tachopoulou, Modernist Primitivism, Surrealist Versions in the Poetic Work of Nikos Engonopoulos, [in Greek], Nefeli editions, Athens 2009, pp. 323-324.4 N. Loizidi, 'The Indigenous Surrealism of Nikos Engonopoulos' [in Greek], To Vima daily - Nees Epoches, October 21, 2007, p. A57.5 M. Lambraki-Plaka 'The Timeless Pantheon of Nikos Engonopoulos' [in Greek], Filologiki quarterly, no. 101, October-November-December 2007, p. 9.«Pour Engonopoulos, la révolte de 1821 a été une célébration, une fête, une éruption, comme l'explosion de la nature au début du printemps.»Véritable tour de force inspiré par la Révolution grecque et la Guerre d'Indépendance, cette œuvre emblématique d'Engonopoulos est un exemple phare des œuvres les plus recherchées de l'artiste datant de l'avant-guerre, et est également profondément ancrée dans la « Grecité ». Sur la Guerre d'Indépendance (Paysage Orphique) a été exposé à la Biennale de Venise en 1954, ... This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Yiannis Moralis (Greek, 1916-2009)Silhouette/ La bas au loin et près de la mer signé en grec et daté '2006' (en bas à droite); signé et daté 'Yiannis MORALIS/ 2006' (au dos)acrylique sur toile120 x 106cm (47 1/4 x 41 3/4in).signed in Greek and dated (lower right); signed and dated (on the reverse) acrylic on canvasFootnotes:ExposéAthens, Zoumboulakis Galleries, Moralis, November 16 - December 2006, no. 1 (illustrated in the exhibition catalogue, p. 23, and on the exhibition poster).Andros, Y. Moralis, Traces, Museum of Contemporary Art – Basil and Elise Goulandris Foundation, June 29 - September 28, 2008, no. 44 (catalogued, p. 238 [257], and illustrated in the exhibition catalogue, p. 123). Athens, Benaki Museum, Yannis Moralis, September 20, 2018 - February 10, 2019.LittératureEleftherotypia newspaper, October 27-28, 2006 (illustrated).Kathimerini newspaper, November 8, 2006 (mentioned).O Kosmos tou Ependyti newspaper, November 11, 2006 (illustrated).To Vima newspaper, November 12, 2006 (illustrated).Eleftherotypia newspaper, November 12, 2006 (illustrated).Kathimerini newspaper, November 12, 2006 (illustrated).Apogevmatini newspaper, November 16, 2006 (illustrated).To Vima newspaper online edition, November 19, 2006 (mentioned). Gynaika magazine, December 2006 (illustrated).Radiotileorasi magazine, December 2, 2006 (illustrated).Kathimerini newspaper, December 2, 2006 (illustrated).Nea Estia magazine, no. 1796, January 2007, p. 172 (discussed).Ta Nea newspaper, e-edition, August 6, 2008 (illustrated).Rizospastis newspaper, e-edition, August 24, 2008 (mentioned).Gr Design magazine, September 2018, p. 54 (illustrated).Distinguished by the inherent poetry and eroticism of the curved line, this magnificent picture recapitulates the artist's long preoccupation not only with the suggestively rendered human form, but also with the inner rhythm and musical resonance generated by the combination of varied types, shapes and colours. The juxtaposition of the fair-skinned female figure in the foreground with the darker male form pointing towards the far-away sea—which ingeniously alludes to Attic black-figure vase painting—charges the composition with a vibrant rhythm and pronounced erotic undercurrent. 'The sea, the island, the summer. A white body. The sea expands the landscape; you can hear its roar,' said poet Yannis Kondos when he saw Moralis's 2006 show. 'Curves and darker hues unwrap dreams.'1 As Nobel laureate O. Elytis once said of Moralis, 'by using a limited vocabulary of form, in which recurrent and opposing curves of ochre and black dominate, Moralis has succeeded—in a manner unprecedented in Greek art—to transform the language of the natural world into a purely visual phenomenon. Memories and encounters are repeatedly distilled until they blend into forms of great simplicity and precision. The body of a young girl emerges with the dampness of the sea, like a magnified fragment of an ancient Greek vase or a miniature fresco from a bygone place of worship.'2 From the 1970s to the first decade of the 21st century, as clearly demonstrated in his Zoumboulakis gallery one-man show in November 2006,3 Moralis had consistently adhered to the principles of geometric abstraction, exploring its mystical pathways and taking his place among its leading exponents.4 As noted by D. Papastamos, former Director of the National Gallery in Athens, 'in this, more advanced stage of his geometric abstraction distinguished by dynamic rhythm and expressive movement, he launches out into compositions dealing with human relationships, incorporating the male body into his interlocking geometric patterns. It seems to me that these are the artist's happy moments, depicted in a beautiful environment of luminous colour and irresistibly erotic humanity.'5 1 Y. Kondos, 'Yannis Moralis: Love, Abstraction and the Sea in his Last Exhibition', November 2006, in Secret Landscapes, [in Greek], Topos editions, Athens 2014, pp. 140-141.2 O. Elytis, preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Gallery, Athens 1972. 3 As noted by P. Zoumboulaki, 'the ten pieces exhibited in 2006 were created during the last five years on the island of Aegina, the place where Moralis works and spends most of his time. Even though the artist never speaks about his art, this collection reveals a high degree of sensitivity, evoking personal experiences, feelings and memories.' Preface to the Moralis exhibition catalogue, Zoumboulakis Galleries, Athens 2006.4 K. Koutsomallis, 'The Painting of Yannis Moralis, a Tentative Approach' in Y. Moralis, Traces, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, Andros 2008, p. 30.5 D. Papastamos, 'Yannis Moralis the Artist', in Yannis Moralis, Commercial Bank of Greece, Athens 1988, p. 26.Ce magnifique tableau, qui se distingue par la poésie et l'érotisme dégagés par la ligne courbe, résume à lui seul l'obsession ancienne de l'artiste non seulement pour rendre la forme humaine suggestive, mais également pour traduire le rythme intérieur et la résonance musicale générés par la combinaison de types, formes et couleurs variés. La juxtaposition du personnage féminin à la peau blanche qui figure au premier plan et du personnage masculin pointant vers la mer au loin – qui fait ingénieusement allusion aux personnages en noir des vases attiques – charge la composition d'un rythme vibrant et l'irrigue d'un puissant courant érotique sous-jacent. «La mer, l'île, l'été. Un corps blanc. La mer élargit le paysage, au point que l'on peut entendre son grondement,' écrivait le poète Yannis Kondos lorsqu'il a vu l'exposition de Moralis en 2006. «Les courbes et les teintes plus foncées ouvrent la porte des rêves.»Comme l'a déclaré le lauréat du Prix Nobel O. Elytis à propos de Moralis, «en utilisant un vocabulaire formel limité, où dominent des courbes récurrentes et opposées d'ocre et de noir, Moralis a réussi – d'une manière qui n'a aucun précédent dans l'art grec – à transformer le monde naturel en un phénomène purement visuel. Les souvenirs et les rencontres sont constamment distillés jusqu'à se fondre dans des formes d'une grande simplicité et d'une grande précision. Le corps d'une jeune fille émerge de la moiteur de la mer, comme un fragment magnifié d'un vase grec antique ou d'une fresque miniature d'un ancien lieu de culte.»Entre les années 1970 et la première décennie du 21ème siècle, comme en témoigne l'exposition qui lui a été exclusivement consacrée dans la galerie Zoumboulakis en novembre 2006, Moralis a constamment adhéré aux principes de l'abstraction géométrique, explorant ses chemins mystiques et prenant toute sa place parmi les représentants majeurs de ce courant. Comme l'a fait observer D. Papastamos, ancien directeur de la Galerie nationale d'Athènes, «à ce stade plus avancé de son abstraction géométrique, distinguée par un rythme dynamique et un mouvement expressif, il se lance dans des compositions traitant des relations humaines, incorporant le corps masculin dans ses motifs géométriques entremêlés. Il me semble que ces compositions sont le reflet des moments heureux de l'artiste, et qu'elles ont été peintes dans un bel environnement inondé de lumière... This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Plante signé et daté 'Ghika 81' (en bas à droite)huile sur papier marouflée sur toile42.5 x 34.5cm (16 3/4 x 13 9/16in).Peint en 1981signed and dated 'Ghika 81' (lower right) oil on paper laid on canvasFootnotes:ExposéAthens, Zoumboulakis Galleries, Ghika 1979-1981, March 1981.Athens, Municipal Gallery of Athens, Ghika, Landscapes and Interiors, November 29, 2006 - January 29, 2007 (illustrated in the exhibition catalogue, p. 61).LittératureContemporary Greek Art institute Digital Platform, dp.iset.gr, Nikos Hadjikyriakos-Ghika Works, p. 5 (illustrated). '1981... It's the year of another Ghika exhibition, the thirty-second one-man show in a career that began in 1923 when the artist was seventeen and exhibited in the Salon des Indépendants. Ghika is the most important Greek painter of the twentieth century, and in the current show he both continues with subjects and themes he has dealt with over the years, and adds something new. The end result is a fresh and tender view of nature, a nature more dreamlike and mellow than in the past, although still victorious ... It's hard to leave one Ghika painting and move on to the next.'11 H. Livas, Contemporary Greek Artists, Vantage Press, New York 1993, p. 19.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com