Faith XLVII Untitled (3) Red Wax Crayon on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Frankie Shea About Liberty's journey as an artist began on the streets of South Africa in 1997, as a young graffiti writer known as Faith47. She rose to prominence on the international street art scene before becoming widely recognised for her multidisciplinary artistic practice. Monumental and intimate, private and public, her artwork takes the form of murals, sculptures, video installations, tapestries and drawings. Deconstructing notions of value and place, investigating forms of domination, she explores the shapes of human perception. In quest of the divine, she expresses a longing for a deeper connection to the wisdoms of the natural world. There is too the active investigation and questioning of the human condition, its deviant histories and our own inherent existential search. She has shown at the Musée des Beaux-arts in Nancy, France, the Calais Museum of Fine Art, the Bernard Magrez Foundation in France, Mana Contemporary and the Brooklyn Museum, both in the USA. Select Exhibitions/Awards SELECT EXHBITIONS 2023 CO\LAB 5, Torrence Museum, California, USA CLAIR - OSCUR, Solo Exhibition, Musée des Beaux-arts, Nancy, France CLAIR - OSCUR, Solo Exhibition, Daynsz Gallery, Paris, France Cape Town Art Fair, Cape Town, South Africa Art Residency, Common Ground and KRNT Studios, Kauai, Hawaii 2021 CHANT, Solo Exhibition, Everard Read Gallery, Cape Town, South Africa The Land War Installation, MUCA Museum, Munich, Germany Foundation, Group Show, Heron Gallery, San Fransisco, USA Tiblisi Mural Festival, Tiblisi, Georgia Mural Commission, Johannesburg, South Africa 2020 Staring Straight to the Future, Everard Read Gallery, Cape Town, South Africa One World, Fabien Castanier Gallery, Miami, USA Unprecedented Times, Kunsthaus Bregenz, Vienna, Austria PINK, Everard Read Gallery, Johannesburg, South Africa Cape Town Art Fair, Cape Town, South Africa 2019 20 Year Anniversary Exhibition, Cory Helford Gallery, Los Angeles, USA Together Group Exhibition, KP Projects Gallery, Los Angeles, USA Conquête Urbaine, Calais Museum of Fine Art, Paris, France Veni, Vidi, Vinci, Fluctuart, Paris, France Tàpia, B-Murals, Barcelona, Spain 2018 Elixir, Solo Exhibition - Fabien Castanier Gallery - Miami, USA Short Film Festival CortoLovere - Italy Mana Contemporary Group Exhibition - New York Grand Opening Mirus Gallery - Denver, USA Beyond The Streets - Los Angeles, USA 2017 Dislocation, Group Show - Everard Read Gallery - Cape Town, South Africa Invisible Exhibition, The Centre for the Less Good Idea, Johannesburg Urban Currents, group show, Gallerie Kirk - Denmark Digard Auction, Tribute to Paris - Paris, France Magic Cities exhibition, Munich, Germany 2016 XX: A moment in time - Saatchi Gallery, - London Freedom as Form Group Exhibition - Wunderkameren Gallery - Milan, Italy PM10 - Urban Nation Museum Group Exhibition - Berlin, Germany Agitprop, Brooklyn Museum - New York, USA Cities of Hope Mural Project - Manchester, UK 2015 AQUA REGALIA Solo Exhibition - Jonathan Levine Gallery, New York,USA Landfill Meditation Street Intervention - Johannesburg, South Africa Art Liberté Group Exhibition, Du Mur de Berlin - Gare de l'Est, Paris, France The Psychic Power of Animals Street Intervention - New York, USA Dragon Tiger Mountain Mural Project - Nanachang, China 2014 Aqua Regalia Solo Exhibition - London, UK Berlin Wall 25th Anniversary Group Show - Paris, France Library Street Collective Group Show - Basel, Miami, USA Redux Group Show - Inoperable Gallery, Vienna, Austria A Study of Warrick Triangle at Rush Hour - Large Scale Freeway Overpass Commission, City of Durban, South Africa 2013 Women on the Walls Group Exhibition, Jeffrey Deitch and Wynwood Walls - Miami, USA Wooster Collective 10 Year Anniversary Show, Jonathan Levine Gallery - New York, USA XII. Into the Dark Group Exhibition - Unit44, The Victoria Tunnel, Newcastle, UK Brotkunsthalle Group Show - Vienna, Austria Beyond Eden Group Exhibition - Thinkspace Gallery, Los Angeles, USA You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
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Rebecca Hardaker Appreciate me no.4, 2023 Watercolour pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Rebecca Hardaker's practice is an intersection between painting and drawing. Executed with an unabashed fondness for innocence, each canvas is an ensemble of abstract mark making and figures. Rebecca often never has a plan when she starts a new painting. One mark provokes another and so gives birth to a landscape of abstraction. She moves around the canvas, filling it with painterly strokes and line. The process is fast and intuitive, unencumbered by rules. Her palette is bright and dreamy. Just as she never sets out a plan, Rebecca doesn't cancel out mistakes. These are part of the composition, which is the artist's immediate translation of her cerebral vision giving way for to whimsical uncertainty. Education BA Classical Studies, University of Manchester MA Heritage Management, University of Birmingham Buying and Selling Art at Auction at Sotheby's Institute of Art Art Handling and Installation at University of the Arts London Select Exhibitions/Awards Upcoming 2023 Act One open call winner, show details TBC, 2023 2023 Radio Hair Salon, 'Find Me', 5th September - December 2023 The Nomad Salon, ' The Art Collector's Home', 19th August - 16th September 2023 Intuition Goes Before You, Vittoria Beltrame x BWG, 13 Soho Square W1D 3QF, 11th-20th August 2023 Interrupted art at Somerset House, 8th June 2023 All that matters to me now, Greatorex street gallery, 1st-6th June 2023 Conart Global Group Show, Battersea, 25th April 2023 Selected by Zimmer Stewart Gallery for the New Medical Centre, King Edward VII Call for Artists, January 2023 Old Parcels Office Open Art Space Exhibition, 11th February to 12th March 2023 2022 Girl & Gallery podcast, episode one, December 2022 Fitzrovia Gallery, She Came, She Saw, She Conquered, 18th -23rd October 2022 Interrupted Art live painting and exhibition, 29th September 2022 Palette presents 'Pie in the Sky', 13th-14th September 2022 Phoebe Minson's, Conservations with Creatives, September 2022 The Koppel Project Hive Open Studios Summer Edition, 31st August - 2nd September 2022 The Summer Exhibition at Heal's, 20th June - 11th September 2022 Bright Young Things at Alex Eagle, July - 11th September 2022 The Other Art Fair, 30th June - 3rd July 2022 KCAW X Chelsea Windows, 18th June - 2nd July 2022 https://fadmagazine.com/2022/06/20/artwork-by-london-based-emerging-artists-to-take-over-kings-road-shopfront-windows/ Featured in FAD Magazine, June 2022 Other Art Fair Director's Pick, June 2022 Queen Elizabeth II Platinum Jubilee Corgi Trail, Whitehall Gardens, May - June 2022 Fitzrovia Gallery, 'Post the Surrealist Manifesto', 16th - 22nd May 2022 The Back Room at Holdrons Arcade, 'FLOWERS', 5th - 10th April 2022 The Other Art Fair, 17th - 20th March 2022 Avenue Restaurant, 'Woman's Art for Women's Aid, Artist Talk', 15th March 2022 2021 The Koppel Project, 54 Oxford Circus, End of Year Showcase, 14th - 18th Dec 2021 Peggy Jay Gallery, 'Come hither, Come hither, Come hither', 1st - 19th Dec 2021 https://www.thefrankmagazine.com/rebecca-hardaker-freedom-of-thought/ Featured in The Frank Magazine The Koppel Project, 54 Oxford Circus, Window Showcase, 18th - 20th October The Koppel Project, 193 Piccadilly 'Gardens / Garages' 4th - 8th August 2021 The Gallery Holt 'Fusion' 23rd July - 31st August 2021 Mall Galleries 'The Pastel Society Annual Exhibition 2021' 14th - 24th July 2021 Every Women Biennial, Copeland Gallery 2nd - 9th July 2021 The Holy Art 'Momentum' virtual exhibition 13th - 21st February 2021 Received the Frank Herring & Sons Award by the Pastel Society for 'an analogue state of joy' Linden Hall Studio 'Winter Group Show' 2nd December 2020 - 30th January 2021 2020 Solo Show 'Landscape of an Inner Child' 15th - 18th October 2020 2nd Edition at Highgate Contemporary Gallery 1st October - 30th November 2020 The Koppel Project Showcase 7th -14th October 2020 Featured in Saatchi Art 'New This Week' - May 2020 'Unframed' by Highgate Contemporary Art The 'Feed NHS' charity postcard exhibition by Highgate Contemporary Art Statement about AOAP Submitted Artwork These artworks are directly a response to her large-scale paintings, where she paints with her hands. Through Watercolour pencils she wanted to create the same energy and tactile experience of expression. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Pam Glew Pimms O'Clock Graphite, Acrylic and collage on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Frankie Shea About Pam Glew, born in 1978, is a Brighton based artist best known for her distinctive paintings on fabric. Collage, sewing paper, flags and textiles are used to explore and question how identity is constructed by the places we inhabit. Paint, inks and pigment are applied to found fabric adhered to panels, often incorporating contemporary and vintage Japanese prints, vintage denim and heirloom textiles.The use of textiles and dress making pattern; washing, dyeing and sewing cloth are a nod to the scarcity of women artists documented in the history of art. The artist has shown internationally in 7 major solo shows and over 100 group exhibitions, alongside such artists as Damien Hirst, Tracey Emin and Peter Blake. She has exhibited at Dallas Contemporary and Honolulu Museum of Art and has been shown at major art fairs in London, New York, Miami and Seoul. Her work has appeared in print publications including Le Monde (France), Neo2 (Spain), Qvest Magazine (Germany) and The Independent (UK). Pam has produced commissions for Armani, Ralph Lauren, MTV and Microsoft and has collaborated with iconic photographer Terry O'Neill. Her work is housed at Saatchi & Saatchi London, Red Bull and Mitsubishi Bank and can be found in private collections worldwide. Education 2007 BTEC Entrepreneurship Training for Creatives University College for the Creative Arts 2006 Postgraduate Certificate in Education Art & Design Northbrook & University of Brighton 2000 BA (hons) Theatre Design - 2.1 Rose Bruford College of Speech & Drama 1997 BTEC Art & Design - Distinction Falmouth University College Select Exhibitions/Awards Select Group Exhibitions 2023 Summer Show, Art of Protest Gallery, York, UK Artima, Paris, France, Galerie Artima Home Grown, Brighton, UK, Paxton + Glew Pink, Brighton, UK, Paxton + Glew 2022 Alice, Brighton, UK, Paxton + Glew Artist Open Houses Five Ways Brighton, UK May 2022 2021 Black Magic, Brighton, UK, Paxton + Glew Road Trip, Brighton, UK, Paxton + Glew Artist Open Houses, Five Ways Brighton, UK May 2021 Select Solo Exhibitions 2023 Artima Galerie - Paris, France June 2023 2018 Art of Protest Gallery - York 'Dark Tales' July 2018 You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Pam Glew Campari Spritz Graphite, Acrylic and collage on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Frankie Shea About Pam Glew, born in 1978, is a Brighton based artist best known for her distinctive paintings on fabric. Collage, sewing paper, flags and textiles are used to explore and question how identity is constructed by the places we inhabit. Paint, inks and pigment are applied to found fabric adhered to panels, often incorporating contemporary and vintage Japanese prints, vintage denim and heirloom textiles.The use of textiles and dress making pattern; washing, dyeing and sewing cloth are a nod to the scarcity of women artists documented in the history of art. The artist has shown internationally in 7 major solo shows and over 100 group exhibitions, alongside such artists as Damien Hirst, Tracey Emin and Peter Blake. She has exhibited at Dallas Contemporary and Honolulu Museum of Art and has been shown at major art fairs in London, New York, Miami and Seoul. Her work has appeared in print publications including Le Monde (France), Neo2 (Spain), Qvest Magazine (Germany) and The Independent (UK). Pam has produced commissions for Armani, Ralph Lauren, MTV and Microsoft and has collaborated with iconic photographer Terry O'Neill. Her work is housed at Saatchi & Saatchi London, Red Bull and Mitsubishi Bank and can be found in private collections worldwide. Education 2007 BTEC Entrepreneurship Training for Creatives University College for the Creative Arts 2006 Postgraduate Certificate in Education Art & Design Northbrook & University of Brighton 2000 BA (hons) Theatre Design - 2.1 Rose Bruford College of Speech & Drama 1997 BTEC Art & Design - Distinction Falmouth University College Select Exhibitions/Awards Select Group Exhibitions 2023 Summer Show, Art of Protest Gallery, York, UK Artima, Paris, France, Galerie Artima Home Grown, Brighton, UK, Paxton + Glew Pink, Brighton, UK, Paxton + Glew 2022 Alice, Brighton, UK, Paxton + Glew Artist Open Houses Five Ways Brighton, UK May 2022 2021 Black Magic, Brighton, UK, Paxton + Glew Road Trip, Brighton, UK, Paxton + Glew Artist Open Houses, Five Ways Brighton, UK May 2021 Select Solo Exhibitions 2023 Artima Galerie - Paris, France June 2023 2018 Art of Protest Gallery - York 'Dark Tales' July 2018 You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Matthew Small Steely Eyed Scrap metal on wood Signed on Verso 10 x 15 x 0.7cm (3¾ x 5¾ x ¼ in.) This lot has been curated by Frankie Shea About Matthew Small's paintings are an expression of his worldview: by painting young marginalized figures of society, he allows the viewer to spend time with these people in the hope that a shared a sense of humanity unrestricted by class and social boundaries will arise. Matt Small paints directly onto found pieces of metal, bringing physical elements of the city directly into his work, whilst merging them with the human sensibilities of his subjects. Education MA communications royal college of art Westminster university degree illustration Select Exhibitions/Awards Everybody is a masterpiece - JG contemporary- 2023 Seeing is believing - the Brit awards 23 - O2 arena -2023 This is England - Guildhall gallery -London - 2023 Seeing is believing - Acton's cinemas - London -2023 Stop pre - University of Oregon -2022 This is England - Pitzhanger Gallery - London - 2021 Above and beyond - Gunnersbury Museum - London- 2021 The world at their feet - St. George's Park FA training ground- 2021 Precious- nelly duff - London - 2021 Shine - JG contemporary -London-2020 bp portrait nominee 2002 villiers david award 2002 Gallery Representation J.g contemporary Nelly Duff Statement about AOAP Submitted Artwork 'Steely eyed' is an art work made from a menagerie of scrap metal and copper pieces assembled on ply board You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Chica Seal Beach bums, 2023 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Chica Seal (b. 1991, Lisbon) is a British artist whose practice explores the female perspective through looking at historic references including mythology, medieval folklore, storytelling and popular culture to create her paintings. She completed her BA Fine art Painting at Brighton University in 2015 after completing an art foundation at Falmouth University 2011. Chica lives and works in Somerset. Select Exhibitions/Awards 2023 Summer exhibition 8 holland street, London & bath 2022 The Space curated by Laura Long Contemporary, Bruton, Somerset 2021 I Dream in Colour, Brick Lane, November 2021 Huxley Parlour, NOW | Futures Programme, June You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Nick Walker 369 (1-4) Stencil and spraypaint on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Frankie Shea About Nick Walker is one of the world's best known street artists. Born in 1969, he emerged from the infamous and ground-breaking Bristol graffiti scene of the early 1980s. As a forerunner of the British graffiti phenomenon, Nick's work has become a blueprint for hundreds of emerging artists. His work is constantly evolving and remains innovative, modern and thought-provoking. Nick draws on the energy and imagery of graffiti but he succeeds in combining the freedom the spray can brings, with very controlled and intricate stenciling. The results are highly sophisticated and infinitely desirable. The methods he uses retain their forcefulness and integrity on the traditional medium of canvas. Nick Walker's instantly recognisable style and humour have gain ed him a worldwide following. In 2008 Nick had sellout shows in LA and London, where collectors queued for over 24 hours to be among the first to get his latest print edition. In 2008, his iconic Moona Lisa sold over ten times its estimated value at auction at Bonhams. Over the years Nick's work has been accoladed by the media and has attracted headlines worldwide, including the front page of the Independent arts magazine and the Observer's round up of the year's biggest events of 2008. Select Exhibitions/Awards SELECT EXHIBITIONS Vanguard Bristol (group show) - 'Bristol Street Art: The Evolution of a Global Movement' July - October 2021. Art Tokyo (group show) - "The Traces from Pop Art to Street Art" 28 July - 3 August 2021. 2B Art & Toys Gallery - Palma de Mallorca (group show) 'Cross the Line' June - July 2021. Matsuzakaya Nagoya (group show) - "Fine Art Collection" 8 July - 13 July 2021. Matsuzakaya, Ueno (group show) - "Japanese Painting, Western Painting, Handicraft, Special Exhibition" 2 June - 7 June 2021. Maruzen Marunouchi Tokyo (group show) - "Contemporary Art from Around the World" 30 June - 6 July 2020 Matsuzakaya Nagoya (group show) - "Past, Present and Future of Contemporary Art" 19 May - 25 May 2021. Galerie Brugier Rigail- Paris (group show) 'Stencil Power' July - August 2020. Galerie Brugier Rigail- Online Exhibiton (group show) 'Mai - Juin 2020' May - June 2020. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Chica Seal Thinking in a field, 2023 Collage watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Chica Seal (b. 1991, Lisbon) is a British artist whose practice explores the female perspective through looking at historic references including mythology, medieval folklore, storytelling and popular culture to create her paintings. She completed her BA Fine art Painting at Brighton University in 2015 after completing an art foundation at Falmouth University 2011. Chica lives and works in Somerset. Select Exhibitions/Awards 2023 Summer exhibition 8 holland street, London & bath 2022 The Space curated by Laura Long Contemporary, Bruton, Somerset 2021 I Dream in Colour, Brick Lane, November 2021 Huxley Parlour, NOW | Futures Programme, June You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Lucas Price Dream Weapon 1 Pigment print on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Frankie Shea About Contemporary artist Lucas Price, formerly known as Cyclops, blends the traditional and the modern, merging contemporary photorealism with antiquated styles and religious iconography. Lucas completed a Master's degree at the Royal College of Art, London. In 2008, he exhibited at the Tate Modern as part of their exhibition 'Art on the Street' and, in 2015, appeared in Bonhams' contemporary auction. As well as working as a fine artist, Lucas Price founded the postmodernist menswear label 'A.Four Labs', with Tokyo-based designer Kazuki Kuraishi. His work centres around the still life, exploring the possibilities of a single snapshot. Fascinated by the coexistence of beauty and decay, Price's work combines the stillness and harmony of photorealist imagery, with the chaos and commotion of urban life, to create an aesthetic which is mournful and modern. His work brings together image and text, to explore the relationship between language and visual culture, and the power of art as a fundamental tool of communication. His photorealist series 'Way of All Flesh', which previewed in November 2013 at The Outsiders, London, combines Baroque imagery with street art motifs, to contemplates the role of the art institution and its relationship to commodity cultures in the twenty-first century. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Lucas Price Long Volatility Pigment print on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Frankie Shea About Contemporary artist Lucas Price, formerly known as Cyclops, blends the traditional and the modern, merging contemporary photorealism with antiquated styles and religious iconography. Lucas completed a Master's degree at the Royal College of Art, London. In 2008, he exhibited at the Tate Modern as part of their exhibition 'Art on the Street' and, in 2015, appeared in Bonhams' contemporary auction. As well as working as a fine artist, Lucas Price founded the postmodernist menswear label 'A.Four Labs', with Tokyo-based designer Kazuki Kuraishi. His work centres around the still life, exploring the possibilities of a single snapshot. Fascinated by the coexistence of beauty and decay, Price's work combines the stillness and harmony of photorealist imagery, with the chaos and commotion of urban life, to create an aesthetic which is mournful and modern. His work brings together image and text, to explore the relationship between language and visual culture, and the power of art as a fundamental tool of communication. His photorealist series 'Way of All Flesh', which previewed in November 2013 at The Outsiders, London, combines Baroque imagery with street art motifs, to contemplates the role of the art institution and its relationship to commodity cultures in the twenty-first century. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Chica Seal Sleep, 2023 Gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Chica Seal (b. 1991, Lisbon) is a British artist whose practice explores the female perspective through looking at historic references including mythology, medieval folklore, storytelling and popular culture to create her paintings. She completed her BA Fine art Painting at Brighton University in 2015 after completing an art foundation at Falmouth University 2011. Chica lives and works in Somerset. Select Exhibitions/Awards 2023 Summer exhibition 8 holland street, London & bath 2022 The Space curated by Laura Long Contemporary, Bruton, Somerset 2021 I Dream in Colour, Brick Lane, November 2021 Huxley Parlour, NOW | Futures Programme, June You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Carl Cashman Love The Arts Collage on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Frankie Shea About Carl Cashman is a contemporary artist who creates stunning, vibrant geometric-based optical art. He hand drafts his work using a ruler, pencil, art tape, a compass and a protractor. Carl originally studied art at Dartington College of Arts and graduated from there in 2008. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Georg Wilson Rosy Footman, 2023 Pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ell Pennick About Georg Wilson is a London-based painter and the co-founder of artist-led All Mouth Gallery. She received her BA in Art History at the University of Oxford (2020) and MA in Painting at the Royal College of Art (2022). Georg's practice is directed by the cyclical change of the English seasons. Strange, new stories are woven out of ancient and contemporary folkloric customs enacted across the calendar year, from equinox to equinox. By teasing this obscured knowledge into the present, she hopes to enchant the viewer into a sense of curiosity about this land. Education 2022 MA Painting, Royal College of Art Select Exhibitions/Awards SELECT EXHIBITIONS SOLO SHOWS 2023 What Mad Pursuit, Berntson Bhattacharjee, London 2022 'The Garden Thief', Arusha Gallery, Bruton. GROUP SHOWS 2023 'Who Is Your Master?', 1969 Gallery, New York 'We Are Floating In Space', Newlyn Art Gallery, Cornwall 2022 'Even the Worm Will Turn' duo show, Soho Revue, London 'AMPHIBIAN' supported by Hannah Barry Gallery, London She is a twice-recipient of the Elizabeth Greenshields award (2021-2), the Ingram Prize Finalist (2022), and New Contemporaries (2023). Gallery Representation Berntson Bhattacharjee Gallery Statement about AOAP Submitted Artwork Made after a summer of moth trapping between Cornwall and London, these works were developed from field sketches of British moths. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Sophie Vallance Cantor Tiger Collage, 2023 Oil and collage on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ell Pennick About Throughout her practice, Sophie Vallance Cantor creates worlds that express the inner workings of her mind by blurring the line between reality and imagination. Her paintings offer a unique perspective as they invite viewers to see the world through her eyes: where bright neon signs light up dark alleyways and domestic cats transform into wild beasts in 24 hour bars and cafés. Each painting reads like a still from a film; characters look at the viewer with a sense of cool detachment as they ride motorcycles down an infinite highway or smoke cigarettes and blow smoke while nursing a cocktail. Amidst the narrative of her paintings there often lies a sense of stillness, with each small moment immortalised and savoured through thick, luscious strokes of oil paint that exude a palpable sense of joy and pleasure in the creation process. Sophie's figures are depicted with strong, bold shapes and her use of vivid colours invites the viewer to relish in the pleasures of her practice. There is a certain sense of playfulness and mischievous delight that permeates all of Sophie's work. In a broader context, Sophie's art serves as a counterbalance to her experiences as a neurodivergent individual, with her self-portraits constantly evolving and conversing with each other on the canvas. Although viewers are welcomed into her world, they are still kept at arm's length, like outsiders looking in on a private moment. Education Painting, Camberwell College of Arts Select Exhibitions/Awards Solo Exhibitions 2025 Upcoming Guts Gallery, London 2023 Burnout NBB Gallery, Berlin 2023 Ride or Die, Galerie Fran Reus, Palma 2022 Tiger Stripes and Smoke, Guts Gallery, London 2021 Bad at Life (Good at Painting), Guts Gallery, London 2020 Peeka-Fuckin-Boo Guts Gallery, London 2020 Even Tigers Need a Rest, Aleph Contemporary, London Art Fairs 2023 Everyday Mooonday, KIAF Seoul 2023 Yusto Giner, KIAF Seoul 2023 Galeria Fran Reus, KIAF Seoul 2023 Yusto Giner, ZONAMACO Art Fair, Mexico City Group Exhibitions 2023 NEW NOW, Guts Gallery, London, UK 2023 UNI[2]ON, Union Gallery, London, UK 2023 Meeting Point, Galerie Slika, Lyon, France 2022 Even a Cat Can Look at the Queen, Mrs, New York, US 2022 Grassroots, JVDW, Düsseldorf 2022 Jerry Gagosian's Suggested Followers: How the Algorithm is Always Right, Sotheby's New York 2022 Bag, Pedestal, Rabbit, Potato, Staffordshire Street, London 2021 Strike Me a Pose, Galerie Fran Reus, Mallorca, Spain 2021 Achy Breaky Heart, NBB Gallery, Berlin 2021 Unsellable, Just a Studio, London 2021 Reality Check, Guts Gallery, London 2021 All Together Now, Big Yin Gallery, St Leonards on Sea 2021 Tiger in a Tropical Storm, Louise Alexander Gallery, Italy 2021 (Re) Birth of Venus, Pulpo Gallery, Munich 2021 A New Art World, Guts Gallery, London 2021 Introducing, Guts Gallery at Sadie Coles 2021 Now, Now, Breach, Miami, USA 2021 Holding Hands, Union Gallery, London 2021 Safe as Milk, Arusha Gallery, Edinburgh 2021 Back to Back, Bowes Parris, London 2020 NBB Paperworks Vol 1, Berlin, Germany 2020 Original Paper, Wilder Gallery, London 2020 Curated for Christmas, Bowes Parris Gallery x All Mouth Gallery, London 2020 Pending, San Mei Gallery, London 2020 Discerning Eye, Mall Galleries London 2020 LIMBO, Everyday Gallery, Antwerp 2020 The Just, Aleph Contemporary, London 2020 Begin Again, Guts Gallery, London 2020 Antifreeze, Bowes Parris Gallery, London 2020 When Shit Hits The Fan, GUTS Gallery, London 2019 Opening Exhibition, GUTS Gallery, London 2019 Let Me Try to Explain, L21 Gallery, Palma de Mallorca, Spain 2019 Manifest The Future, Castiglioni, São Paulo, Brazil 2019 Salad Days, YNGSPC Online Exhibition 2018 Predatory Behaviour, T293, Rome, Italy 2018 Her Presence is Fuel, Mo Gallery, Berlin, Germany 2018 Slightly Seared on The Reality Grill, Unit 5 Gallery, London 2017 Young Contemporary Talent Exhibition, Ingram Collection, London 2017 PC4PC, 198 Contemporary Arts and Learning, London 2015 One Potato, Two, Arch Collective, London 2015 24 Hour Project, GX Gallery, London 2015 UNIT, CGP/ Cafe Gallery, London 2012 CCW Foundation Show, CCW Progression Centre, London 2012 RBA and NADFAS Annual Show, Mall Galleries, London Duo Exhibitions 2021 Achy Breaky Heart, NBB Gallery, Berlin 2021 Sophie Vallance x Banal, Galerie Tracanelli, Grenoble 2019 Sophie Vallance X David Esquivel, Galerie Tracanelli, Grenoble, France 2018 They Said I Was Special, Union Gallery, London 2018 H E R U S, Berlin, Germany 2017 Mine, Others and Yours, We are BUD, Athens, Greece Residencies and Awards 2019 L21 Gallery Residency, Spain 2017 Young Contemporary Talent Prize, Ingram Collection (Finalist) Gallery Representation Guts Gallery Statement about AOAP Submitted Artwork As someone who typically works on square paper and canvas, I wanted to approach the postcard with that in mind. By using collage from an original painting, I made on paper and cutting and placing it to fit the postcard shape it ends up feeling true to my own practice but also true to the spirit of Art on a Postcard. The tiger motif is also a recognisable element from my wider practice, and was enjoyable yet challenging to create small whilst maintaining the feeling of a larger painting. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Abigail Hampsey Cheek to cheek, 2023 Coloured pencils on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Abigail Hampsey is a British painter and a co-founder of the artist led project Minutes_on. Abigail completed her BA in Fine Art at Newcastle University in 2019 and has recently completed her MA from the Royal College of art (2022). In this time her work has been exhibited at the Holden Gallery and workplace gallery to name but a few. Abigail has also spent time at the British school at Rome being awarded the Foreshaw Foundation Residency and was also the recipient of The Basil H.Alkazzi Scholarship Award at the Royal College of Art. Abigail is also an academic and tutor at Newcastle University where she teaches and a member of the painting collective Contemporary British Painting. Interested in the notion of truth, trickery, the real and the fake, Abigail's work acts like that of the vaudeville stage. Characters, locations and mediums change from scene to scene creating layers of narrative that reflect not only the source of the imagery but also the decision-making process of painting itself. Abigail creates images drawing on her own experiences and memory, as well as art historical and literary sources. She seeks to create her own stories in a new type of narrative painting. With a particular interest in myth and folklore from the North West of England, Abigail's affiliation to place and home plays a strong role in the construction of her work. In turn, the images tell stories that may be neither true nor accurate, but that reflect a personal yet often archetypal narrative. Education The Royal College of Art Painting MA Newcastle University BA Fine Art, 2016/2019 - First Class Honours Blackpool and the Fylde College, UAL Foundation Diploma, 2015/2016 Select Exhibitions/Awards Shortlisted for the Jacksons painting prize 2023 Became a member of Contemporary British Painting 2023 Cyprus School of Art Summer residency July 2022 Shortlisted for the BEEP Painting Biannual 2022 The Basil H.Alkazzi Scholarship Award, The Royal College of Art, 2020//2022 The Hatton The Foreshaw Foundation residency at The British School at Rome, July 2019 20th May 2023, Contemporary British Painting X, Newcastle 2023 Stage, Pebble/ Shoe, Kingsgate project space, London 2022, The Road to somewhere, Hew Hood, London 2022, Pigeon Park 2, Manor place, Kennington, London 2022, The World In Colour, Hew Hood Gallery, London 2022, Beep Painting Biannual, Shortlist exhibition, Swansea, Wales 2022, The Royal College of Art, Degree show, Battersea, London 2022, Kaleidoscope, WORKPLACE Gallery, London 2022, An Allegory of Love and Time, New Normal Projects, London 2022 Threes a crowd, Gallagher and Turner, Newcastle 2021 Fully Awake, Holden Gallery, Manchester 2021 Pigeon Park, Manor Place, Kennington, London Statement about AOAP Submitted Artwork Titled House luck, this most recent body of work within the ongoing series, explores themes of narrative, the everyday and sense of place, since moving back to her home town of Lancaster. (Nov 22-July23) Exploring for the first time the land of her memories hoping to find her "Home" now within it. "House luck is the luck we bring into the home. The luck we can create, the luck we can wish for and the luck others can give. It is mystical and non-verbal. It's a lottery and not a given. It's an exploration into the desire to have one's own space, place or home. In its simplest form its safe and dry. It doesn't always physically exist. its coins under the corners of your carpet or thrown through the door on new years day. Often times we gaze at others, imagining what ours could be. Its Piranesi in appearance and ever expanding upon our land, yet tricky to possess entirely. It's the luck of the house at the loss of the land. A conversation to start with no end as old as standing strait. An initial scratch of a larger itch, since arriving "Home" that one can't help but latch." You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Cathy Tabbakh Cobalt Monstera, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Cathy Tabbakh is a French painter working in the UK, with a passion for the mesmerising power of colour. She has exhibited in various galleries in Europe, the UK, USA and Australia and soon in Seoul, Korea. She holds degrees in Fashion Textile, Design and Fine Art (2011) and Art History and Archaeology (2017) both in Lyon. Cathy's work can be found in private collections worldwide and since 2021 as part of the Soho House Collection, with 2 paintings commissioned a displayed in Soho House Paris (2021), a commissioned floral ceramic sculpture displayed in Brighton Beach House (2022) and several works soon to be in High Road London in Chiswick, coming September 2023. Cathy's work collides imaginary forms with existing landscapes through the use of both architectural and botanical elements. Her compositions incorporate a hint of surrealism, as to alter presumed proportion, and a saturated colour palette to punctuate the contrast between shadow and light. Tabbakh's still-lifes show her desire to surround herself with green spaces combined with her love for architecture and interior design. She recently introduced ceramics into her practise, reflecting the colourful and bold style of her still-lifes. Select Exhibitions/Awards SOLO SHOWS Rhodes Gallery - solo show "La Vie en Couleurs" - 13 - 30th of September - 2023 - London, UK Court Tree Collective - solo online exhibition "Hello!" on Artsy - 2022 - Brooklyn, NYC Rhodes Gallery - solo presentation - 2022 - London, UK Oever Gallery - duo show "Warm Regards" - 2022 - Ostend, Belgium Galerie Dessers - solo presentation - 2022 - Hasselt, Belgium Delphian Gallery - duo show "Fatal Shadow and Narcissus" -2021 - London, UK SELECTED GROUP SHOWS Everyday Mooonday - Record of Possession - coming October 2023 - Seoul, Korea Delphian Gallery - Papier - 23rd of September 2023 - Charente, France Marie Jose Gallery - Floradise - 2023 - South Kensington, London, UK Court Tree Collective - Summer Lounge - 2022 - Brooklyn, NYC 19 Karen Contemporary - 2022 - Gold Coast, Australia Blue Shop Cottage - part of Works on Paper 4 online exhibition - 2022 - London, UK Tinimini Room - online group exhibition - 2022 - Dordrecht, The Netherlands You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Cathy Tabbakh Emerald Monstera, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Cathy Tabbakh is a French painter working in the UK, with a passion for the mesmerising power of colour. She has exhibited in various galleries in Europe, the UK, USA and Australia and soon in Seoul, Korea. She holds degrees in Fashion Textile, Design and Fine Art (2011) and Art History and Archaeology (2017) both in Lyon. Cathy's work can be found in private collections worldwide and since 2021 as part of the Soho House Collection, with 2 paintings commissioned a displayed in Soho House Paris (2021), a commissioned floral ceramic sculpture displayed in Brighton Beach House (2022) and several works soon to be in High Road London in Chiswick, coming September 2023. Cathy's work collides imaginary forms with existing landscapes through the use of both architectural and botanical elements. Her compositions incorporate a hint of surrealism, as to alter presumed proportion, and a saturated colour palette to punctuate the contrast between shadow and light. Tabbakh's still-lifes show her desire to surround herself with green spaces combined with her love for architecture and interior design. She recently introduced ceramics into her practise, reflecting the colourful and bold style of her still-lifes. Select Exhibitions/Awards SOLO SHOWS Rhodes Gallery - solo show "La Vie en Couleurs" - 13 - 30th of September - 2023 - London, UK Court Tree Collective - solo online exhibition "Hello!" on Artsy - 2022 - Brooklyn, NYC Rhodes Gallery - solo presentation - 2022 - London, UK Oever Gallery - duo show "Warm Regards" - 2022 - Ostend, Belgium Galerie Dessers - solo presentation - 2022 - Hasselt, Belgium Delphian Gallery - duo show "Fatal Shadow and Narcissus" -2021 - London, UK SELECTED GROUP SHOWS Everyday Mooonday - Record of Possession - coming October 2023 - Seoul, Korea Delphian Gallery - Papier - 23rd of September 2023 - Charente, France Marie Jose Gallery - Floradise - 2023 - South Kensington, London, UK Court Tree Collective - Summer Lounge - 2022 - Brooklyn, NYC 19 Karen Contemporary - 2022 - Gold Coast, Australia Blue Shop Cottage - part of Works on Paper 4 online exhibition - 2022 - London, UK Tinimini Room - online group exhibition - 2022 - Dordrecht, The Netherlands You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Kate Dunn Come, Come, Come Into My World, 2023 Acrylic, pigment, coloured pencil and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Kate Dunn makes paintings and environments about devotional practice and the artist's ownership of visual identity. This is felt in their grappling with the existential notion of vocational work, evidenced through repeated references to sacred spaces and Dunn's refusal of painterly categorisation. Personal experiences of dissociation and nihilism led to an inquiry around visual identity and repetitive artistic approach. This, in turn, birthed their most recent series, the collage works, in which the surface appears a fragmented montage of paintings, images and textures, but is in fact, all made of the same surface by the artist's hand. Selected solo shows include mid-morning in the scriptorium at TJ Boulting, London, Il Tabernacolo welcome to pharmakono at A+A Gallery, Venice, and SKIN OF LIGHT at SET Bermondsey, London. Education MA - City & Guilds of London Art School Painting & Drawing Diploma - The Florence Academy of Art Foundation Diploma - Central Saint Martins Select Exhibitions/Awards SOLO SHOWS mid-morning in the scriptorium, 2023, TJ Boulting, London, UK IL TABERNACOLO welcome to pharmakono, 2021, A + A Gallery, Venice, Italy THE TABERNACLE welcome to pharmakon, 2021, TJ Boulting, London, UK SKIN OF LIGHT, 2020, SET Bermondsey, London, UK GROUP SHOWS A House A Home A Landscape, (upcoming), EBBA & AORA collaboration, 34 Belsize Lane, London, UK in between them there are doors, (upcoming), WILDER, London, UK Well Worn, 2023, SET Ealing, London, UK Synchronous Erros, 2022, FOLD Canning Town, London, UK FUGUE, 2021, Kate Dunn x Robert Cooper, The Tub Hackney, London, UK when shit hits the fan, 2020, GUTS Gallery, online Contemporary British Painting Prize, 2018, Huddersfield Art Gallery, & Menier Gallery, UK The Great Women Artists x Palazzo Monti I, 2018, Palazzo Monti, Bresica, Italy Summer Exhibition, 2017, Royal Academy of Arts, London UK Statement about AOAP Submitted Artwork My additions to AOAP are a continuation of my recent series, the collage works. This series follows a process of multiplicity, meaning unlimited stylistic approaches are embraced within each piece. The emphasis is on expansion rather than limitation, the outcome of a recent revelation in which I attempted to bring many of my artistic identities to the fore. These works emphasise the concept of image, pattern, perspective and paint, all coexisting as texture on the surface. There is no clear focus, allowing the notion of figure and ground to remain in continuous flux. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Laila Tara H She, 2023 Pigment, gum arabic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ell Pennick About Laila Tara H (b.1995, London/Tehran) deconstructs the aesthetic framework of the Indo/Persian miniature tradition. Hybridising traditional painting materials and methods to form her own visual language, disentangling compositions, and exploring the material breadth of paper. Her works observe and assess social structures and interpersonal dynamics often in the context of sociopolitical circumstance and the domestic space. Education Prince's School of Traditional Arts (MA) Select Exhibitions/Awards CV Selected solo / Two-person 2023 Hastan/هستن (with Narges Mohammadi), Copperfield, London Anousha Payne, Laila Tara H, Isabella Ducrot, Super Super Markt, Berlin Sum, Sarabande Foundation, London New Ancients, Guts Gallery, London Gesture, Cooke Latham Gallery, London STRIKE, Forma Arts Media, London Tangle Teazer, Sarabande Foundation, London I Like it What is it?, Albert Contemporary, Odense, Denmark The Coordinate Plane, Arusha Gallery, New York Interior, Fabian Lang, Zurich KaplanKaplan, Copperfield Gallery, London India Art Fair, Galerie Isa, Delhi 2022-2023 Sarabande Foundation, London 2022 Twisted toes, tangled ears (with Anousha Payne), Public Gallery, London duck duck goose, Purdy Hicks Gallery, London In Studio, Drake's London, New York Drawing 1990-2022, Purdy Hicks, London The body we are in, Confer-Karnac, London Future Fair, Cob Gallery, New York Drawing Now Fair, Purdy Hicks Gallery, Paris ASSEMBLE, V.O Curations, London 2021 Vexilloid, O Gallery, Tehran Sky-Circles (with Anusheh Zia Siddiqui), Indigo+Madder, London Am I?, V.O Curations, London Selected group Slow Burn, Indigo+Madder, London Cruel Intentions, Arusha Gallery, London Legacy Series: FUTURE virtual Exhibit, ArteEast 2020 Casa Balandra Open Studios, Casa Balandra, Mallorca Nourishment Projects, V.O Curations, London So Good So Close, Numeroventi, Florence Dance First Think Later, General Practice Gallery, Lincoln To All Our Absent Dialogues, Warbling Collective, 145a Gallery, London Casa Balandra, Mallorca Numeroventi, Florence 2019 Royal Miniature Society, Mall Galleries, London Carpet Pages II:Roots, Mile End Pavilion, London The Prince's School of Traditional Arts MA Degree show, London Dumfries House MA exhibition, HRH King Charles, Scotland Residencies You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Kate Dunn Call Me The Bubbler, 2023 Acrylic, spray paint, coloured pencil, pencil and pigment on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Kate Dunn makes paintings and environments about devotional practice and the artist's ownership of visual identity. This is felt in their grappling with the existential notion of vocational work, evidenced through repeated references to sacred spaces and Dunn's refusal of painterly categorisation. Personal experiences of dissociation and nihilism led to an inquiry around visual identity and repetitive artistic approach. This, in turn, birthed their most recent series, the collage works, in which the surface appears a fragmented montage of paintings, images and textures, but is in fact, all made of the same surface by the artist's hand. Selected solo shows include mid-morning in the scriptorium at TJ Boulting, London, Il Tabernacolo welcome to pharmakono at A+A Gallery, Venice, and SKIN OF LIGHT at SET Bermondsey, London. Education MA - City & Guilds of London Art School Painting & Drawing Diploma - The Florence Academy of Art Foundation Diploma - Central Saint Martins Select Exhibitions/Awards SOLO SHOWS mid-morning in the scriptorium, 2023, TJ Boulting, London, UK IL TABERNACOLO welcome to pharmakono, 2021, A + A Gallery, Venice, Italy THE TABERNACLE welcome to pharmakon, 2021, TJ Boulting, London, UK SKIN OF LIGHT, 2020, SET Bermondsey, London, UK GROUP SHOWS A House A Home A Landscape, (upcoming), EBBA & AORA collaboration, 34 Belsize Lane, London, UK in between them there are doors, (upcoming), WILDER, London, UK Well Worn, 2023, SET Ealing, London, UK Synchronous Erros, 2022, FOLD Canning Town, London, UK FUGUE, 2021, Kate Dunn x Robert Cooper, The Tub Hackney, London, UK when shit hits the fan, 2020, GUTS Gallery, online Contemporary British Painting Prize, 2018, Huddersfield Art Gallery, & Menier Gallery, UK The Great Women Artists x Palazzo Monti I, 2018, Palazzo Monti, Bresica, Italy Summer Exhibition, 2017, Royal Academy of Arts, London UK Statement about AOAP Submitted Artwork My additions to AOAP are a continuation of my recent series, the collage works. This series follows a process of multiplicity, meaning unlimited stylistic approaches are embraced within each piece. The emphasis is on expansion rather than limitation, the outcome of a recent revelation in which I attempted to bring many of my artistic identities to the fore. These works emphasise the concept of image, pattern, perspective and paint, all coexisting as texture on the surface. There is no clear focus, allowing the notion of figure and ground to remain in continuous flux. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Vladimir Logutov From the 'meeting' series (1), 2023 Cotton paper, watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Vladimir Logutov was born in Russia in 1980. Lives and works in London. UK. Artist, curator. Author of about two dozen solo exhibitions in Russia and Europe. The artist's works are both in private and museum collections, including collections of The State Tretyakov Gallery, Moscow Museum of Modern Art, FRAC Bretagne Museum and others. Education 2005 Stuttgarter Kunstverein e.v Grant for Training 2002-06 Pedagogics, Fine Art, Samara Pedagogical University 1996-01 Painting, Samara Art College Select Exhibitions/Awards Vladimir Logutov is participant of the major international projects in the field of contemporary art. In 2012, Vladimir was a participant in the main project The Unseen at the Fourth Guangzhou Triennial, China. In 2014 he participated in the main project of the 4th Moscow International Biennale for Young Art. In 2010, the artist's works were presented at the exhibition Modernikon by Fondazione Sandretto Re Rebaudengo in Turin, Italy, and next year, as part of the presentation of the Modernikon project at the 54th Venice Biennale. At the next, 55th Venice Biennale, the artist was presented as part of the Lost in Translation project and in the exhibition The Way of Enthusiasts within the 13th Architectural Biennale in Venice. In 2020, he was a participant in the 2nd Triennial of Russian Contemporary Art at the Garage Museum, Moscow. Vladimir is the winner of the Innovation Prize 2018, Artist of the Year; the winner of the Joseph Brodsky Prize 2018 in the visual arts. Fellow of the American Academy in Rome in 2019. Gallery Representation Ovcharenko; Stanislas Bourgain; PlinthUK Statement about AOAP Submitted Artwork At first glance, the works in this series may appear as geometric abstractions comprised of colour fields. However, upon closer examination, one can discern that the individual elements coalesce into a figurative image, portraying the various facets of an artwork's existence within a space. This could be represented as a white canvas hanging on a wall, an empty video screen, or even as an installation within a contemporary gallery exhibition. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Vladimir Logutov From the 'meeting' series (2), 2023 Cotton paper, watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Vladimir Logutov was born in Russia in 1980. Lives and works in London. UK. Artist, curator. Author of about two dozen solo exhibitions in Russia and Europe. The artist's works are both in private and museum collections, including collections of The State Tretyakov Gallery, Moscow Museum of Modern Art, FRAC Bretagne Museum and others. Education 2005 Stuttgarter Kunstverein e.v Grant for Training 2002-06 Pedagogics, Fine Art, Samara Pedagogical University 1996-01 Painting, Samara Art College Select Exhibitions/Awards Vladimir Logutov is participant of the major international projects in the field of contemporary art. In 2012, Vladimir was a participant in the main project The Unseen at the Fourth Guangzhou Triennial, China. In 2014 he participated in the main project of the 4th Moscow International Biennale for Young Art. In 2010, the artist's works were presented at the exhibition Modernikon by Fondazione Sandretto Re Rebaudengo in Turin, Italy, and next year, as part of the presentation of the Modernikon project at the 54th Venice Biennale. At the next, 55th Venice Biennale, the artist was presented as part of the Lost in Translation project and in the exhibition The Way of Enthusiasts within the 13th Architectural Biennale in Venice. In 2020, he was a participant in the 2nd Triennial of Russian Contemporary Art at the Garage Museum, Moscow. Vladimir is the winner of the Innovation Prize 2018, Artist of the Year; the winner of the Joseph Brodsky Prize 2018 in the visual arts. Fellow of the American Academy in Rome in 2019. Gallery Representation Ovcharenko; Stanislas Bourgain; PlinthUK Statement about AOAP Submitted Artwork At first glance, the works in this series may appear as geometric abstractions comprised of colour fields. However, upon closer examination, one can discern that the individual elements coalesce into a figurative image, portraying the various facets of an artwork's existence within a space. This could be represented as a white canvas hanging on a wall, an empty video screen, or even as an installation within a contemporary gallery exhibition. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Vladimir Logutov From the 'meeting' series (3), 2023 Cotton paper, watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Vladimir Logutov was born in Russia in 1980. Lives and works in London. UK. Artist, curator. Author of about two dozen solo exhibitions in Russia and Europe. The artist's works are both in private and museum collections, including collections of The State Tretyakov Gallery, Moscow Museum of Modern Art, FRAC Bretagne Museum and others. Education 2005 Stuttgarter Kunstverein e.v Grant for Training 2002-06 Pedagogics, Fine Art, Samara Pedagogical University 1996-01 Painting, Samara Art College Select Exhibitions/Awards Vladimir Logutov is participant of the major international projects in the field of contemporary art. In 2012, Vladimir was a participant in the main project The Unseen at the Fourth Guangzhou Triennial, China. In 2014 he participated in the main project of the 4th Moscow International Biennale for Young Art. In 2010, the artist's works were presented at the exhibition Modernikon by Fondazione Sandretto Re Rebaudengo in Turin, Italy, and next year, as part of the presentation of the Modernikon project at the 54th Venice Biennale. At the next, 55th Venice Biennale, the artist was presented as part of the Lost in Translation project and in the exhibition The Way of Enthusiasts within the 13th Architectural Biennale in Venice. In 2020, he was a participant in the 2nd Triennial of Russian Contemporary Art at the Garage Museum, Moscow. Vladimir is the winner of the Innovation Prize 2018, Artist of the Year; the winner of the Joseph Brodsky Prize 2018 in the visual arts. Fellow of the American Academy in Rome in 2019. Gallery Representation Ovcharenko; Stanislas Bourgain; PlinthUK Statement about AOAP Submitted Artwork At first glance, the works in this series may appear as geometric abstractions comprised of colour fields. However, upon closer examination, one can discern that the individual elements coalesce into a figurative image, portraying the various facets of an artwork's existence within a space. This could be represented as a white canvas hanging on a wall, an empty video screen, or even as an installation within a contemporary gallery exhibition. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Vladimir Logutov From the 'meeting' series (4), 2023 Cotton paper, watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Vladimir Logutov was born in Russia in 1980. Lives and works in London. UK. Artist, curator. Author of about two dozen solo exhibitions in Russia and Europe. The artist's works are both in private and museum collections, including collections of The State Tretyakov Gallery, Moscow Museum of Modern Art, FRAC Bretagne Museum and others. Education 2005 Stuttgarter Kunstverein e.v Grant for Training 2002-06 Pedagogics, Fine Art, Samara Pedagogical University 1996-01 Painting, Samara Art College Select Exhibitions/Awards Vladimir Logutov is participant of the major international projects in the field of contemporary art. In 2012, Vladimir was a participant in the main project The Unseen at the Fourth Guangzhou Triennial, China. In 2014 he participated in the main project of the 4th Moscow International Biennale for Young Art. In 2010, the artist's works were presented at the exhibition Modernikon by Fondazione Sandretto Re Rebaudengo in Turin, Italy, and next year, as part of the presentation of the Modernikon project at the 54th Venice Biennale. At the next, 55th Venice Biennale, the artist was presented as part of the Lost in Translation project and in the exhibition The Way of Enthusiasts within the 13th Architectural Biennale in Venice. In 2020, he was a participant in the 2nd Triennial of Russian Contemporary Art at the Garage Museum, Moscow. Vladimir is the winner of the Innovation Prize 2018, Artist of the Year; the winner of the Joseph Brodsky Prize 2018 in the visual arts. Fellow of the American Academy in Rome in 2019. Gallery Representation Ovcharenko; Stanislas Bourgain; PlinthUK Statement about AOAP Submitted Artwork At first glance, the works in this series may appear as geometric abstractions comprised of colour fields. However, upon closer examination, one can discern that the individual elements coalesce into a figurative image, portraying the various facets of an artwork's existence within a space. This could be represented as a white canvas hanging on a wall, an empty video screen, or even as an installation within a contemporary gallery exhibition. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Fungai Marima On A Mission Monotype on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About I am a Zimbabwean born artist who is based in London. My practice is primarily based on the body as archive, the materiality of the body and its relationship to archiving. Often self-reflective my work investigates themes of displacement, memory, trauma and the female body, highlight my Zimbabwean heritage and personal childhood and adult experiences. I use methodologies within printmaking, performance, sculpture and sound, in attempts to embody the corporeal body. I investigate the body as an archive, to highlight issues of trauma and gendered identity politics within contemporary culture. Education 2019-20 MA Printmaking (Distinction), Camberwell College of Art, UAL 2010-13 BA Fine Art, Havering College, Open University 2009-10 Foundation Diploma in Art and Design, Havering College Select Exhibitions/Awards SELECT EXHBITIONS 2023 Woolwich Contemporary Print Fair, London Also Known As Africa Fair (AKAA) 2023, artHARARE, Paris, France 'Only Connect'. Royal Academy Summer Exhibition, London 'Emerging Matters'. Espacio Gallery, London 'Walking', Performance at Bonhams Auction House, London 2022 'Passage', IMPACT Centre for Printmaking Research. Bristol Woolwich Contemporary Print Fair, Woolwich, London 'IN CONVERSATION NOW!' Shapero Rare Books, London NAE Open 2022. New Art Exchange, Nottingham. LOOP2022, Bankside Gallery, London Equal quantities of everything, The Baths, 80 Eastway, London UAL 2020 Fine Art Alumni Showcase. Chelsea College of Arts, London OFF THE MARK, Gallery B215. NCC (Havering College). London Withheld, Safehouse 2, London You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Fungai Marima Main Character Monotype on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About I am a Zimbabwean born artist who is based in London. My practice is primarily based on the body as archive, the materiality of the body and its relationship to archiving. Often self-reflective my work investigates themes of displacement, memory, trauma and the female body, highlight my Zimbabwean heritage and personal childhood and adult experiences. I use methodologies within printmaking, performance, sculpture and sound, in attempts to embody the corporeal body. I investigate the body as an archive, to highlight issues of trauma and gendered identity politics within contemporary culture. Education 2019-20 MA Printmaking (Distinction), Camberwell College of Art, UAL 2010-13 BA Fine Art, Havering College, Open University 2009-10 Foundation Diploma in Art and Design, Havering College Select Exhibitions/Awards SELECT EXHBITIONS 2023 Woolwich Contemporary Print Fair, London Also Known As Africa Fair (AKAA) 2023, artHARARE, Paris, France 'Only Connect'. Royal Academy Summer Exhibition, London 'Emerging Matters'. Espacio Gallery, London 'Walking', Performance at Bonhams Auction House, London 2022 'Passage', IMPACT Centre for Printmaking Research. Bristol Woolwich Contemporary Print Fair, Woolwich, London 'IN CONVERSATION NOW!' Shapero Rare Books, London NAE Open 2022. New Art Exchange, Nottingham. LOOP2022, Bankside Gallery, London Equal quantities of everything, The Baths, 80 Eastway, London UAL 2020 Fine Art Alumni Showcase. Chelsea College of Arts, London OFF THE MARK, Gallery B215. NCC (Havering College). London Withheld, Safehouse 2, London You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Fungai Marima To Be Young, 2023 Monotype on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About I am a Zimbabwean born artist who is based in London. My practice is primarily based on the body as archive, the materiality of the body and its relationship to archiving. Often self-reflective my work investigates themes of displacement, memory, trauma and the female body, highlight my Zimbabwean heritage and personal childhood and adult experiences. I use methodologies within printmaking, performance, sculpture and sound, in attempts to embody the corporeal body. I investigate the body as an archive, to highlight issues of trauma and gendered identity politics within contemporary culture. Education 2019-20 MA Printmaking (Distinction), Camberwell College of Art, UAL 2010-13 BA Fine Art, Havering College, Open University 2009-10 Foundation Diploma in Art and Design, Havering College Select Exhibitions/Awards SELECT EXHBITIONS 2023 Woolwich Contemporary Print Fair, London Also Known As Africa Fair (AKAA) 2023, artHARARE, Paris, France 'Only Connect'. Royal Academy Summer Exhibition, London 'Emerging Matters'. Espacio Gallery, London 'Walking', Performance at Bonhams Auction House, London 2022 'Passage', IMPACT Centre for Printmaking Research. Bristol Woolwich Contemporary Print Fair, Woolwich, London 'IN CONVERSATION NOW!' Shapero Rare Books, London NAE Open 2022. New Art Exchange, Nottingham. LOOP2022, Bankside Gallery, London Equal quantities of everything, The Baths, 80 Eastway, London UAL 2020 Fine Art Alumni Showcase. Chelsea College of Arts, London OFF THE MARK, Gallery B215. NCC (Havering College). London Withheld, Safehouse 2, London You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Marcelle Hanselaar Night Wanderer Etching and colour pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Born in Rotterdam, The Netherlands, lives and works in London. She left art education and is a mainly self-taught artist both an oil painter and printmaker. Work in Public collections: British Museum Prints & Drawings, London; Victoria & Albert Museum Prints & Drawings, London; V&A National Art Library, London; Ashmolean Museum, Oxford; Fitzwilliam Museum, Cambridge; Clifford Chance Art Collection, London; University of Aberystwyth Print Collection, Wales; Ruth Borchard Self Portrait Collection, UK; Soho Works, London, The Ned, London; The Viktor Wynd Museum of Curiosities, London; The Metropolitan Museum, New York, USA; Museum de Reede, Antwerp, Be; Meermanno Museum of the Book, the Hague, NL; Guandong Fine Art Museum, PR China; University of Arizona, Tucson, USA; Swarthmore College, US www.marcellehanselaar.com Education 1962-64 Royal Academy of Arts, The Hague, NL 2001 B-TEC Printmaking, Chelsea & Kensington College, London Select Exhibitions/Awards Awards: Jury award Novosibirsk Print Triennial Clifford Chance Purchase Award at the International Print Biennial 2014 Statutory Awards of MTG - Krakow International Print Triennial 2012, PL; Guangdong Museum Purchase Prize, Qijiang, CN Shortlisted for the Ruth Borchard Self Portrait prize and acquired by the Ruth Borchard Self Portrait collection Birgit Skjold Prize for Pillowbook of Endless Nights, acquired by V&A National Art Library Guangdong Museum Purchase Prize, Qijiang, CN Aberystwyth, University of Wales Purchase Prize, Originals '06, London Presse Papier Award, Biennale Internationale d'estampe Contemporaine de Trois-Rivières, Quebec, Gallery Representation Julian Page, London; Arundel Contemporary, Arundel; De Queeste Art, Belgium. Statement about AOAP Submitted Artwork "The Night-Wanderer expresses the longing to return to the place where I grew up, the bitter, salty wind smell of the sea, an imaginary return to the North-Sea of my childhood. This print is set in between the Lighthouse and the Kurhuis in Scheveningen, a make-believe place where I would wander in the night, looking for something, anything away from the restrictions of reality. The Kurhuis and the lighthouse are in fact not that close together, but both buildings are a signifier of place for me, the lighthouse whose light sweeps were visible through the curtains of our childhood bedroom and the Kurhuis, the 'palace' at the boulevard, a place of great magic, opulence, lights and music, a famous landmark." You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Europa. Deutschland. Schachfiguren im Eisenkunstguss - Tiere. Die eine Partei ist dunkel, die andere mit Resten einer Patinierung. Produktion um 1900. Höhe König 9 cm; Bauer 4 cm. (60) * Kompletter Figurensatz im Eisenkunstguss vergl. dazu Thomsen, Thomas H. (Hrsg.) Eisenkunstguss und Schach. Cast Iron and Chess. Königstein, Chess Collectors International, ca. 2016, Seite 18 Fig. 7. Vermutlich ein zeitgenössischer Nachguss nach einem Spiel von Zimmermann. Schöne kompakte Tierfiguren. Zustand: Mit altersbedingten Benutzungsspuren und Fehlstellen. Die Patinierung ist kaum noch vorhanden. Einige Figuren mit unterschiedlichen Basen bzw. Postamenten. Dekorativer Figurensatz. / Europe. Germany. Chessmen in cast iron - animals. One side is dark, the other with remnants of a patination. Production around 1900. King 9 cm high; pawn 4 cm. Complete chess set of figures in iron art casting, see Thomsen, Thomas H. (Ed.) Eisenkunstguss und Schach. Cast Iron and Chess. Königstein, Chess Collectors International, ca. 2016, page 18, Fig. 7. Probably a contemporary copy of a game by Zimmermann. Beautiful compact animal figures. With age-related signs of wear and defects. The patination is barely there. Some figures with different bases or pedestals. Decorative chess set.
NO RESERVE Keshmirshekan (Hamid) Contemporary Iranian Art: new perspectives, first edition, illustrations, original cloth, slight bumping to corners and extremities, dust-jacket, slight creasing to corners and extremities, 2013 § Cotter (Suzanne) Monir Shahroudy Farmanfamaian. Infinite Possibility: Mirror Works and Drawings 1974-2014, illustrations, many full-page, bookplate to front free endpaper verso, original boards, slight bumping to corners and extremities, dust-jacket, slight creasing to edges, Porto, 2014 § Einsicht. Drei Reisen in die innerste Welt des schiitischen Islam, illustrations, bookplate, original boards, fractional bumping to corners and extremities, dust-jacket, slight creasing to edges, Berlin, 2017; and others similar, v.s. (c.40)
Fortification.- Vauban (Sebastien Le Prestre) The New Method of Fortification...to which is now added, A Treatise of Military Orders, and the Art of Gunnery...by W.Allingham, third English edition, engraved frontispiece & 31 folding plates, a couple with tears to inner margin or light water-staining, text lightly browned, worming to inner margin towards end, contemporary panelled calf, rubbed, joints split, spine chipped at head, W.Freeman, 1702 § Goulon (L.) Memoires pour l'Attaque et pour la Défense d'une Place, first edition, title in red & black with woodcut printer's device, 4 folding engraved plates, contemporary sprinkled calf, spine gilt, rubbed, light staining to upper cover, The Hague, Henry van Bulderen, 1706, 8vo (2)
BRIDGET RILEY: PAINTINGS AND DRAWINGS 1961-2004, SIGNED VOLUME produced to accompany a major retrospective at the Museum of Contemporary Art, Sydney and Wellington, hand-signed to title page, pub. Ridinghouse, London 2004, in pictorial soft coversThere are signs of use with a small biro mark to front, some imprint of writing on the 'Bridget Riley' section visible under certain light, some further marks and mottling to corners and edges, some indents and further scratches to covers, would be considered 'used' condition
Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Athènes signé et daté 'Ghika 75' (en bas à gauche)tempera sur papier marouflé sur toile66 x 91.5cm (26 x 36in).Peint en 1975.signed and dated (lower left)tempera on paper laid on canvasFootnotes:ProvenanceZoumboulakis Gallery, Athens.Private collection, Athens.ExpositionsAthens, Iolas-Zoumboulakis Gallery, Nikos Hadjikyriakos-Ghika, December 10, 1976 - January 15, 1977, no. 4 (listed in the exhibition leaflet).LittératureKathimerini newspaper, December 12, 1976.H. Livas, Contemporary Greek Artists, Vantage Press, New York 1993, p. 5 (discussed).K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum, Athens 2011, p. 234 (discussed and illustrated, fig. 19).A mesmerising cubist-like townscape displaying an architectural network of close-knit rhythmical structures, fragmented interlocking planes, and spatially distorted labyrinthine grids, Athènes showcases Ghika's belief that 'the character of the Greek schema, whether in antiquity, the Byzantine era or folk art, is by and large geometric.'1 The rhythmically developed and spatially distorted depictions of Byzantine towns—used as backdrops for religious subjects in much of icon painting—are here pushed to a relentless extreme, transformed into a dense web of lines, angles, and curves. As the schematic undulations of the townscape ascend in petrified waves of subdued colour, the horizontal tilts into the vertical, echoing the Byzantine backgrounds that tend to unfold upwards instead of receding in depth. As noted by Professor M. Michelis, 'Ghika's vision is akin to the Byzantine mosaics of the Chora Monastery.'2Discussing the work, art critic H. Livas notes: 'I'll record what Ghika told me—that even if the subject of his painting is not Greek, its soul always is. Yet, even when the subject is Greek, the spirit of the painting transcends the country and carries us into a new and different world. I take, as example, the painting Athènes, a geometric view of the city that makes it look filled with modern pyramids and Mayan temples. The pyramid has always been one of his favourite forms; I suspect because it suggests mystery; and, modern non- fiction tells us that the pyramid shape can cause miraculous preservation and even regeneration to objects, organic materials, and even people inside it. Ghika's Truncated pyramids of 1963 and the Pyramid triptych of 1965, lift us also to mysterious worlds that we can't quite identify with the comfortable and the familiar.'3 1 N. Hadjikyriakos-Ghika, 'On Greek Art' [in Greek], Neon Kratos journal, no. 5, January 1938.2 M. Michelis, 'N. Hadjikyriakos-Ghika' [in Greek], Zygos magazine, no. 58, September 1960, p. 10.3 H. Livas, Contemporary Greek Artists, Vantage Press, New York 1993, p. 5.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
Yannis Gaïtis (Greek, 1923-1984)Air France Tout Bleu signé et daté 'Gaitis/1971' (en bas à droite)huile sur toile116 x 89cm (45 11/16 x 35 1/16in).signed and dated (lower right)oil on canvasFootnotes:ExpositionsAthens, Desmos Art Gallery, Machines Volantes de Gaitis, February 9-29, 1972 (illustrated in the exhibition catalogue). Thessaloniki, Kochlias Gallery, Yannis Gaitis, September 21 - November 8, 1972.LittératureOikonomikos Tachydromos newspaper, February 24, 1972.N.E. Papadakis, Yannis Gaitis, a Revolutionary Artist, Contemporary Greek Artists 1, Polyplano editions, Athens 1980 (illustrated). Yannis Gaitis, Catalogue Raisonné, Ioannis F. Costopoulos Foundation, Paris/Athens 2003, no. 1162, p. 280 (illustrated).D. Zacharopoulos, Yannis Gaitis, the Subversive, Contemporary Greek Artists series, Ta Nea editions, Athens, 2009, p. 88 (illustrated).Contemporary Greek Art institute Digital Platform, dp.iset.gr, Yannis Gaitis Works, p. 3 (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
Spyros Vassiliou (Greek, 1902-1985)La place du marché signé en grec (en bas à gauche)huile sur panneau77 x 90cm (30 5/16 x 35 7/16in).Peint vers 1933-1934.signed in Greek (lower left)oil on panelFootnotes:ProvenanceXenia Kalogeropoulou collection, Athens. (from 1975) Nia Stratos collection, Athens. (from 1981)ExpositionsVenice, XIX Biennale, May 12 - October 12, 1934 (listed in the exhibition catalogue, no. 104, p. 348).Sofia, Preslav Gallery, Exposition du Groupe 'Techni', May 24 - June 10, 1936.Athens, National Gallery - Alexandros Soutzos Museum, Spyros Vassiliou, retrospective exhibition, October 22 - November 30, 1975, no. 91 (listed and illustrated in the exhibition catalogue).Athens, Dimitris Pierides Gallery of Modern Greek Art, Vassiliou's Athens, retrospective exhibition, April 10-20, 1984, no. 7 (listed in the exhibition catalogue).Athens, Agia Paraskevi Municipality Cultural Centre, Spyros Vassiliou – Hommage, November 1987 (illustrated in the exhibition catalogue). LittératureS. Vassiliou, Lights and Shadows, Athens, 1969, no. 23, p. 303 (listed), p. 37 (illustrated).S. Lydakis, Dictionary of Greek Painters and Engravers - The Greek Painters, vol. IV, Melissa editions, Athens 1976, p. 48, fig.1 (illustrated).D. Papastamos, Painting 1930-40, Astir Insurance editions, Athens 1981, no. 134, p. 128 (listed), p. 124 (illustrated). H. Kambouridis, Spyros Vassiliou, Exhibitions, Ikaros editions, Athens 1982, pp. 33, 35, 179 (mentioned), p. 183 (illustrated).The Athenian magazine, no. 128, June 1984, p. 56 (mentioned).E. Matthiopoulos, Greek Participation in the Venice Biennales 1934-1940, doctoral dissertation, Rethymno 1996, vol. I, p. 316 (discussed), fig. 6 (illustrated). Dictionary of Greek Artists, vol. I, Melissa editions, Athens 1997, p. 158 (mentioned).C. Christou, Greek Painting in the Twentieth Century, vol. I, 1882-1992, Society for the Dissemination of Useful Books editions, Athens 2000, p. 242 (mentioned).I. Lakidou, Spyros Vassiliou, his Stage and Costume Design Contribution, Athens 2000, p. 9 (mentioned). Atelier Spyros Vassiliou, a Guide to the Museum, p. 15 (mentioned).Peristylon magazine, no. 7, June 2009, p. 7 (mentioned). K. Perpinioti-Agazir, Le 'Groupe Tekhni', doctoral dissertation, Université Paris I - Panthéon Sorbonne 2002, vol. III, p. 485 (discussed), p. 692 (catalogued), vol. reproductions II, pl. CCLVII (illustrated).I. Orati, Spyros Vassiliou, Contemporary Greek Artists series, Ta Nea editions, Athens 2009, pp. 24-28 (discussed), p. 26 (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
Chryssa (Vardea) (Greek, 1933-2013)Sans titre, Bleue construction néon, plexiglas57 x 31.5x 22cm (22 7/16 x 12 3/8 8 11/16in).Multiple neon construction, plexiglassFootnotes:Provenance Doyle Auctions, Modern and Contemporary European and American Art, 22 May 2007, New York. PTE Fine Arts, New York.Private collection, New York.This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Chryssa (Vardea) (Greek, 1933-2013)Sans titre, Jaune construction néon, plexiglas57 x 31.5x 22cm (22 7/16 x 12 3/8 8 11/16in).Multipleneon construction, plexiglassFootnotes:Provenance Doyle Auctions, Modern and Contemporary European and American Art, 22 May 2007, New York. PTE Fine Arts, New York.Private collection, New York.This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Nikos Kessanlis (Greek, 1930-2004)L'artiste (Manolis Calliyannis) signé et daté 'NIKOS 65' (en bas à droite)image photographique traitée sur toile 60 x 74cm (23 5/8 x 29 1/8in).Peint en 1965.signed and dated (lower right)processed photographic image on canvasFootnotes:ProvenanceAcquired from AD Gallery in Athens.Private collection, Athens. ExpositionsRethymnon, Crete, Rethymnon Center for Contemporary Art, Nikos Kessanlis, Faces, Transformations of the Human Body 1953/1997, May-August 1998 (illustrated in the exhibition catalogue, p. 32).LittératureNikos Kessanlis, retrospective exhibition catalogue, Macedonian Museum of Contemporary Art, Thessaloniki Cultural Capital of Europe 1997, p. 242 (illustrated).G. Tzirtzilakis ed., Nikos Kessanlis, Adam editions, Athens 1998, p. 242 (illustrated).Contemporary Greek Art institute Digital Platform, dp.iset.gr, Nikos Kessanlis Works, p. 3 (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
Konstantinos (Dikos) Vyzantios (Greece 1924-2007)Ombre signé 'D. Byzantios' (au revers)huile sur toile146 x 115cm (57 1/2 x 45 1/4in).Painted in 1971.signed (on the reverse)oil on canvasFootnotes:ProvenancePrivate collection, Athens.LittératureDico Byzantios, Museum of Contemporary Art - Basil and Elise Goulandris Foundation edition, Andros / Athens 2012, no. 77 (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
Yiannis Psychopedis (Greek, born 1945)Femme nue allongée sur un canapé signé et daté 'J. Psychopedis 1983' (en bas à droite); signé en grec (au revers)crayons sur papier contrecollé sur panneau112 x 90cm (44 1/8 x 35 7/16in).signed and dated (lower right); inscribed in Greek (on the reverse)pencils on paper laid on panelFootnotes:ProvenanceJ. Sklivaniotis collection, Athens. Private collection, Athens.ExpositionsBerlin, Redmann Gallery, 1983. (possibly)Athens, Zoumboulakis Galleries, Jannis Psychopedis 1982-84, February 1985 (illustrated in the exhibition catalogue).Thessaloniki, Macedonian Museum of Contemporary Art, 30th Demetria, Jannis Psychopedis, Retrospective 1962-1995, October 18 - December 10, 1995 (based on label on the reverse).Andros, Petros and Marika Kydoniefs Foundation, Ploes IV, Jannis Psychopedis, Intersections, July-September 1998, p. 78 (illustrated).Athens, Municipal Gallery, Greek Artists in Germany, November 11, 2007 - February 29, 2008 (illustrated in the exhibition catalogue, p. 107).LittératureP. Kounenaki, New Greek Realists 1971-1973, Exandas editions, Athens 1988 (illustrated).A. Schena, Jannis Psychopedis, Adam editions, Athens 1993, p. 194 (illustrated).J. Psychopedis, Eros Kalos, a Painting Anthology, Kedros editions, Athens 1995, pp. 54-55 detail (illustrated), p. 57 (illustrated).B. Papadopoulou, Jannis Psychopedis, the Dialectician of Art, Contemporary Greek Artists, Ta Nea editions, Athens 2009, p. 138 (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
Yiannis Moralis (Greek, 1916-2009)Printemps signé en grec et daté '64' (en bas à droite); signé et daté 'Yannis MORALIS/1963-65' (au revers)technique byzantine sur carton36 x 89cm (14 3/16 x 35 1/16in).Peint en 1964.signed in Greek and dated (lower right); signed and dated (on the reverse)egg tempera on cardboardFootnotes:ProvenanceThe artist's collection, Athens. D. Fotopoulos collection, Athens.Private collection, AthensExpositionsAthens, Benaki Museum, I.Moralis, Angels, Music, Poetry, October 24 - November 30, 2001, no. 152 (illustrated in the exhibition catalogue, pp. 124-125).Athens, Benaki Museum, The World of Dionyssis Fotopoulos, December 21, 2005 - March 19, 2006, no. 620 (illustrated in the exhibition catalogue, p. 334).Andros, Y. Moralis, Traces, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, June 29 - September 28, 2008, no. 16 (catalogued, p. 233, discussed by the artist, p. 66, and illustrated in the exhibition catalogue, p. 67). Athens, Benaki Museum, Yannis Moralis, September 20, 2018 - February 10, 2019.Athens, Benaki Museum, Weavings. Painting and Tapestry in Greece from 1960 to the Present, November 21, 2019 - February 16, 2020 (illustrated in the exhibition catalogue, pp. 66, 164).LittératureV. Fotopoulos ed., Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 145, p. 145 (illustrated).T. Spiteris Archive, Tellogleion Art Institute, Thessaloniki, c. 1980s, no. GR TITSpit f636_40, p. 5 (illustrated).C. Christou, Moralis, Adam editions, Athens 1993, no. 81 (illustrated).C. Christou, Greek Painting in the Twentieth Century, Association for the Dissemination of Beneficial Books edition, vol. 1, Athens 2000, p. 228 (mentioned). Y. Bolis, Yannis Moralis, K. Adam editions, Athens 2005, pp. 77-78 (discussed), p. 77 (illustrated).Y. Bolis, Yannis Moralis, Contemporary Greek Painters, Ta Nea editions, Athens 2007, pp. 62-64 (discussed), p. 62 (illustrated).Lexi magazine, no. 200, April-June 2009, p. 269 (illustrated).Discussing this work, Moralis noted: 'It's the spring. It's this air one feels all around, which I experienced when going to the island of Aegina just before Easter, during Holy Week ... On the left is the church we'd go to, to listen to the twelve gospels, with the girl that stoops to kiss the bier of Christ.'1 Printemps revives the archetypal universe of an Ionian frieze. The architectural motifs that echo fragments of an ancient Greek temple or a neoclassical Athenian mansion, the shallow compositional depth, reminiscent of sculptural relief, and the austerity of the horizontal and vertical lines set up a perfectly balanced geometric edifice from which the human form emerges. The symbolic figure of the young woman, the loving embrace of the couple at the far right, the angel on the upper part, and the luminous patches of blue indicative of the sea and the clear skies, compose a symphony of poetic images, a universe of classical rhythm and human scale. Magnificent in its simple grandeur, this striking work echoes the timeless values of ancient Greek art.1 As quoted in Y. Moralis, Traces, exhibition catalogue, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, Andros 2008, p. 66.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 Tsarouchis (Greek, 1910-1989)Garçon couché signé en grec et daté '54' (en bas à droite)huile sur toile20.5 x 34cm (8 1/16 x 13 3/8in).Peint en 1954.signed in Greek and dated (lower right)oil on canvasFootnotes:ProvenanceIolas Gallery, New York.Private collection, Athens.ExpositionsAthens, Zoumboulakis Gallery, May 1972.Nicosia, KEMA Hall, 16 Contemporary Greek Artists, December 18-27, 1986.Tsarouchis's pursuit of realist clarity and truthfulness of vision is described by the words of poet Andreas Embeirikos: 'Truth in the work of Tsarouchis is distilled and explosive like thunder, uninfluenced by any sort of dogmatism, either that of a school or of an accepted morality or aesthetic. This fundamental independence is so apparent that even his most 'clothed' images always appear to be utterly 'nude'.1 In his Reflections,Tsarouchis mentions the writings of archaeologist C. Tsountas who referred to the ideal nudity of ancient Greek sculpture and specifically to that of the 'regiment' of the two Tyrannicides who are stark naked, even though no citizen was in the nude during the Panathenaic Games.'2 As argued by D. Kapetanakis, Tsarouchis found the truth of Modern Greece in the bodily forms of Greek youth. In contrast to other cultures, such as the French, which are woman-centred, Greece, both ancient and modern, is mainly expressed through masculine types.3 In the same vein, Nobel laureate O. Elytis noted that 'Tsarouchis restored the human body in a land whose age-old civilisation has always been man-centred. Thanks to his paintings, the figures of Hermes, Narcissus, St. Georgios and St. Dimitrios started to live and breathe again and circulate among us.'4 For both Kapetanakis and Elytis, Tsarouchis's male figures are invested with a symbolic value that carries on the humanistic ideal of Ancient Greece, while at the same time expressing the spirit and reality of Modern Greece.5 Here, the shallow compositional structure coupled with a stage designer's perception of space, which played a pivotal role throughout Tsarouchis's career, build up an edifice of pure forms, an everlasting world liberated from the fleeting moment, imaginatively transforming the reclining youth into a protagonist of a Modern Greek narrative.A towering figure of 20th century Greek art Yannis Tsarouchis was also an intellectual who courageously faced ideological challenges and biased ethical practices in Greek society of his time that included homophobia. It was only in the last years of his life that studies addressed homosexuality in his painting. And it wasn't until the turn of the century that scholars6 could write unequivocally about the homoeroticism in his work and highlight its determinative role in the artist's evolution.7 1 A. Embeirikos, 'The Triumph of Sensuous Painting' [in Greek], Zygos magazine, no. 72-75, November 1961 - February 1962, p. 11. See also 'Yannis Tsarouchis', Greek Heritage quarterly, vol. 1, no. 2, Spring 1964, p. 92. 2 Y. Tsarouchis, 'Some Reflections on my Works' in The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 299.3 D. Kapetanakis, 'Yannis Tsarouchis, Return to Roots' [in Greek], Nea Grammata magazine, 1937 as reprinted in Tsarouchis [in Greek], Zygos, Athens 1978, p 6. 4 O. Elytis, preface to the Yannis Tsarouchis: Fifteen Works and One Original Print 1938-1963 album [in Greek], 1964.5 See E. Florou, Tsarouchis - Painting, [in Greek] (doctoral dissertation) vol. 1, Athens 1989, p. 118.6 N. Hadjinikolaou, 'Yannis Tsarouchis' [in Greek], in Figures of the Twentieth Century, Ta Nea - Livanis editions, Athens 2000, pp. 517-518.7. See E.D. Matthiopoulos, 'In Search of Divine Lightning' in N. Gripari and A. Szymczyk ed., Yannis Tsarouchis, Dancing in Real Life, exhibition catalogue, Wrightwood 659, Chicago 2021, pp. 251-267.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)La Romance daté '2001' et signé en grec (en bas à droite); signé, situé, daté 'Yiannis Moralis/Athènes/Grèce/2001' (au revers)huile sur toile180 x 180cm (70 7/8 x 70 7/8in).Peint en 2001.dated and signed in Greek (lower right); signed, located and dated (on the reverse)oil on canvasFootnotes:ProvenanceZoumboulakis Galleries, Athens. Private collection, Zurich.ExpositionsAthens, Zoumboulakis Gallery, Moralis, March 1-30, 2002, no. 11 (illustrated in the exhibition catalogue).LittératureY. Bolis, Yannis Moralis, K. Adam editions, Athens 2005, p. 115 (illustrated).Y. Bolis, Yannis Moralis, Contemporary Greek Painters, Ta Nea editions, Athens 2007, p. 95 (illustrated).From the 1970s to the 21st century, Moralis had consistently adhered to the principles of geometric abstraction, exploring its mystical pathways and taking his place among its leading exponents.1 As noted by D. Papastamos, former Director of the National Gallery in Athens, 'this, more advanced stage of his geometric abstraction is distinguished by dynamic rhythm and expressive movement. It seems to me that these are the artist's happy moments, depicted in a beautiful environment of luminous colour and irresistibly erotic humanity.'2Highlighted by the poetry and eroticism of the curved line, La Romance recapitulates the artist's long preoccupation not only with the suggestively rendered human form, but also with the musical resonance generated by the combination of varied types, shapes and colours. The stark juxtaposition of the fair-skinned female figure with the dark male form in the foreground—which ingeniously alludes to Attic black-figure vase painting—charges the composition with a vibrant rhythm and endows it with a classical sense of structure and balance. As Nobel laureate O. Elytis once said of Moralis's work, '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.'3 By sacrificing all descriptive detail, rejecting the illusion of space, avoiding tonal gradations and emphasising only the essential structural elements, Moralis expresses what is permanent and universal. The tone is set by gently flowing curvilinear themes underscored by an austere compositional grid of verticals and horizontals and complemented by the expressive sensibility of his palette. The engaging forms of his figures seem to have a light of their own, the same eternal light of Byzantine art which does not come from a specific source but emanates from within.4 1 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. 30.2 D. Papastamos, 'Yannis Moralis the Artist', in Yannis Moralis, Commercial Bank of Greece, Athens 1988, p. 26.3 O. Elytis, preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Gallery, Athens 1972. 4 See M. Chatzidakis, 'Yiannis Moralis', Zygos magazine, no. 80, July 1962, p. 6.This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Alecos Fassianos (Greek, 1935-2022)Nicola e il fantasma/ Les passants/ Le spectacle signé 'A. Fassianos' (en haut à gauche)huile sur toile162 x 130cm (63 3/4 x 51 3/16in).Peint en 1972.signed (upper left)oil on canvasFootnotes:ProvenanceIolas Gallery, Milan (based on labels on the reverse). Private collection, Athens.ExpositionsVenice, XXXVI Esposizione Biennale Internationale d'Arte, Greek Pavilion, Fassianos, Mytaras, Panourgias, Piladakis, June 11 - October 1, 1972 (based on label on the reverse). LittératureFassianos, Kedros editions, Athens 1980, p. 104 (listed), p. 47 (illustrated), back dust jacket (illustrated).T. Spiteris, Art in Greece after 1945, Odysseas editions, Athens 1983, no. 25 (illustrated).Erourem nagazine, no. 4, March 1996, pp. 131, 171, 177, 194 (details) (illustrated).Mandragoras magazine, no. 28, September 2002, p. 17 (illustrated).Full of life and vibrancy, monumental yet familiar, universal yet quintessentially Greek, Fassianos's ubiquitous rider looks as immobile and eternal as a relief sculpture on an Doric metope, demonstrating the artist's power to seize the eternity of the moment through timeless forms.Captured in sharp profile and set against a solid background, the emblematic rider and the 'passants' below are remoulded into archetypal figures echoing the timeless forms of ancient Greek vase iconography. As noted by French writer J. Lacarriere, 'like in ancient pottery, Fassianos's modern figures are captured in an eternal contre-jour which renders them both precise and timeless. These figures inhabit a land which might well be Greece, a totally luminous and airy land, an Aeolian land. The wind which tosses the hair of Fassianos's figures is the same wind which pervades Homer's epics and fills Odysseus's sails on his way to meet the Sirens.'1 Likewise, Jean-Marie Drot, former Director of the French Academy in Rome notes: 'Fassianos sets out to transform the most elemental aspects of everyday life, the most familiar figures into divinities, retracing, in reverse, the ancient tradition that allowed the great Olympian gods to assume the guise of mortals and mingle with them, talk to them and even seduce them without scaring them.'2 Magnificent in its simple grandeur and utterly characteristic in style and sentiment, this top quality work encompasses the defining elements of Fassianos's unique expressive language, unfolding the qualities that established him as a master of contemporary figurative painting.1 J. Lacarriere, 'A Shadow Play' in Fassianos - Mythologies of Everyday Life, exh. cat., National Gallery - A. Soutzos Museum, Athens 2004, p. 24.2 See Alecos Fassianos, Athlos, Mythos, Eros [in Greek], Kastaniotis editions, Athens 2004, p. 82.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
Theodoros Stamos (Greek/American, 1922-1997)Three Kings, 1949 signé et daté 'T.Stamos 49' (en bas à gauche); titré, signé et daté 'THREE KINGS'/Stamos/1949' (au revers)huile sur masonite74.6 x 95.5 cm (29 3/8 x 37 5/8in).signed and dated (lower left); titled, signed and dated (on the reverse)oil on masoniteFootnotes:ProvenanceAndré Emmerich Gallery, New York.Acquired from the above sale in 1961 by J.D. Murchison.Galerie Pudelko, Bonn (1990-2010).ExpositionsCentro Culturale Candiani, Mestre, Italy, Jackson Pollock: The Irascibles and the New York School, March 23–30 June 30, 2002.Hollis Taggart Galleries, New York, Why Nature? Hofmann, Mitchell, Pousette-Dart, Stamos, October 30–December 6, 2014.Octavia Art Gallery New Orleans, Pop Abstraction, August 6–September 24, 2016.Hollis Taggart Galleries, New York, Theodoros Stamos: Contemplations on the Universal, January 26–March 4, 2017, no. 5.Hollis Taggart, Southport, CT, Line, Shape, Color, and Form, November 6–December 11, 2021. LittératureBruno Alfiere and Achille Bonito Oliva, Jackson Pollock: The Irascibles and the New York School (Milan: Skira, 2002), p. 221.Why Nature: Hofmann, Mitchell, Pousette-Dart, Stamos (New York: Hollis Taggart Galleries, 2014), pl. 16. Theodoros Stamos: Contemplations on the Universal (New York: Hollis Taggart Galleries, 2017), pl. 5.Ratcliff, Carter, 'Living Color,' Art & Antiques, November 2017, illus., cover and p. 72.Theodoros Stamos explored myriad nature-based interpretations throughout his career, ultimately developing a modern aesthetic that celebrated the sublime supremacy of this subject. Recognized as one of the 'Irascibles' featured by Life Magazine in 1951, Stamos was the youngest of this first generation of Abstract Expressionists.Throughout his career Stamos explored the rich potential of primeval forms, rendering evocative paintings such as Three Kings, an early primitivizing image that demonstrates the artist's fascination with inchoate forms and primordial forces. The dark shapes suggest geologic strata, simultaneously organic and archaic. Three Kings evokes a modern investigation of ancient ideas surrounding cycles of birth, death, and growth–both biological and spiritual. The title suggests Christian heritage; Stamos was an enthusiastic student of the world's belief systems and would visit Jerusalem three decades later. He was also interested in natural history; as he explained in a 1947 article in the journal Tiger's Eye, 'I am concerned with the Ancestral Image which is a journey through the shells and webbed entanglements of the phenomenon. The end of such a journey is the impulse of remembrance and the picture created is the embodiment of the Ancestral World that exists on the horizon of mind and coast.'1 Through the materials of painting, Stamos aimed to capture vivid, momentary sensations. In 1936, at the age of 14, Stamos was awarded a scholarship to study sculpture at the American Artists' School in New York. Through his early training there, Stamos was introduced to many active artists in New York, such as Mark Rothko, William Baziotes, and Adolph Gottlieb, all of whom were founding members of the avant-garde group known as 'The Ten.' By 1939 Stamos had dedicated himself to painting, entirely self-taught, and displayed an early interest in the American artists Milton Avery and Arthur Dove.To support himself in the early years of his career, Stamos worked in a frame shop on 18th street, from 1941-1948, which offered exposure to the art of Paul Klee and Arshile Gorky in addition to well-known contemporary artists practicing in Manhattan. Although his work from the forties bear a striking resemblance to the biomorphism of Gorky or of Joan Miró, Stamos emphasized his admiration for the early American abstractions of Dove whom he saw as a 'spiritual father.' Noted art dealer Betty Parsons discovered Theodoros Stamos in 1943 and offered him his first solo show at the Wakefield Gallery at the age of 21, with Barnett Newman writing the introduction. He would go on to exhibit at the Betty Parsons Gallery from 1947-1956, a key venue for contemporary American art. The artist's early works reflected an expanding interest in natural history and eastern ideas. With bookshelves populated by Seaside Studies in Natural History and The Wisdom of the East, Stamos emphasized oneness with landscape, both an American and an Eastern idea, in his 'memory pictures.'The late 1940s was an important period for Stamos. The Museum of Modern Art purchased his painting Sounds in the Rock in 1947, and Betty Parsons included Stamos in her exhibition, The Ideographic Picture, organized by Newman the same year. Along with Newman, Stamos was shown alongside Hans Hofmann, and Mark Rothko. Included in the show were Stamos's paintings Sacrifice and Imprint, both titles addressing the themes of ancient growth and primitive impulses suggested in Three Kings. As Newman wrote in the introduction for the catalogue accompanying the younger artist's solo exhibition at Betty Parsons that same year: 'Stamos redefines the pastoral experience as one of participation with the inner life of the natural phenomenon...One might say that instead of going to the rock, he comes out of it.'2Betty Parsons echoed this association with the earth, describing Stamos as 'very, very intrigued with everything that came out of the earth or went into the earth.' 3A lover of travel, in 1947 Stamos travelled throughout the United States, visiting New Mexico, California, and the Northwest. During this period he painted watercolours filled with stones and plant clippings observed in his travels. In 1948 he sailed for Europe, visiting France, Italy, and Greece. In Paris he met many of the renowned modernists including Picasso, Brancusi and Giacometti. Always sensitive to the particularities of light, mood, and colour of specific locales, Stamos's paintings are indexes of his responses to different places. Later in his career, he devoted several series of paintings to sites including Jerusalem, Delphi, and Lefkada, an island in the Ionian Sea and birthplace of his father. These later works continue the early flattening of space and simplification of form evident in Three Kings. 1 Theodoros Stamos, 'Artists Statement,' Tiger's Eye (1947), quoted in Lisa M. Messinger, 'Twentieth Century Art,' The Metropolitan Museum of Art Bulletin, Vol. 49, No. 2 (Autumn, 1991), 63.2Barnett Newman, 'Introduction,' The Ideographic Picture (New York: Betty Parsons Gallery, 1947), 1.3 Barnett Newman, Stamos (New York: Betty Parsons Gallery, 1947) in Barnett Newman: Selected Writings and Interviews, ed. John O'Neill (Berkeley: University of California Press, 1990).This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Nikos Engonopoulos (Greek, 1907-1985)Nu signé en grec et daté '41' (en bas à droite)huile sur toile100 x 120cm (39 3/8 x 47 1/4in).Peint en 1941.signed and dated (lower right)oil on canvasFootnotes:ProvenanceV. Embeirikos collection, Athens.Private collection, Athens.ExpositionsAthens, National Gallery - Alexandros Soutzos Museum, Nikos Engonopoulos retrospective exhibition, April 3-15, 1983, no. 13 (listed in the exhibition catalogue, p. 42).LittératureKathimerini newspaper, February 12, 1989 (illustrated).Sima magazine, no. 1, March-April 1991, p. 62 (listed with comment).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 297, p. 255 (illustrated), p. 423 (catalogued and illustrated).To Vima newspaper, October 21, 2007, p. A55 (illustrated).D. Connolly ed., Nikos Engonopoulos, The Beauty of a Greek, Ypsilon editions, Athens 2007, p. btw 64-65 (illustrated).Nikos Engonopoulos, exhibition catalogue, Museum of Contemporary Art - Basil & Elise Goulandris Foundation, Andros 2017, p/ 125, fn. 3 (mentioned).I love the bodies of women.With their breasts they eliminate our loneliness.Nikos Engonopoulos Always beautiful, seductive and full of life, the female form was a constant source of inspiration throughout Engonopoulos's career, a fundamental subject in both his painting and poetry. Here, set in a luminous interior against a typically Greek island townscape crowned by the unmistakably Engonopoulean formations of travelling clouds, a voluptuous female nude reclines languidly on a sofa holding a red bud in her left hand (Engonopoulos adored flowers and especially roses) and looking towards a still-life with luscious fruit that discreetly heightens the sensuality of the scene. 'I love the nude body more than the face' the artist noted in an interview. 'I love it because it is the chalice of life. As expressive as life is, even when tired. As sparkling as life is, when young.'1 Equally brilliant is the colour, a key element throughout Engonopoulos' career. Applied side by side, the enamel-like reds and blues invite the viewer to a festive ritual of pure colour. 'Engonopoulos is a wizard with colour, which he handles with conscious daring, unique aptitude and undisputed love.'2 As Errieti Engonopoulou, his daughter, notes, 'for him each colour has its own value, its own voice'3; much the same as in Byzantine art, which Engonopoulos always considered the art form Greeks most closely relate to.4 1 Apogevmatini newspaper, August 2, 1969.2 S. Boulakian, 'The Work of Nikos Engonopoulos' in Greek Painters-20th Century [in Greek], Melissa publ., Athens 1974, p. 262.3 E. Engonopoulou, 'Freedom and Discipline' in Nikos Engonopoulos, The Painter and the Poe, [in Greek], Kathimerini newspaper, Epta Imeres, May 25, 1997, p. 23.4 See Epitheorisi Technis magazine, March 1963, no.99, pp. 193-197.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
Alexis Akrithakis (Greek, 1939-1994)Avion signé et daté 'Akrithakis/1982' (au revers)peinture sur bois et installation électrique73 x 86 x 18cm (28 3/4 x 33 7/8 x 7 1/16in).signed and dated (on the reverse)painting on wood and electrical installationFootnotes:Cette Å“uvre est accompagnée d'un certificat d'authenticité par la galerie Xippas.This work is accompanied by a certificate of authenticity from the Xippas gallery.ExpositionsThessaloniki, Macedonian Museum of Contemporary Art - Thessaloniki Cultural Capital of Europe, Akrithakis, Retrospective Exhibition, December 19, 1997 - February 15, 1998.Athens, National Gallery - Alexandros Soutzos Museum, Akrithakis, Retrospective Exhibition, May 4 - June 29, 1998.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
JEWELLERY BOOKS - CONTEMPORARY DESIGNERS COMPRISING; Art of a Jewel, Glenn Spiro, Assouline Publishing, New York 2019 Cipullo: Making Jewelry Modern, Remato Cipullo and Vivienne Becker, Assouline Publishing, New York 2021 Daring Creativity, Vivienne BEcker, Assouline Publishing, New York 2017 David Webb: The Quintessential American Jeweller, Ruth Peltason, Assouline Publishing, New York 2013 David Yurman - Cable, David Yurman, Rizzoli International Publications, Inc., New York 2017 Michele Della Valle: Jewels and Myths, Antique Collectors' Club Ltd., 2014 Nardi: Venezia Nicholas Foulkes, Assouline Publishing, New York 2012 Shaun Leane, Shaun Leane, ACC Art Books Ltd, 2020 (8) The largest: 35.5cm x 26cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
JEWELLERY BOOKS - 20TH-21ST CENTURY COMPRISING; 21st-Century Jewellery Designers: An Inspired Style, Juliet Weir-De La Rochefoucauld, Antique Collectors' Club Ltd., Suffolk 2013 Celebrating Jewellery: Exceptional Jewels of the Nineteenth and Twentieth Centuries, David Bennett and Daniela Mascetti, Antique Collectors' Club Ltd., Suffolk 2012 Eisenberg Originals: The Golden Years of Fashion, Jewelry, and Fragrance, 1920s-1950s, Sharon G. Schwartz and Laura Sutton, Schiffer Publishing Ltd., Atglen, PA 2017 Italian Jewelry in the 20th Century, Melissa Gabardi, Silvana Editorale S.p.A., Milano 2016 Jewels of fantasy: Costume Jewelry of the 20th Century, Deanna Farneti Cera, Harry N. Abrams, Inc., New York 1992 Twentieth-Century Jewellery: From Art Nouveau to Contemporary Design in Europe and the United States, Alba Cappellieri, Skira editore S.p.A., Milano 2010 Understanding Jewellery: The 20th Century, David Bennett and Daniela Mascetti, ACC Art Books Ltd., Suffolk 2021 Vintage Jewellery: Collecting and Wearing Twentieth-Century Designs, Caroline Cox, Carlton Books, London 2010 Vintage Jewelry Design: Classics to Collect & Wear, Caroline Cox, Lark Crafts, New York 2010 (9) The largest: 33.3cm x 28.2cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
JEWELLERY BOOKS - JEWELLERY COLLECTIONS COMPRISING; 21st Century Jewelry & the Icons of Style, Stefano Papi and Alexandra Rhodes, Thames & Hudson, Inc., New York 2013 Diva!, Alba Cappellieri, Silvana Editorale S.p.A., Milano 2021 Famous Jewelry Collectors, Stefano Papi and Alexandra Rhodes, Thames & Hudson, Ltd., London 1999 Fine Jewellry Couture: Contemporary Heirlooms, Oliver Dupon, Thames & Hudson, Inc., New York 2016 La Haute joaillerie: Le Luxe à la française, Dominique Hoffmann, Éditions de la Martinière, Paris 2011 Hidden Gems: Jewellery Stories from the Sale Room, Sarah Hue-Williams and Raymond Sancroft-Baker, Unicorn Press, Norwich 2016 If These Jewels Could Talk: The Legend Behind Celebrity Gems, Beth Bernstein, ACC Art Books Ltd 2016 The Smithsonian National Gem Collection: Unearthed, Jeffrey Edward Post, Harry N. Abrams, Inc., New York 2021 The Souls of Jewellery, Marc Jeanson, Érik Gonthier, et al., Flammarion S.A., Paris 2021 Spectacular,: Gems and Jewelry from the Merriweather Post CollectionLiana Paredes, D Giles Limited, London 2017 (10) The largest: 36cm x 29.5cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Mihály von Zichy, Hungarian 1827-1906- Four erotic scenes; each pencil and watercolour on paper laid down on card, two with pen and ink and one heightened with white, each signed 'Zichy' (lower right), three titled 'Un dépucelage', 'Aura-t-elle assez!', and 'Jouissance' (left), 21.6 x 28.9 cm. (and smaller), four (4), (unframed). Provenance: Private Collection, UK. Note: Zichy was one of the most significant Hungarian painters of the 19th century. He attended Jakab Marastoni's (1804-1860) art school in Pest before travelling to Vienna in 1844 to study under Ferdinand George Waldmüller (1793-1865). He largely lived and worked in Paris and St Petersburg (Russian Empire) for the remainder of his career. Zichy is best-known as an illustrator, particularly for the Georgian epic poem 'The Knight in the Panther's Skin' alongside contemporary titles including Imre Madách's 'The Tragedy of Man'. The present works are particularly fine examples of his erotic scenes.
Follower of Marcantonio Franceschini, Italian 1648-1729- Diana and Endymion; oil on canvas, bears later inscription 'RENI DIANA ENDYMION' on the upper stretcher bar, 51.8 x 70 cm. Provenance: Private Collection, UK. Note: The style of Marcantonio Franceschini and his circle is often referred to as 'Barocchetto', a transitional style combining the dramatic drapery and dynamic shapes of the latter years of the Baroque with the crispness and clear, open compositions of the incipient Rococo. While the clarity of line and arrangement of the present work recall the works of Franceschini and his Bolognese circle, the composition also appears to take inspiration from contemporary Roman renditions of the same mythological scene, including Luca Giordano's (1634-1705) version of the subject, now at the National Gallery of Art, Washington [no.1991.20.1].
New York: DK Publishing, First American Edition 2006. 440 pages. Decorative Arts, Style and Design From Classical to Contemporary. Hardcover book with original dust cover discussing the design and craftsmanship of art, pottery, glass and textiles through the ages. ISBN: 0756623499. , Artist: Judith MillerIssued: 2006Dimensions: 10"W x 1.25"D x 12"HManufacturer: DK PublishingCountry of Origin: United StatesCondition Age related wear. Good.
An important Louis XIV ormolu mounted ebony, fruitwood, sycamore, boxwood and bone inlaid floral marquetry large bureauMost probably by Renaud or Aubertin Gaudron, circa 1690-1700The black embossed leather writing surface enclosed by a profusely inlaid border including grotesque masks, birds, flowers and insects above a central frieze drawer flanked by four drawers with conforming inlay and with bone florettes flanking the ormolu escutcheons, and opposing dummy drawers on eight cabriole legs and gilt bronze cloven hoof sabots, the sides inlaid with floral filled baskets, sold together with the book, Chefs d'Oeuvre des Marqueteurs by Pierre Ramond which discusses the bureau plat in great detail, 180cm wide x 80.5cm deep x 78.5cm high, (70.5in wide x 31 1/2in deep x 30 1/2in high)Footnotes:ProvenanceGalerie G. Sarti, Paris;Salomon Stodel, Amsterdam.LiteraturePierre Ramond, Chefs d'Oeuvre des Marqueteurs, Des Origines à Louis XIV, Paris, 1994, where written up over 3 pages (p.23-25). J.N.Ronfort and J.D.Augarde, Paris, 9 November 1994, Très Exceptionnel Bureau en Marqueterie de FleursAubertin and Renaud GaudronRenaud Gaudron, Menuisier Ebéniste Ordinaire du Roi is the son of Aubertin Gaudron, Maître Menuisier Ebéniste who was working most probably for Philippe, duc d'Orléans, brother of Louis XIV and active from circa 1641. Talented and successful, Renaud Gaudron inherited a flourishing business in 1691. A few years before, in 1686, Renaud Gaudron had already taken over from the deceased Pierre Golle as one of the main suppliers of the Garde-Meuble de la Couronne. In order to fulfil the demand, he was assisted by his brother, Nicolas (Gaudron le Jeune) who was Menuisier-Ebéniste in Versailles, and had a successful workshop. As a contemporary of André-Charles Boulle producing similar marquetry pieces, Aubertin Gaudron (active circa 1670-1700) is intrinsically linked to him in the production of marquetry furniture. Both cabinet-makers were inspired by the rich Dutch floral designs of artists such as Jean-Baptiste Monnoyer and Nicolas Beaudesson, of which André-Charles Boulle owned many studies of flowers and birds.According to a comprehensive study of the present lot by J.N.Ronfort and J.D.Augarde, the authors interestingly mention that Renaud Gaudron would have delivered 28 different floral marquetry pieces of furniture to the Garde-Meuble de la Couronne between 1688 and 1713. This comprised various types of tables, bureaux, commodes and guéridons. Marqueterie de Fleurs au Naturel It is under the influence of Flemish artists that floral marquetry gradually became the most important decorative style used on furniture during the first half of the 17th century. The initiators of this pictorial art were both Pierre Golle and Léonard van der Vinne in Florence. André-Charles Boulle, established in the galeries du Louvre from 1672 soon became the most sought artist of his time. An interesting description of a marquetry commode delivered by Gaudron for the Château de Compiègne relates closely to the present one, described as: 'marqueterie de bois de plusieurs couleurs fond d'ébène orné au milieu d'un vase rempli de fleurs pose sur un bout de table et un masque grotesque au-dessous, le reste rempli de rinceaux, fleurs, oiseaux et papillons au naturel' (AN 01/3308). The grotesque masks can also be seen on a similar commode in the Musée des Arts Décoratifs in Paris (CLUNY 11762), as well as on another commode possibly by Gaudron, sold at Bonhams, London, 9 July 2015, lot 26 (£52,500 inc. premium).The small contrasting inlays flanking the escutcheons of the present lot can also be found on a commode from the Wildenstein Collection, sold at Christie's, London, 14-15 December 2005, lot 115 (£84,000 inc. premium).For an illustrative comparison of a late Louis XIV floral marquetry and ebony commode, see P. Kjellberg, Le Meuble Français et Européen du Moyen Age à nos jours, Paris 1991, p 92.'Bureau à travailler' The term 'bureau' as we interpret it today appears only a few years after the beginning of Louis XIV's reign. Before that, the term applied equally to what we now refer to as commodes. For example, the celebrated commodes which André-Charles Boulle delivered to Louis XIV's bedroom at Trianon in 1708 (now in Versailles) were then called 'bureaux'. Gaudron delivered various commodes which he called 'grandes tables en bureau garnies de trois grands tiroirs' to the Garde-Meuble de la Couronne in 1695, 1697 and 1698. The bureaux as we conceive them today were first described in the 1670s. The celebrated cabinet maker Pierre Gole delivered 'un bureau en cabinet d'ébène à fleurs et pièces de bois de rapport' on 4 February 1671. Another bureau of closely related form with eight legs, was delivered by the cabinet maker Michel Campe in 1674 as per its description in the Journal du Garde-Meuble. It is described as being veneered in floral marquetry against an ebony ground. Our bureau 'à caissons' is particularly important due to its very large size for the period. Only very few similar bureaux at that time measure between 'cinq et six pieds de long' (162 to 194cm). The bone inlay has been examined by Dickie Zebregs from Zebregs&Röell Fine Art and Antiques who has confirmed it is bone and not ivory.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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
ARR Jane Hamlyn (born 1940) a studio pottery teapot in light blue salt glaze, 9.5cm high, a teapot by Brian Sutherland (1929-1998) made at Fairfield Pottery, Broadstairs, glazed in treacle brown, a large teapot by Jane Sawyer (Australian contemporary) with overhead handle and light coloured glaze, purchased at the Australian Contemporary Exhibition at The V & A 2008 and a teapot by Lindy Wright (contemporary portrait painter) with spotted decoration, made in 1977 while at the Royal College of Art (4)
Three contemporary, limited edition posters to inc: White Stripes and the Datsuns in Melbourne, 2002 signed by artist and marked as an AP (22x32" approx), Queens of the Stone Age January dates number 39/350 and signed by artist (19.5x27.5"), Queens of The Stone Age 2002 (approx 20x27.5") art by Darren Grealish.
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