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FIVE BOXES OF BOOKS containing over 150 miscellaneous titles in hardback and paperback formats, subjects include religion cookery, art, music, plants, encyclopaedic and lexical works, travel and classic or contemporary novels

oil on canvas, signed, titled label verso framed image size 26cm x 31cm, overall size 42cm x 46cm  Exhibition label verso: Exhibition number 62, Walker Galleries Contemporary Art Harrogate

watercolour on paper, signed mounted, framed and under glass image size 26cm x 36cm, overall size 43cm x 53cm Note: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months by both McTear's and others at ever more impressive prices. In The Scottish Contemporary Art Auction of 29th May 2022 "The Finnon Smoker" by Bellany sold for £80,000 (hammer) and in the same sale, "Bass Rock Fable" (a 76 x 61cm unframed oil) sold for £12,000 (hammer). In our 21st August 2022 auction, lot 137 "The Newspaper Hat" (a 61 x 51cm oil) sold for £9500 (hammer). "Like-for-like" auction prices for original paintings are usually difficullt to assess, but in The Scottish Contemporary Art Auction of April 2023, two Bellany paintings which had been acquired in our auctions in September and November 2014 were consigned for sale by the same owner. The original 2014 selling prices were £1800 and £4000 and the same paintings sold in April for £3800 and £7000 (all hammer prices). This equates to a growth in value of 86.2% in fewer than nine years. In The Scottish Contemporary Art Auction of 25th May 2023, lot 282, "Restless Wave" a 90 x 90cm oil (by Bellany) sold for £9000 (hammer).

oil on canvas, signed and dated 2000, titled verso framed and under glass image size 60cm x 60cm, overall size 80cm x 80cm Artist's label verso.Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick's Tug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison. In The Scottish Contemporary Art Auction of 28th September 2023 lot 38 LEE SHORE - NO LANDING ON STAFFA, sold for £8000 (hammer) setting a new auction record for a painting by John Lowrie Morrison

‡ STEVEN WHITEHEAD oil on canvas - entitled, 'Back of the Yards', dated verso 1983, 75 x 101cmsProvenance: private collection, consigned via our Mid Wales office, exhibited at Aberystwyth Arts CentreAuctioneer's Note: Whitehead is now one of the UK’s foremost hyper-realist painters. He trained under David Tinker at the University College of Wales, Aberystwyth and twice won the Wales Open, where a companion for this painting, Platform Two, was purchased by the Contemporary Art Society for Wales.Comments: framed, ready to hang

MARTIN TINNEY GALLERY collection of twenty one exhibition catalogues from the Welsh gallery, which has recently closed due to retirement, the gallery was at the forefront of contemporary Welsh art for over 31 years, example catalogues include, Gwilym Prichard, Peter Prendergast, Evelyn Williams, Harry Holland and Shani Rhys James MBEProvenance: private collection Vale of GlamorganComments: see additional images for full list of exhibitors

Karl J. Dierkes1924 Dalhausen - 2008 Dalhausen - "Ischtar II" - Bronze. Braun patiniert sowie hochglanzpoliert. H. 40,8 cm. Auf der Rückseite unten monogr.: KD. Darunter mit dem Gießervermerk: GUSS BARTH RINTELN. - Lit.: Dierkes. Bronzen. Ausst.-Kat. Museum Schloß Corvey. Höxter 1995, Nr. 17 (mit Abb., unpaginiert). Bronze, contemporary art, Plastik, Skulptur, zeitgenössische Kunst

Contemporary metal art sculpture; Artist; Nigel Walker, Titled 'Jazzer!!' dated 07. Fitted upon a timber triangle block. [44cm high]

DONG SHOUPING (Chinese b. 1904-1997) Landscape Inscribed and signed, with two seals of the artist Dated Spring, yichou year (1985) Scroll and mounted, ink on paper 95cm x 43 cm (37.5" x 17") 董寿平  一九八八年作 题：乙丑 (1985）董寿平写于北京 鈐印：壽平、壽平書畫， Dong Shouping (董寿平; 1904-1997) was a renowned contemporary painter and calligrapher. Formerly known as Dong Gyu, later renamed Shou ping. Born in Shangxi province Hongdong County Du Shu village, Dong Shouping was born to a reputable family, Emperor Dong Jitang of Qing Dynasty famous calligrapher, his grandfather Dong Zhihuan Qing Hanlin. He was influenced by his family in calligraphy and painting, and especially admired at the beginning of the Qing Dynasty the works of painter Yun Shouping, then renamed Shou ping. At the age of 16, Dong Shouping attended the Beijing world language school after the turn of the Department of economics of Nankai University, tianjin. In 1926 he graduated from Burapha University in Beijing and settled in Beijing in 1928. In 1931 he began selling paintings for a living, 1938 articles to Xi'an, back to Chengdu, Sichuan writers have Lin Shan Yu appreciation, to praise to make the name well known in Chengdu, held the first day, in 1939 moved to Sichuan Province Guanxian Dujiangyan Guan Yu Lei, living there for 12 years. In 1941 he donated to support the Anti Japanese war. After the liberation, Dong Shouping returned to Beijing in 1950, Ren Rong Bao Zhai editing, 1952 will hide all the books donated by Shanxi provincial museum. To travel around the China sketch, creating more than. In 1979, Rong Bao Zhai consultants identity to Japan, and lectured at University of the Arts in Tokyo, painting demonstration. He is currently a member of the CPPCC National Committee, director of the China Calligrapher's Association, honorary president of Beijing research China painting. In 1979 the people's Fine Arts Publishing House of the "Dong Shouping" painting series. Dong Shouping started at a young age for art, will develop a reading habit of drawing, half day, he be learned in books, there is a profound knowledge, good at the broad and profound ancient Chinese art and modern techniques of combining. His picture has not only poetry and painting artistic conception, which has the literati scroll temperament, layout composition rich philosophy. He also acquired a hand hanging Book stunts, commended for the artists at home and abroad.

Joseph Mallord William Turner (1775-1851) R.A, watercolour on paper - Distant View of Norbury Park Surrey, home of the scholar and collector William Locke, beyond can be seen Mickleham Church and Boxhill, approx 25 x 35 cms. Provenance: The E. W. Towler Collection, formerly of Glympton Park, Woodstock, Oxfordshire.Ex-collections listed to verso: Sir Charles Robinson, George Salting, W.G Rawlinson, Calouste.S Gulbenkian, purchased by E.W Towler from The Fine Art Society, Ltd nr 8038 October 1964. Exhibited: Guildhall, 1899 nr 91 (Armstrong notes that the "Norbury Park" lent to Cooke's exhibition in 1823 by Dr Monro as an "early specimen", may be this drawing or possibly the one in the Vaughan Bequest at the National Gallery, Ireland.  Literature: Sir Walter Armstrong, Turner, 1902, pg 268. Footnote: William Locke of Norbury Park (1732-1810) was an important patron of Turner. He was also a friend and country neighbor of Dr Thomas Monro who had a house two miles south of Leatherhead. Dr Munro acquired several of Turner's watercolours of Norbury Park (Wilton, loc.cit, nos.135-5), all very similar in size and style to this one. Condition report: some light fading is present, but in general this is a well-preserved watercolour, retaining clear details and definition to the leaves on the beech tree, the village and Norbury Park in the distance, good condition for a watercolour of its age. It is presented in a contemporary frame and mount, some thrips evident to the mount. 

Matt Mullican (n. 1951)"5 Signs (outline)"Polyptych (5 pieces)Oil pastel and gouache on canvasSigned and dated 2012 on the reverse of the last painting60x50 cm (cada peça/each piece)60x250 cm (total)With certificate of authenticity from Cristina Guerra Contemporary Art and label from the same gallery on the reverse of the last painting.

Artist hand signed lower right in pencil on arches paper.A large serigraph print on arches paper, a limited unnumbered edition of an original Modernist work by Russian born artist Igor Galanin (b. 1937) whose work has been featured in Vanity Fair, The Christian Science Monitor, Penthouse Magazine, and The New York Times, and been exhibited at the Rose Art Museum in Boston, the London Gallery in Montreal, and Museum of Contemporary Art, La Jolla, CA. Artist signed in pencil lower right. Artist: Igor GalaninIssued: 1985Dimensions: 42.5"H x 35.25"WCountry of Origin: United StatesCondition: Few minor tears to edges otherwise good.

An absolutely adorable addition to any art collection by Postwar and Contemporary painter Jean Lamouroux. Oil on canvas. Features a white kitten holding one paw in a playful gesture while reclined on a green ram's head sculpture. The subject is placed on a yellow and magenta background with green leaves dancing above. Signed in orange by artist in lower right corner. Sight size: 19.5""H x 23.75""W; frame: 21""H x 25.25""W x 1.25""D. Artist: Jean LamourouxCountry of Origin: FranceProvenance: Collection of Marie-Claude Lalique Condition: Age related wear.

Purple Passion is a vibrant color silkscreen on paper by Contemporary artist Audrey Cohle that portrays a young woman with rich purple hair and dress. Cohle represents her on an Art Deco background with geometric designs enhanced with silver paint. Signature on lower right: Audrey Cohle. Numbered on lower left: 6/300. Housed in a black double sided frame with the artwork placed on a black mat. Sight size: 26.50""L x 33.25""H. Frame size: 35.25""L x 45.5""H x 1""W. Certificate of Authenticity included. Artist: Audrey CohleIssued: c. 1990Edition Number: 6 of 300 Country of Origin: United StatesCondition: Age related wear.

William Weege (American, 1935-2020). Mixed media on vinyl turntable record in vibrant pinks, purples, and blues, depicting stars and diamonds 1976. Signed and dated near the center of the record. With the original paper sleeve. The artwork is painted on a National Public Radio Theater record. A similar work can be found in the collection of the Madison Museum of Contemporary Art.Diameter: 11 3/4 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

George Morrison (Ojibwe, 1919-2000). Gouache paper titled "Mirrored Image" depicting an abstracted layered landscape in rich yellows and oranges with hints of green, 1956. Signed and dated along the lower left; titled along the left margin behind the mat. With a label from The Contemporary Arts Center of the Cincinnati Art Museum affixed to the verso which titles the work as "Autumn Landscape."Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.Although his body of work on horizons didn’t make overt reference to his Ojibwe roots, it instead offers a respectful nod to Ojibwe culture. In creating this body of work, he ushered in a change to expectations imposed on Native artists, offering himself as a catalyst towards breaking the barrier that relegated Native American artists to feel a pressure to center upon subjects that were overtly self-reflective and rooted in identity politics. This effort boosted Moorison into a champion founder of Native American modernism. He taught at colleges like the Rhode Island School of Design and later taught American Indian studies and art at the University of Minnesota. A spotlight in the Minnesota art scene, Morrison’s success stemmed from his eventual grounding in nature and Anishinaabe culture and using that to offer his take on spiritual landscape paintings.Morrison is also well-known for his woodcut collages, large in scale with a look that was either all natural in driftwood or all polished with sanded, sculpted wooden pieces. The collages display horizontally, again with an intent of capturing the shifting movements of the horizon. He altered the medium once more by creating rubbings of his wood collages, further emphasizing patterns created by momentary sights of the horizon and which served to re-invigorate the works with the rawness witnessed in the natural environment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 18 1/2 in x width: 23 1/4 in. Framed; height: 26 1/2 in x width: 31 in. />Condition: There are no losses or restorations. The colors are bold and bright. There is a slight undulation to the sheet throughout. There is a small 1/2 inch vertical tear along the lower center. There is yellowed tape along the center of all edges and all corners; some pieces are missing. Framed under glass; some wear to the frame.

Rod Massey (American, b. 1949). Oil on panel painting titled "Spring Scene East 56th St." depicting homes and melting snow, 2006. A figure in a red jacket stands in the yard inspecting the spring melt. Signed, titled, and dated on a label affixed to the verso. With a label from Groveland Gallery, Minneapolis affixed to the verso.Massey was born in Minneapolis in 1949 and received his BFA at the Minneapolis College of Art and Design. Upon graduation, he continued his education at the Tanglewood/Boston University and the Skowhegan School of Painting and Sculpture. His work features everyday urban scenes and imbues them with a sense of buoyancy. Massey's main interests lie in unpacking the underlying character of daily objects, such as houses, highways, work trucks, fruits, etc. He argues that "While my art is rooted in traditional painting, my intent is to convey a deeper, more personal and contemporary insight into my environment. Distortions of perspective, space, color and light all define the regionalist nature of my personal vision and experience." His work is housed in numerous national collections including, but not limited to, the Minneapolis Institute of Art, 3M Company, General Mills, and Target Corporation.Sight; height: 27 1/4 in x width: 34 in. Framed; height: 28 1/4 in x width: 35 1/4 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Rod Massey (American, b. 1949). Oil on panel painting titled "Untitled #0217" depicting houses buried in fresh white snow, 2002. Likely depicting homes in St. Paul or Minneapolis. Signed and dated along the verso. With a label from Groveland Gallery in Minneapolis, Minnesota along the verso.Massey was born in Minneapolis in 1949 and received his BFA at the Minneapolis College of Art and Design. Upon graduation, he continued his education at the Tanglewood/Boston University and the Skowhegan School of Painting and Sculpture. His work features everyday urban scenes and imbues them with a sense of buoyancy. Massey's main interests lie in unpacking the underlying character of daily objects, such as houses, highways, work trucks, fruits, etc. He argues that "While my art is rooted in traditional painting, my intent is to convey a deeper, more personal and contemporary insight into my environment. Distortions of perspective, space, color and light all define the regionalist nature of my personal vision and experience." His work is housed in numerous national collections including, but not limited to, the Minneapolis Institute of Art, 3M Company, General Mills, and Target Corporation.Sight; height: 20 1/2 in x width: 26 in. Framed; height: 25 1/4 in x width: 31 1/4 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Adam Henein (Egypt, 1929-2020)The Cat bronzesigned 'A.HENEIN' and numbered 'VII/IIX', number 7 from an edition of 8, executed in 197335 x 103cm (13 3/4 x 40 9/16in).Footnotes:Provenance:Property from a distinguished private collection, CairoAcquired directly from the Artist by the above circa 1990sBonhams are delighted to present two exquisite sculptures by one of the most prominent Arab sculptors of our time. Adam Henein was born in Cairo in 1929 into a family of metalworkers. In 1953, he graduated from School of Fine Arts, Cairo, he went on to receive a two-year grant to study at the Luxor Atelier. The atelier was established a decade earlier by the notable Egyptian artist and scholar Mohamed Nagi to promote Egyptian art education in school circular. In 1954 and 1956 Henein received the Luxor price for his artistic achievements. Two years later, he received a diploma in advanced practices from the Munich Academy in Germany.In 1971, Adam Henein was invited to participate in an Egyptian contemporary art exhibition in Paris at the Musée Galleria. He spent the next two and half decades, from 1971 to 1996 in Paris pushing his practice through sculpture and painting and continued focusing on ancient Egyptian themes and traditional materials. The early 1970s marked an important evolution in Henein's artistic practice, whilst in Paris he was given the opportunity to be exposed to the work of great western modern sculptors and artists whose freedom of interpretation he found to be deeply inspiring.In the late 1990s, Henein returned to his homeland. He contributed greatly to his Egypt's cultural landscape, particularly in Aswan where he established the city's annual International Sculpture Symposium. Upon his return to Egypt he was also appointed by the Minister of Culture to head the design team involved in the restoration of the Great Sphinx in Giza. Henein was awarded Egypt's State Medal, the State Merit Award, as well as the Mubarak Award in the arts. His works have been exhibited at the Institut du Monde Arabe in Paris, the Metropolitan Museum of Art in New York, The MATHAF in Doha, The ASB Gallery in Munich as well as in London and Rome.Throughout his vast career Henein produced a significant number of large and small-scale sculptures handling a variety of different mediums such as bronze, granite, plaster, limestone and terracotta. In 2014, the Adam Henein Museum opened its door in Cairo's Al-Harraniya district, which is a priceless gift from the artist himself to his native country. The museum is dedicated to the largest collection of Henein's sculptures as well as featuring some of his paintings.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Marcos Grigorian (1925-2007)Sangak mixed media, mud, sangak bread and stones on canvassigned and dated on the verso, executed in 1967142 x 79cm (55 7/8 x 31 1/8in).Footnotes:Provenance:Property from a private collection, USAAcquired directly from the Artist's Estate by the aboveExhibited:Leila Heller Gallery, Marcos Grigorian: Earthworks, New York, September 27 2011-November 25 2012'Bread, particularly our cherished 'sangak', is a symbol of daily sustenance for Iranians. By encapsulating it in resin, I challenge the limitations of organic matter, transforming the impermanent into the eternal, and in doing so, I bridge the gap between our daily rituals and the timeless realm of art.' - Marcos GrigorianThe present work is a formidable example of Marcos Grigorian's early Earthworks. The Earthworks were inspired by the use of materials and forms that went beyond the conventional means of art-making. Compared to the Western Land Artists, who similarly created compositions through the handling of earth itself, Grigorian predated this movement by a decade.These works are mostly in a square or rectangular format, which became something of a signature for Grigorian. The square form was a representation of sacred geometry and harmonious proportions. The organic materials such as hay, straw, sand, soil and clay which he used to create his almost three-dimensional compositions were to be equally defining.In 1965, The Museum of Modern Art, New York acquired a work from Grigorian's Earthworks Series on the recommendation of Alfred H. Barr Jr., the legendary former director of the museum. A second work was then donated to the museum by Nelson Rockefeller in 1978. Further examples of Grigorian's works were recently acquired by the Metropolitan Museum of Art in New York and can also be found in the collections of Tehran's Museum of Contemporary Art and the National Gallery of Armenia in Yerevan.Besides being a leading figure in avant-garde Iranian and Armenian art history, Grigorian was an artist, writer, gallerist, collector, pioneer and a teacher. From his Gallery Esthétique in 1950s Tehran, which provided a free exhibition space for younger artists, to his pioneering decision to organise the first national Tehran Biennial in 1958 (after he was awarded the honour of representing Iran in the 1956 Venice Biennial) Grigorian desired to make an impact on the development of art.He was instrumental in the introduction and promotion of modern art in Iran in the 1950s and extensively promoted the works of Armenian artists in the United States in the 1980s. Despite travelling around the world, Grigorian chose to return to his ancestral home of Armenia for the remainder of his life and donated his complete collection to the Armenian government as a sign of his lifelong commitment to his nation.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Naim Ismail (Syria, 1930-1979)The Cotton Field (Haql Al-Qutn) oil on canvassigned 'Naim' and dated '1962' in Arabic (lower left), executed in 1962130.5 x 100cm (51 3/8 x 39 3/8in).Footnotes:An important group of Modern Syrian paintings from a Private Collection in AzerbaijanProvenance:Property from a private collection, BakuFormerly in the collection of a staff member of prominent Azerbaijani poet and former Deputy Culture Minister, Nabi KhazriThe following five lots are a rare and fascinating group of Syrian artworks by formidable early modernists whose works rarely cometo auction. Unusually, these works were in a prestigious Azerbaijani collection, acquired by a collector who worked for theprominent Azeri poet, playwright, and Deputy Minister of Culture Nabi Khazri.The collection comprises two monumental canvases by Naim Ismail, a seminal 1968 painting commemorating the struggle of thePalestnian Fid'ai by Mahmoud Hammad, and exquisite works by Nazir Nabaa and the enigmatic Abdel Mannan Shamma. Thecollection gives a compact but fantastic account of Syrian Modernism and its key animating issues, whether they be cultural,political or identity based.Naim Ismail, born in 1930 in Antioch, Syria, was a notable Syrian artist known for his exceptional contributions to the modern artmovement in the Arab world. Steeped in a rich tradition of Syrian culture, Ismail's works often bridged the ancient and thecontemporary, reflecting themes of heritage, identity, and history. His techniques, which seamlessly integrated traditional Arabiconography with modern abstract elements, showcased his deep connection with his homeland while simultaneously engagingwith broader artistic dialogues.Throughout his career, Naim Ismail held numerous exhibitions and earned acclaim both regionally and internationally, solidifying hisplace as one of Syria's most influential artistic figures.After receiving formal art training in Istanbul and Rome, Ismail settled in Damascus to work as an artistic director for publications. Inthe 1970s, he was appointed the Director of Fine Arts in the Ministry of Culture until his death in 1979This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Abdel Hadi El-Gazzar (Egypt, 1925-1965)Blue Shell (from the Scientific Progress series) blue pencil on paper, framed signed in Arabic and dated '1945' (lower right), executed in 194514 x 19cm (5 1/2 x 7 1/2in).Footnotes:Provenance:Property from the private collection of Dr Mohammad Said FarsiThence by descent to the present ownerNote: This work will be included in the forthcoming Gazzar Catalogue Raisonné, currently being prepared by Dr. Hussam Rashwan and Valérie Didier, due for publication by Editions Norma in 2024Property from the collection of Dr Mohammed SaidLots 1-6Dr. Mohammed Said Farsi is one of the Middle East's most remarkable patrons of the visual arts. Farsi was born in 1935 in the South West quarter of Mecca, Saudi Arabia. In 1956, 35 students including Farsi were chosen from all over The Kingdom to be sent to study abroad for further education. Upon completion of his undergraduate studies in Architecture and Town Planning from the University of Alexandria he returned from Egypt to his hometown where he spent 10 years working in the Bureau of Town Planning in the Western District.In 1972, Dr. Farsi became the first Mayor of Jeddah whilst also obtaining a Master's Degree from the University of Alexandria for his thesis on the architecture and town planning of Mecca. Farsi resigned from public office in 1986 in order to focus on his research. Farsi later received a PhD in Architecture and Town Planning when he started writing a series of essays on art history and architecture that were collected and published as The Story of Art in Jeddah in 1989.Dr. Farsi's vision as a city planner was to integrate important contemporary art into public spaces as he believed it would enrich the lives of the inhabitants and reflect the ongoing cultural significance of the city both locally and globally. He commissioned over 400 pieces by Arab and International artists including works by the great modern masters Henry Moore, Victor Vasarely and Cesar. In 1991 a book entitled Jeddah City of Art was published by his son Hani to celebrate his father's achievements.A driving force in the Egyptian art scene, Dr Farsi offered significant guidance and support to young emerging artists and at the same time he promoted and collected a great deal of modern Egyptian art. Farsi became the only Modern Egyptian Art collector to have systematically documented the works in his collection, commissioning a book that was published in 1998 by the critic and scholar Dr. Sobhy Sharouny entitled A Museum in a Book: The Farsi Art Collection 'The Egyptian Works' Owned by Dr. Mohammed Said Farsi.Dr. Farsi's profound fondness for Egypt, notably Alexandria found expression in the creation of his astounding collection, he himself commented that 'Living intimately within Alexandria's enchanted atmosphere of the 1950s had the greatest effect in forming my artistic consciousness'. Dr Farsi's interests later spread over a much broader spectrum as he also began collecting classical Islamic Art.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Huguette Caland (Lebanon, 1931-2019)Untitled mixed media on paper, framed signed 'H Caland' and dated '22/12/86' (lower right), executed in 198644 x 59cm (17 5/16 x 23 1/4in).Footnotes:Provenance:Property from a private collection, LondonFormerly in the Collection of Raoul Jean-Moulin Crait & Muller, Succession Raoul-Jean Moulin Sale, February 2018, Lot 125, Paris Hugette Caland's Abstract Still Life on Paper presents a captivating and energetic departure from her typically meticulous and orderly painted works. This piece, originating from the personal collection of esteemed art critic Raoul Jean Moulin, offers a rare glimpse into the artist's spontaneous and expressive side Caland's artistic evolution during her final year in Paris before her move to Los Angeles is evident in this piece. Here, she abandons the carefully calculated precision of her previous works in favor of a more unrestrained approach. The result is a dynamic and vibrant still life that pulsates with energy and vitality. The composition is a riot of colors, shapes, and textures, with elements seemingly colliding and intermingling in a symphony of chaos. Caland's bold use of mixed media adds depth and dimension to the work, creating a tactile and visceral experience for the viewer. Each brushstroke and mark on the paper appears spontaneous, less premeditated, and more guided by the artist's immediate emotions and impulses. Raoul-Jean Moulin was a critic, exhibition organizer, and head of the contemporary art archives at the Val-de-Marne and the collections at Musée d'Art Contemporain du Val-de-Marne. In 1958, he began writing criticism for Lettres françaises, and also contributed to Humanité until 1998. Moulin helped organize the Biennale de Paris, served as commissioner of the French pavilion at the Thirty-sixth Venice Biennale, and was active in the International Association of Art Critics, serving as its chair from 1972 to 1984. According to Widermann, who said Moulin seemed to have done enough for one hundred lives, the critic once wrote: 'We should listen to the painters—often times they get to the heart of things.'This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Kadhim Hayder (Iraq, 1932-1985)The Martyr oil on wood panel, framedsigned 'Kadhim Hayder' and dated '69' (lower left), executed in 196991.5 x 63.3 cm (36 x 24 15/16in).Footnotes:Provenance:Property from the Artist's EstateExhibited: Kadhim Haidar, Solo Exhibition, Baghdad Museum of Modern Art, 18-28 Dec 1969 Published: Dia Azzawi, Makou Journal, Kadhim Hayder, 2022, illustrated p.235Shayma Khudhair, The Problem of Illusion in Painting: Kadhim Hayder as an Example, College of Fine Arts, Baghdad, 2005Entesar Munad Ali, The Psycho-Epistemological Variables in Works of Kadhim Hayder, College of Fine Arts, University of Baghdad, 2022 A Rare and Magnificent Painting by Kadhim Hayder'The horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom'- Kadhim Hayder'The exhibition of The Epic of the Martyr took place in circumstances that were politically and culturally complicated; it turned the idea of martyrdom into a modern symbol that cried out in tragedy apart from any religious interpretation.'- Dia al-AzzawiThis extraordinary painting by Kadhim Hayder, from the artists inimitable Martyrs series, is a powerful depiction of the aftermath of the cycle, it is an emotionally charged work that showcases the artist's masterful use of religious allegory and cultural mythology. The painting carries an impressive provenance, coming from the estate of the artist, and is being offered on the market for the first time. What makes this painting particularly special is that it was not originally part of the Martyrs Epic series, but was painted 4 years after the exhibition. It shows the artist's fondness for this particular moment in the epic cycles, and his desire to explore it further. The scene itself is rich with symbolism: the foreground is dominated by a large, rectangular white sheet, most likely the Islamic 'kafan' or burial shroud of Hussein himself, the white expanse on which rests Hussein's sword, becomes almost an abstract symbol of the Martyr expressed through colour and form alone. Above the white expanse, horses and soldiers mourn the death of their beloved commander while on the right, a maternal figure with arms upraised is depicted with a child suspended in her womb, most likely an allusion to the death of the infant Ali Asghar, Husseins youngest son, during the Battle. Below the scene a prostrate red figure is unmistakably Shimr, the prime antagonist of the Battle of Karbala and the soldier responsible for Hussiens death, always depicted in red or clothed in red during passion plays to contrast him from the pure white and green of the martyred Hussein and his soldiers.This remarkable painting is a testament to Kadhim Hayder's importance in the history of Iraqi art, and his enduring legacy as an artist who captured the essence of one of the most important events in Islamic history.Saleem Al Bahloly: The Epic of the Martyr'Haidar began working on the series in 1963 shortly after returning from London where he had studied printmaking and stage-design at the Royal College of Art. On the one hand, the paintings were a continuation of the interests of artists in the 1950s: in the inspiration Haidar found in popular culture and in his adoption of certain pictorial devices from ancient Assyrian sculpture to modern art (associated with the Baghdad Group for Modern Art) as well as in his concern with political struggles for justice (associated with the Pioneers art group). On the other hand, however, Haidar opened a new horizon for the practice of art by structuring the paintings around an act of symbolism.The paintings are composed of horses and warriors, wielding spears and swords and bearing banners and shields, that are positioned on a flat, mythical landscape. This imagery was drawn from the annual taʿziya celebrations that mourn the martyrdom of al-Husayn and other members of the Prophet's family in a stand-off with the Umayyad army in 680 AD; in particular, the imagery is taken from the processions in which a pageant of costumed figures representing characters from the battle fought on the 'plain' west of the Euphrates parade through the street accompanying poets who narrate in a vernacular tradition of verse the injustice suffered by the Prophet's family.In the paintings, this imagery has been reconstructed according to a variety of devices inspired by a range of sources: the bodies of the horses and figures are turned toward the viewer, as if they are appearing on a stage or in an ancient frieze depicting a historic battle; a sense of performance is carried into the image by the intense expressivity of their gestures which seem to dissolve anatomical features and the outline of shapes in a fervour of emotion; the limbs of human and animal bodies alike are often multiplied (an influence of Assyrian sculptural reliefs that Haider almost certainly saw at the British Museum in London) and tapered (a form of modelling inspired by the sculpture of Henry Moore).The reconstructed imagery is arranged in the paintings not to narrate a historical event but to elaborate a concept of the martyr that emerged out of that event—a hero who by his death in a struggle for truth paradoxically triumphs. Haidar developed this concept of the martyr in painting by focusing on the symbolic relation between the fallen martyr and his horse. As he explained to the newspaper al-Jumhuriyya in 1965: 'the horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.' That symbolism is present in the mourning processions where al-Husayn is represented by a riderless white horse; but it has its roots in a legend that, when al-Husayn's horse saw his beheaded corpse, it circled around his body, rubbed its head in his blood, let out a ferocious whine and killed forty men.The paintings in The Epic of the Martyr were different sizes [they] reflect, as Dia al-ʿAzzawi has written, Haidar's desire to collapse the distinction between gallery and street, and between art and ritual, by reproducing the atmosphere of the folk celebration inside the museum. To that end, for the exhibition in 1965, Haidar composed a poem in which each line corresponded to a painting in the series, in this way reproducing the coupling of pageant and poetry in the mourning processions.This attempt to go beyond the conventional materials of painting, in order to use the artwork to stage an experience that is not only visual but also emotive, makes The Epic of the Martyr one of the earliest pieces of contemporary art in the Middle East.'Saleem Al-Bahloly received a PhD from the University of California, Berkeley, and has held fellowships at Johns Hopkins and the University of California, Santa Barbara. He is writing a book about an intellectual shift that occurred in Iraq during the 1960s in response to disillusionment with left-wing politics. The above text has been abridgedThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Nazir Nabaa (Syria, 1938-2016)Mother & Child oil on canvassigned 'Nazir Nabaa' and dated '68' in Arabic (lower right), executed in 1968101 x 76cm (39 3/4 x 29 15/16in).Footnotes:Provenance:Property from a private collection, BakuFormerly in the collection of a staff member of prominent Azerbaijani poet and former Deputy Culture Minister, Nabi KhazriNazir Nabaa, born in 1938 in Damascus, was a renowned Syrian artist. Recognized as a forerunner in contemporary Syrian art, hepursued his art education at the College of Fine Arts in Cairo between 1959 and 1965, a period when the United Arab Republicwas in existence. He later advanced his studies at the École nationale supérieure des Beaux-Arts in Paris from 1971 to 1974.Upon finishing his education, he went back to Damascus and became a faculty member at the College of Fine Arts, DamascusThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Sohrab Sepehri (Iran, 1928-1980)Untitled (Abstract series) oil on canvassigned 'Sohrab Sepheri' in Farsi (lower right), executed early 1960's47 x 39.5cm (18 1/2 x 15 9/16in).Footnotes:Provenance:Property from a private collection, South of FranceBonhams, Modern & Contemporary Middle Eastern Art auction, 1 May 2019, Lot 24 Property from a private collection, UKAcquired directly from the Artist in Iran, 1963 by an English employee of the Iranian World Service RadioIn its grace, naturalism, and sophistication, the present painting is a work utterly faithful to the tenets of Sepehri's oeuvre; demonstrating an almost perfect confluence of Sepehri's strong representational impulse propelled by his love of the vernacular of Kashan and the more opaque abstraction inherited from the Eastern painting traditions he was so fluently versed in.Poet, artist and intellectual, Sepehri's mild manner and withdrawn persona belied the richness of expression manifest in his works. Enraptured by nature, Sepehri had a deep and profound attachment to the topography of his native Kashan, the 'oasis city' where trees and vegetation sprung amidst the arid desert. The genesis of all of Sepehri's work was firmly rooted in this landscape, and whilst he is sometimes miscategorised as an artist solely pre-occupied with nature, the fullness of Sepehri's veneration of nature finds as potent a fruition in his representation of the dwellings that inhabit it.Sepehri had a firm belief in the inherent grace and nobility of the nature he so admired. Inspired by Eastern traditions, with which he had direct contact during travels in India and Japan, Sepehri came to see the purity of the natural world as an antidote to the corruption of the human condition. Thus, when depicting human and architectural subject matters, Sepehri carried the tonal, textural and botanical qualities of nature into his compositions.This is a testament to the harmonious symbiosis between nature and civilization in the rural context; buildings composed of local materials in a vernacular architectural language are thoroughly embedded with their landscape, they do not dominate or seek to conquer and subjugate in the manner of the dehumanizing urban sprawl Sepehri so dreaded when he exclaimed his 'fear of cities where the black earth is pasture to cranes'.Stylistically, the present work is a scintillating example of the very palpable sense of tension between naturalism and abstraction manifest in Sepehri's work. Sepehri was conceptually engaged by the universality of Zen painting, its advocacy of tonal minimalism, and its shedding of excess and detail in favour of exploring true meaning through a process of efficient meditative brushstrokes, however this was heavily tempered by his desire not to forsake the identity of his surroundings, ultimately, his attachment and love for his native home would never grant abstraction a total victory, and it is in this tension, that artistic sincerity is most deeply revealed.After enrolling at the Académie des Beaux-Arts in Paris in 1957, Sepehri went on to travel in Italy, throughout Africa and India before taking up a print making apprenticeship in Tokyo in 1960. During this period, the artist was exposed to Japanese philosophy, material culture and poetry that greatly influenced his future practice in both the visual arts and literature. After battling leukaemia, Sohrab Sepehri passed away in 1980 at the age of 52, remembered as both an exceptional painter and renowned poet.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Ahmed Cherkaoui (1934-1967)Les Miroirs Noirs VII oil on canvas, framedsigned 'A.Cherkaoui' (lower left), titled and dated on the verso, executed in 196525 x 30cm (9 13/16 x 11 13/16in).Footnotes:Provenance:Property from a private collection, FranceProperty from a private collection, SpainAcquired directly from the artist by the above 'This is not the hard-edged abstraction championed by other well-known Moroccan modernists at the time such as Mohamed Melehi. Instead, Cherkaoui's work here and throughout his career retains much more of the hand of the artist. His work deliberately allows space for imperfections'- Holiday PowersAhmed Cherkaoui was a leading figure of early Moroccan modernism, known particularly as one of the first painters there to initiate a dialogue working towards rooting international artistic modernism within a distinctly national context. He was an early instigator to a broader movement in Morocco during the short span of his career between the late 1950s and 1967, when he died abruptly from complications from appendicitis. Despite the short length of his career, artists and the arts discourse in Morocco throughout the 1960s and 1970s came back repeatedly to questions Cherkaoui had begun to pose before his early death. Cherkaoui was one of the first artists to attempt to ground abstraction in signs and symbols, actively confronting the duality of and distance between Morocco and Europe as can be seen in his 1965 painting Les Miroirs Noirs VII (The Black Mirrors VII). If the resolutely flat plane, visible brush strokes, and loose gestural abstraction call to mind the Paris School, the luminous earth tones and central symbol still link back to Morocco. For an artist that felt himself continually torn between France and Morocco, it was in his work that he was able to create an interstitial space. The elements of the painting are not precisely locatable to a discreet national body yet still gesture to his multiple geographic ties, creating instead a new blend and bridging the distance between the two on canvas. Trained in calligraphy in Qur'anic schools in Morocco, Cherkaoui left for Paris to study graphic design at the École des Métiers d'Art in 1959. Despite his interest in design, it was during his time in Paris that he began focusing more on painting and began frequenting the atelier of painter Jean Aujame. Influenced by the work of Paul Klee and Roger Bissière, Cherkaoui began working with abstraction. Like many artists of his generation in Morocco, it was while he was abroad, studying in Warsaw at the School of Fine Arts, in 1961, that Cherkaoui became invested in a closer look at his own background and cultural heritage. This led him in part towards experimentation with new materials, such as his series consisting of paintings on jute and collages that allowed him to expand on the boundaries of more academic painting.1 It was upon his return to Morocco after that year that he began exploring more closely the signs and symbols culled from local visual culture that would go on to populate his visual language.2 In many ways, this is an evocative moment for a career that was so intensely rooted in Morocco yet primarily articulated abroad. After multiple years abroad, Cherkaoui came home only to leave again to forge a career in France. By 1965, the year in which he painted Les Miroirs Noirs VII, Cherkaoui was at the height of his career and working in France. That same year, Gaston Diehl, the highly influential director of the Cultural Exchanges at the French Cultural and University Mission, writes, again in a text reproduced in L'Opinion: 'Given that our universal contemporary art has been so often criticized by vocation and by taste to be without particular roots, let us rejoice in front of the oeuvre of an artist that is not afraid to affirm his personality andhis origins. ... That he plunges into a long ago past does not keep him from living in the present or placing himself there [in the present] with vigour. Mixture of traditions? Marriage of convenience between the Maghreb and Europe? I would opt more for an osmosis between two civilizations, between two distinct modes of expression.'While deeply influenced by Moroccan visual culture, and particularly by the symbols used in Amazigh symbols, Cherkaoui was by no means mechanically repeating the images that he saw around him, as is highlighted in Les Miroirs Noirs VII. To the contrary, his work is an in-depth exploration into the structures and shapes of these symbols in order to reimagine them, to rework them through the lens of international modernism. Instead, and as is highlighted with Les Miroirs Noirs VII, painted soon after Cherkaoui had left Morocco to work in France as a drawing teacher, the artist actively sought to ground the international influences of training within a deeply local context in order to create something different. It is not, in Cherkaoui's work, a choice between one or the other. Like other works from this time period, Les Miroirs Noirs VII focuses in closely on large shapes painted with thick black lines that are interacting with one another, emphasized and refracted by broad lines of bright colours over a wash of earth tones meant to mimic remembered Moroccan landscapes. This is not the hard-edged abstraction championed by other well-known Moroccan modernists at the time such as Mohamed Melehi. Instead, Cherkaoui's work here and throughout his career retains much more of the hand of the artist. His work deliberately allows space for imperfections—the black line at the right is not retouched and so we glimpse the blue paint underneath, the purple paint is not quite opaque. There are not clean lines or sharp shapes in Cherkaoui's oeuvre, giving way instead to shapes that have light and life in them. The central symbol itself is off balance, not centred but active on its unstable axis. The canvas is full of movement because the viewer can see the action of his brush in the uneven white line in the centre, the gradations of colour given by varying thicknesses of paint, the lines that stop before hitting the edge at the bottom. The colours rarely blend together, instead focusing on the solidity and purity of each colour as it stands alone in concert with the other bright accents throughout the canvas. Moreover, it is an intimate canvas, just slightly larger than a piece of paper. Here Cherkaoui does not impose a vision to overwhelm the viewer, but invites us to step in closer, see in more depth something that is almost private. Abridged from a Text by Holiday PowersThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Dia Azzawi (Iraq, born 1939)You Dwell Inside Me oil on canvas, framedsigned 'Dia Azzawi' and dated '1970' (lower left) in Arabic, further signed, dated and titled on the verso, executed in 197089 x 79cm (35 1/16 x 31 1/8in).Footnotes:Provenance:Property from a private collection, London Thence by descent to the present ownerAcquired directly from the Artist by the above in 1971, BaghdadExhibited:The National Museum of Modern Art, Dia Azzawi Solo Exhibition, Baghdad, 1971Published:National Gallery of Modern Art, Dhia Al-Azzawi exhibition catalogue, 1971An important 1970 composition by Dia Azzawi exhibited at the National Museum of Modern ArtIn this vibrant masterpiece from 1970 by Dia Azzawi, a radiant sea of bright green washes over the canvas, capturing the essence of an era and a love story. Azzawi's brushwork is a harmonious dance, infusing life into the artwork, much like the passionate verses of the Iraqi revolutionary poet Muthaffar Al Nawab's love poems that inspired it.From the mid-1960s until the mid-1970s Azzawi depicted human figures within his canvases that resembled those of Mesopotamian sculpture. Within this lush and dynamic artwork, two figures emerge that are an embodiment of love's complex emotions. They move separately but gracefully through the green expanse, symbolizing the tender, intimate connection that Al Nawab's poems so beautifully convey. Azzawi's brushwork in this painting is a symphony of vibrant green, a colour that represents the abundance and renewal found in love. The bright green backdrop serves as a reflection of the lush, fertile ground where love takes root, blossoming into a profound, enduring connection. Azzawi captures the vigour and passion of Al Nawab's love poems through the exuberant energy of his brushstrokes, radiating an atmosphere of romance and ardour.As one gazes upon this artwork, they are transported to a realm where the poetic verses of Muthaffar Al Nawab and Dia Azzawi's visual eloquence intersect. The painting becomes a testament to the everlasting power of love and art, bridging the divide between the written and the visual, and inviting us to contemplate the profound depths of human connection.Azzawi started his artistic career in 1964, after graduating from the Institute of Fine Arts in Baghdad and completing a degree in archaeology from Baghdad University in 1962. His studies of ancient civilizations and Iraqi heritage had a profound impact on his art, and a key objective in the early formation of his artistic style was to link the visual culture of the past to the present.In 1969, Azzawi formed the New Vision Group (al-Ru'yya al-Jadidah), uniting fellow artists ideologically and culturally as opposed to stylistically. The group's manifesto, Towards a New Vision, highlighted an association between art and revolution, and sought to transcend the notion of a 'local style'—coined by the Baghdad Modern Art Group—by broadening the parameters of local culture to include the entire Arab world.With exhibitions of his work held worldwide, including a landmark retrospective in 2017 at Qatar's MATHAF, his art features in the collections of some of the world's most prestigious museums and institutions. He is also regarded, in the tumultuous post-conflict climate of 2000s Iraq, considered to be the ultimate authority on modernist and contemporary art from the region.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Omar El-Nagdi (Egypt, 1931-2019)Alef Lam Mim mixed media on canvassigned and dated '2008' (lower right), executed in 2008 180 x 180cm (70 7/8 x 70 7/8in).Footnotes:Provenance:Property from the Artist's EstateHurrufiyya – The Art of the Word'Just as Zikr serves as a meditative tool, guiding the soul towards divine contemplation, the rhythmic repetition of letters in calligraphic compositions similarly evokes a meditative state. This repetitive technique in calligraphy resonates with the Sufi idea of cyclical remembrance, drawing parallels between the written form and spiritual transcendence''They deconstruct writing, exploit the letter and turn it into a lexical sign of calligraphy, tradition and cultural heritage. As the sign is purely aesthetic, and only linguistic in its cultural association, it opens hitherto untraveled avenues for interpretation, and attracts different audiences, yet still maintains a link to the respective artist's own culture... Hurufiyya artists do away with the signifying function of language. The characters become pure signs, and temporarily emptied of their referential meaning, they become available for new meanings.' - Christiane TreichlBonhams are proud to present five spectacular artworks that showcase Arab Modern artists experimentation with the aesthetic and conceptual dimensions of Arabic letterforms, a movement broadly defined as 'Hurufiyya'. The works showcased here demonstrate the variety, geographical breadth, and originality of a movement which breathed new life into the traditional craft of calligraphy and which found local forms of expression amongst diverse regions of the Arab world. The Hurufiyya movement was an aesthetic movement that emerged in the late twentieth century amongst Arabian and North African artists, who used their understanding of traditional Islamic calligraphy, within the precepts of modern art. By combining tradition and modernity, these artists worked towards developing a Pan-Arab visual language, which instilled a sense of national identity in their respective nation states, at a time when many of these states where shaking off colonial rule and asserting their independence.They adopted the same name as the Hurufi, an approach of Sufism which emerged in the late 14th–early 15th century. Art historian, Dagher, has described hurufiyya as the most important movement to emerge in the Arab art world in the 20th-century.The term, hurifiyya is derived from the Arabic term, harf which means letter (as in a letter of the alphabet). When the term is used to describe an contemporary art movement, it explicitly references a Medieval system of teaching involving political theology and lettrism. In this theology, letters were seen as primordial signifiers and manipulators of the cosmos. Thus, the term is charged with Sufi intellectual and esoteric meaning.Traditional hurufi art was bound by strict rules, which amongst other things, confined calligraphy to devotional works and prohibited the representation of humans in manuscripts. Practising calligraphers trained with a master for many years in order to learn both the technique and the rules governing calligraphy. Contemporary hurufiyya artists broke free from these rules, allowing Arabic letters to be deconstructed, altered and included in abstract artworks Alef, Lam, Mim Born in 1931 in Cairo, Omar El Nagdi's artistic trajectory is a testament to a deeply ingrained passion for exploring the union of cultural heritage with avant-garde artistry. While El Nagdi's oeuvre spans an array of styles and subjects, his hurrufieh compositions stand out as a distinguished chapter in his prolific career.Detaching from the conventional use of calligraphy, El Nagdi's works in this style liberate the Arabic letters from their primary linguistic function. Instead, they breathe and dance on the canvas, fusing together, intertwining, and morphing into emotive forms. They are at once recognizable as letters and abstract forms, urging the viewer to witness the script in an entirely new light.Alef, Lam, Mim is a particularly significant sequence of letters which appears regularly in the Quran. In the intricate tapestry of Arabic calligraphy, the practice of repetitively inscribing individual letters bears a profound connection to the Sufi concept of Zikr (often spelled 'Dhikr'). Zikr, an essential component of Sufi spiritual practice, entails the repetitive invocation of divine names or religious phrases to cultivate inner mindfulness, presence, and an intimate connection with the Divine. Just as Zikr serves as a meditative tool, guiding the soul towards divine contemplation, the rhythmic repetition of letters in calligraphic compositions similarly evokes a meditative state. This repetitive technique in calligraphy resonates with the Sufi idea of cyclical remembrance, drawing parallels between the written form and spiritual transcendence, where both strive to center the practitioner in a profound space of reflection and devotion.El Nagdi's signature application of vivid hues imbues depth and dynamism to the compositions. Every brushstroke, while revealing letters, also narrates tales of centuries-old heritage and contemporaneous sentiments. Omar El Nagdi's hurrufieh compositions challenge, elevate, and redefine the way viewers engage with calligraphy. No longer simply a medium for conveying messages, the letters in his works embody emotions, stories, and histories.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Mohamed Melehi (Morocco, 1936-2020)Study for Jeddah Airport gouache on cartonexecuted circa 1980s19.5 x 39cm (7 11/16 x 15 3/8in).Footnotes:The Jeddah Airport CollectionA set of important studies commissioned by King Abdulaziz International Airport in Jeddah from the estate of architect Stelio ScamangaProvenance:Property from a private collection, FranceFormerly in the collection of Stelio Scamanga, commissioned by King Abdulazziz International Airport in Jeddah, circa 1980's'King Abdulaziz International Airport, represents an important stage in the work of the International Airports Projects. The airport is a symbol of the Kingdom's determination to encourage and strengthen the spiritual unity of the pan-Islamic world; besides the fact of being a place where the holy places of Islam can be made more accessible to the Muslims. This determination underlies the scientific and technical elements of the airport, as well as the aesthetic ones, as seen in its architecture and the works of art namely tapestries, sculptures, reliefs mosaics, ceramics and wood carvings: these works are an important part of the airports design. The emphasis on the continuity between the rich heritage of Islamic tradition and modern Arab Culture, was the criteria for the selection of contemporary Arab artists, whose works are included in this collection. These works inspired by the Islamic art of the past, namely the arabesque line and the meticulously worked patterns as well as calligraphy, emphasize the two-dimensionality of the space, and are characterized by a vivid imagination and energy that one recognises as thoroughly modern. Besides the great variety of these works of art, variety of forms and media, national influences and individual expressions, a strong bond unifies them together, that of a shared Islamic traditionThe final result is a museum quality collection that is unique in scope exemplifying dramatically the diversity of talent at work through the Arab world. We hope that this collection will inspire in our visitors a heightened sense for the artistic achievements that have marked Arab culture of many centuries and continue to distinguish it today'.-Kingdom of Saudi Arabia, Ministry of Defence and Civil Aviation, 1980'Jeddah is the gateway to Mecca, the universal centre of Islam... Its airport is therefore the arrival point for millions of pilgrims from all over the world... Jeddah is in fact the beating heart of Arabia ... Therefore is it really logical that the eyes of our visitors from their first steps here, should set upon works by American and European artists...? I think that this airport should rather give pride of place to the works of their Muslim and Arab counterparts...'-Stelio ScamangaThe following four lots comprise an exquisite set of preparatory works commissioned by the Lebanese Greek artist and architect Stelio Scamanga for a major project to acquire and display large scale artworks by prominent Arab artists in Jeddah airport in the 1980's. Stelio Scamanga (1934-2022) was an intrepid Lebanese Greek artist and architect who setup an architectural practise in Jeddah in the late 1970's. He was subsequently appointed to consult on a major project to introduce an art collection to the airport which was initially intended a group of prominent American and European to be selected for the commission. Scamanga was instrumental in the reversal of this course and the decision to seek out influential artists from the Arab world to maintain the Arab and Islamic identity of the airportA group of monumental paintings and tapestries were eventually commissioned and displayed by the airport from some of the most accomplished Arab artists of the time, including Melehi, Azzawi, Shibrain and others. The present set of works comprise initial studies for the eventual artworks, some of which, like the spectacular calligraphic composition by Ahmed Shibrain, can be pictured in the airport to this day.For further information on this lot please visit Bonhams.com

A highly significant Dutch engraved calligraphic goblet signed by Mathieu (Matthëus) Petit, Leiden, circa 1680-90The generous round funnel bowl fully engraved in diamond-point with the inscription 'Suyverd het binnenste' (Purify the soul) in fine calligraphic script, the base moulded with 'nipt diamond waies' in high relief, set on a double collar above a tall stem formed of two wide hollow quatrefoil knops also resting on double collars, over a short plain section terminating in a basal knop, on a wide folded conical foot, signed 'M. Petit, Schrijf Mr te Leyden.' in diamond-point script on top of the fold of the foot, 22.7cm highFootnotes:ProvenanceVan Stockum, 's-Gravenhage, 5 November 1986, lot 233With H C van Vliet, AmsterdamWith AspreyDurrington CollectionLiteratureF G A M Smit, Uniquely Dutch Seventeenth-Century Calligraphy on Glass (1989), p.112, no.S25ExhibitedRijksmuseum, Amsterdam, 1990sBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.19Mathieu (Matthëus) Petit (d.1721) was a schoolmaster, writer and glass engraver who lived in Leiden where he was Head of a French boarding school. He married Anne Jerardin (or Gerardin) from Delft on 24 October 1681 in Leiden, and the couple had nine children together. He remained in Leiden until at least 1696, but by 1698 he had moved to Arnhem where he ran a French school. It seems likely that Petit knew the calligraphic master engraver Willem van Heemskerk (1613-1692) personally as he had owned a bottle engraved by van Heemskerk himself, see P C Ritsema van Eck, 'Bastiaan Boers en Mathieu Petit, schrijfmeesters, schoonschrijvers en glasgraveurs', Bulletin van het Rijksmuseum, Vol.30, No.2 (1982), pp.51-62. Willem van Heemskerk is therefore highly likely to have influenced or even taught the art of calligraphy on glass to Petit. He also probably knew and was influenced by his contemporary calligraphic glass engravers François Crama and Bastiaan Boers.Very few glasses by Mathieu Petit survive. Just five extant signed pieces, including the present lot, are recorded by Smit (1989), p.40. Two of these are bottles engraved in Gothic script and dated 1683 and 1687 respectively, see Pieter C Ritsema van Eck, Glass in the Rijksmuseum, Vol.2 (1995), pp.123-4, nos.112 and 113 and Smit (1989), nos.H19 and D17. Gothic script is a distinctive feature of of Petit's work and was not used by other 17th century glass engravers. The two other signed pieces, both undated, include another bottle and a 'Molglas', the latter engraved in Roman characters, see Smit (1989), nos.D8 and and V5. Only one other glass exists which may perhaps be attributable to Petit, see Smit (1989), no.V34. The present lot is the only surviving piece engraved in calligraphic script with flourishes which can certainly be attributed to Petit. It therefore occupies a highly significant position within this artist's oeuvre. An important 1749 inventory of the property of the Leiden regent and cloth merchant Allard de la Court (1680-1755) describes seventeen glasses all presumably signed by Petit, and is discussed by Ritsema van Eck (1982), p.61. Two wine glasses and covers, both inscribed 'Suijvert 't Binnenste', are listed in this inventory, see Smit (1989), nos.S27 and S28. Smit suggests that there is a possibility that the latter 'Venetian' example, with a cover inscribed 'Latet anguis in Herba' (There is a snake hidden in the grass), may in fact be the present lot. Dutch engraved goblets of very similar form include a calligraphic example of circa 1685 by Willem van Heemskerk which was formerly in the Guépin Collection, illustrated by Sheppard and Smith, Engraved Glass Masterpieces from Holland (1990), pp.16-17, no.5 and a wheel-engraved Royal armorial example of circa 1688 from the A C Hubbard Collection sold by Bonhams on 30 November 2011, lot 225.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Exceptionnel service en porcelaine de Meissen Hausmaler, circa 1725An exceptional Meissen Hausmaler service, circa 1725Of superb quality, decorated in the workshop of Sabina Aufenwerth, depicting various Arcadian landscape scenes including shepherd scenes, cattle scenes and stages of a coach ride, likely after Nicolaes Berchem, painted en grisaille and in pink tones, each finely detailed scene set within gilt strapwork borders under a c scroll rim, comprising:six cups and saucers;a slop bowl;a sugar box and cover;a teapot and cover likely from an associated contemporary service (the cover attached by a chain);a silver-gilt-mounted coffee pot and cover (the mounts marked for Elias Adam, Augsburg, 1722-26) the coffee pot: 22.5cm high (19)Footnotes:Provenance:The Rosa Alba Collection of Meissen PorcelainLiterature:U. Pietsch/K. Jakobsen, Frühes Meissener Porzellan (1997), no. 71Exhibited:Düsseldorf, Hetjens-Museum, 'Frühes Meissener Porzellan Kostbarkeiten aus deutschen Privatsammlungen', 19 January-6 April 1997;Dresden, Staatliche Kunstsammlungen Dresden, Porzellansammlung im Zwinger, 'Frühes Meissener Porzellan Kostbarkeiten aus deutschen Privatsammlungen', 7 May-13 July 1997Nicolaes Pietersz. Berchem (1622-1683) was a prolific Dutch painter and draughtsman, producing over 800 paintings and at least 57 etchings. His work was greatly esteemed and prints after him are numerous. These prints were used as wall decoration, were collected in books but also were used by artists as models. Prints by or after Berchem have been among the most predominant and recognisable graphic sources used on furniture, porcelain and delftware. Prints and engravings greatly increased an artist's visibility and popularity, and Berchem undoubtedly benefitted from this strategy. According to the art historian Gerdien Wuestman, 'There is hardly a Dutch artist whose oeuvre generated so many prints as Nicolaes Berchem.' (Gerdien Wuestman, 'Nicolaes Berchem in Print: Fluctuations in the Function and Significance of Reproductive Engraving,' in Netherlands Quarterly for the History of Art 24, no. 1 (1996): 19–53 p. 19.)Another teapot by the same hand was offered at Galerie Koller, Zurich, 19 March 2007, lot 1506 (si ringrazia Alessandro Biancalana per il riferimento).For further information on this lot please visit Bonhams.com

Nicholas Rena (b.1963) 'Annunciation' jug form contemporary ceramic sculpture, 2008  Earthenware, painted and polished  Unsigned  Red jug: 83cm high, approx 42cm deep.  Blue cylinder: 63.5cm high, 21.2cm diameter (ARR)Footnote Nicholas Rena studied art under the ceramicist, Gordon Baldwin. He then completed an MA in Ceramics and Glass at The Royal College of Art in London in 1995.  His work is held in many permanent public collections including the Musée des Arts Decoratifs, Louvre, Paris and the V&A Museum, London.  

Forbes (Duncan, translator). The Adventures of Hatim Tai, a Romance. Translated from the Persian, 1st edition in English, London: printed for the Oriental Translation Fund, 1830, 214 pp., Oriental Translation Fund presentation leaf at front with the statement 'This copy was printed for Peter Johnston, Esq.. of Carnsalloch, a Subscriber to the Oriental Translation Fund', a little light spotting, hinges reinforced, contemporary calf gilt, rebacked with original spine relaid, a little rubbed with some edge wear and stains, 4to, together with Skinner (H. D.) The Morioris of Chatham Islands. Memoirs of the Bernice P. Bishop Museum Volume IX, Number 1 with Plates I-XXXV, Bayard Dominick Expedition Publication Number 4, Honolulu, Hawaii: published by the Museum, 1923, map in text, monochrome illustrations, light spotting to title, small previous owner stamp, original burgundy buckram, 4to, plus Parker (E. H.) Studies in Chinese Religion, 1st edition, London: Chapman and Hall, 1910, half-tone illustrations, advertisement leaf at front, some light spotting, original cloth gilt, spine a little faded, 8vo, with others including Kwang Tung or Five Years in South China, by John A. Turner, circa 1896, Extreme Oriental Mixture, by Gilbert Collins, 1925, Decorative Art of New Guinea. Incised Designs, by Albert Buell Lewis, Anthropology Design Series No. 4, Field Museum of Natural History Chicago, 1925, Carved and Painted Designs from New Guinea, by Albert Buell Lewis, 1931, and The Junks and Sampans of the Yangtze, Volume I: Introduction and Craft of the Estuary and Shanghai Area, by G. R. G. Worcester, Shanghai, 1947 QTY: (45)

Saunders (Richard). Saunders Physiognomie, and Chiromancie, Metoposcopie, the symmetrical proportions and signal moles of the body, fully and accurately explained; with their natural-predictive significations both to men and women. being delightful and profitable: with the subject of dreams made plain: whereunto is added the art of memory, 2nd edition very much enlarged by Richard Saunders, student in astrology and physick, London: Printed by H. Brugis, for Nathaniel Brook, 1671, [28], 160, [2], 155-156, 161-377, [13] pp., portrait frontispiece not present, woodcut illustrations to title and throughout volume, separate part titles present, 2 full-page engraved illustrations (one hand-coloured and the other with few ink marks and hole to image), one engraved plate, general title and following two leaves detached, with closed tear at gutter, frayed and torn margins, table to verso of leaf L1 with late manuscript entries in blue pencil, leaf 2Z1 with closed tear at head of gutter, without final blank 3E4, some browning, dust-soiling and few marks, contemporary calf, boards detached, rubbed and worn, folio (29 x 19.2 cm)QTY: (1)NOTE:Wing S755.'The second part, or second book: wherein is treated of physiognomy, metoposcopy, oneirocracy' and 'A treatise of the moles of the body of man & woman,' each have separate title page, with imprint 'for Nathaniel Brooks, 1670.', on leaves [Y]1r and 2S2r, respectively. With table of contents and advertisements at end of text.

Bradley (Richard). The Country Housewife and Lady's Director, in the management of a house, and the delights and profits of a farm, 2nd edition, London: Woodman and Lyon, 1727, lacking engraved frontispiece, woodcut head and tailpieces and initials, contemporary ownership inscription of Mary Swinnerton to upper margin of title, light occasional spotting, contemporary blind panelled calf, rebacked preserving original spine, rubbed and light wear to extremities, 8vo, together with:Kettilby (Mary). A Collection of above Three Hundred Receipts in Cookery, Physick and Surgery; for the use of all good wives, tender mothers, and careful nurses, by several hands. To which is added, a second part, containing a great number of excellent Receipts, for Preserving and Conserving of Sweet-Meats, &c. and a new index to both parts, 7th edition, London: Henry Lintot, 1749, title with 1 x 1 cm excision to blank area repaired, toning and occasional scattered spotting, contemporary calf, joints cracked and wear to extremities, 8vo,Whole Duty of a Woman. The Whole Duty of a Woman: or a guide to the Female Sex. From the age of sixteen to sixty, &c. Being Directions, How Women of all Qualities and Conditions, ought to Behave themselves in the various Circumstances of this Life, for their Obtaining not only Present, but Future Happiness. I. Directions how to Obtain the Divine and Moral Vertues of Piety, Meekness. Modesty, Chastity, Humility, Compassion, Temperance and Affability, with their Advantages, and how to avoid the opposite Vices. II. The Duty of Virgins, Directing them what they ought to do, and what to avoid, for gaining all the Accomplishments required in that State. With the Whole Art of Love, &c. 3. The Whole Duty of a Wife. 4. The Whole Duty of Widow &c. Also Choice Receipts in Physick, and Chirurgery. With the Whole Art of Cookery, Preserving, Candying, Beautifying, &c., Written by a Lady, 3rd edition, London: J. Guillim, 1701, bound without pages 129-136 (leaves G5-G8), toning and light dust-soiling, contemporary sheep, joints cracked and some wear, 12moQTY: (3)NOTE:1. ESTC T13251 (only 2 UK institutional locations listed).2. ESTC N27262 (only 2 UK institutional locations listed).3. ESTC T63975 (only 2 UK institutional locations listed).

Harris (James). Three Treatises. The first concerning Art. The second concerning Music, Painting and Poetry. The third concerning Happiness, 2nd edition, revised and corrected, London: John Nourse and Paul Vaillant, 1765, engraved frontispiece, occasional light toning, armorial bookplate of Colonel Vesey to upper pastedown and 20th-century bookplate of John Francis Neylan to front free endpaper, contemporary calf, gilt decorated spine with morocco title label, upper joint cracked, worn at head of spine, 8vo, together with:Warburton (William). A View of Lord Bolingbroke's Philosophy; in four letters to a friend. Letters first and second, London: John and Paul Knapton, MDCCCLIV [i.e. 1754], contemporary calf, morocco title label to spine, 8vo,Montesquieu (Charles de Secondat Baron de). The Spirit of Laws. Translated from the French ... by Thomas Nugent, 2 volumes, 5th edition, carefully revised and improved, London: J. Nourse & P. Vaillant, 1773, crest ink stamp to titles, contemporary calf, gilt decorated spines with contrasting morocco labels, 8vo,Hutcheson (Francis). An Essay on the Nature and Conduct of the Passions and Affections. With illustrations on the Moral Sense, 3rd edition, with additions, London: A. Ward, J. and P. Knapton, T. Longman, [& others], 1742, 20th-century speckled sheep, red morocco title label, 8vo, plus 9 other 18th & 19th-century antiquarianQTY: (14)

Henderson (William Augustus). The Housekeeper's Instructor; or, Universal Family Cook. Being an ample and clear display of the Art of Cookery..., 1st edition, London: W. & J. Stratford, [1790/91?], engraved frontispiece offset to title, 11 engraved plates (including 2 folding), scattered spotting throughout, some damp staining to few leaves, contemporary half calf, rebacked with morocco title label, 8voQTY: (1)NOTE:Cagle 738 (dating it as 1791); Maclean pp.68-69; cf. Oxford pp.133-134; Simon BG 832.

Waring (John Burley). Masterpieces of Industrial Art and Sculpture at the International Exhibition, 1862, 3 volumes, 1st edition, London: Day & Son, 1863, additional chromolithograph title pages and 301 chromolithograph plates (including frontispiece), occasional scattered spotting, one plate in volume 1 with tissue guard partially attached to image, recent blank free endpapers, all edges gilt, contemporary black morocco over bevelled edged boards, gilt and blind roll work border to boards, rebacked preserving original gilt decorated spines, board edges repaired and covered with recent morocco leather, folioQTY: (3)

Dalton (Michael). Officium Vicecomitum. The Office and Authority of Sheriffs: Gathered out of the Statutes, and Books of the Common Laws of this Kingdom, London: Printed by the Assigns of Richard Atkins, and Edward Atkins, 1700, contemporary calf, upper board detached, lower joint split, worn, folio, together with:Echard (Laurence). The History of England, volumes 2 & 3 only, London: Jacob Tonson, 1718, engraved frontispiece to each, armorial bookplate of Henry Fiennes Clinton, 2nd Duke of Newcastle (1720-1794) to upper pastedown, contemporary calf, gilt decorated spines with contrasting morocco labels, gilt armorial of Henry Fiennes Clinton, 2nd Duke of Newcastle to centre of each board, joints split and some wear, folio, together with Cambridge. Clare College, Cambridge, 1326-1926, University Hall, 1326-46, Clare Hall, 1346-1856, 2 volumes, Cambridge: University Press, 1928, original cloth-backed boards, folio and with a defective set of Robinson (G., publisher). The Beauties of Nature and Art Displayed, in a Tour throughout the World, 13 volumes, 2nd edition, greatly improved, London: G. Robinson, 1774, and incomplete and worn set of Newbery (J., publisher). The World displayed; or, a curious collection of Voyages and Travels..., a broken run comprising 15 volumes only, mixed editions, London: J. Newbery, 1767-68QTY: (a carton)

Bowdler Sharp (Richard, editor). Lloyd's Natural History, 16 volumes, London: Edward Lloyd, 1896-97, colour plates throughout, contemporary ownership inscription 'A Henderson' to head of half-title or title, a few leaves loose, contemporary red cloth gilt, lightly rubbed, 8vo, together with:Lardner (Dionysius). The Museum of Science and Art, 12 volumes in 6, London: Walton and Maberly, 1854-56, wood-engraved illustrations throughout (some full-page), contemporary ownership inscriptions to front blanks, a few light spots, contemporary half calf gilt, rubbed, 8voQTY: (22)

Mariota Bosanquet (1923-2022). Fenland landscape, oil on board, signed, 60cm x 75.5cm. Artist label verso Gallery label verso Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries

Mariota Bosanquet (1923-2022). Seated figure, oil on canvas, 83cm x 62.5cm. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries

Mariota Bosanquet (1923-2022). Seated figure, oil on board, 121cm x 75cm. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries

Mariota Bosanquet (1923-2022). Figure, oil on canvas, 83cm x 65.5cm. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries

Mariota Bosanquet (1923-2022). Three figures, oil on canvas, 76cm x 91cm. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries

Mariota Bosanquet (1923-2022). Figure, oil on canvas, 83.5cm x 64cm. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries

Mariota Bosanquet (1923-2022). Three figures, oil on board, 50cm x 75cm. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries

Mariota Bosanquet (1923-2022). Ploughing, oil on canvas, signed, 29.5cm x 60.5cm. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries

Mariota Bosanquet (1923-2022). Cows in landscape, oil on canvas, 38cm x 75.5cm. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries

Mariota Bosanquet (1923-2022). The Yellow House, oil on canvas, titled verso, 37cm x 68cm. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries

Mariota Bosanquet (1923-2022). Landscape, oil on canvas, signed, 45cm x 67cm. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries

Mariota Bosanquet (1923-2022). Ploughing, oil on board, signed, 40cm x 60cm. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries

Mariota Bosanquet (1923-2022). Three figures, oil on board, 29.5cm x 50cm. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries

Mariota Bosanquet (1923-2022). Head and shoulders portrait - Claire Fletcher, oil onboard, signed and titled verso, 44.5cm x 29cm. Inscribed verso - Bosanquet 513A Finchley Road, NW3. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries

Mariota Bosanquet (1923-2022). Floral study, oil on canvas, 34.5cm x 24.5cm. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries

Mariota Bosanquet (1923-2022). Sunrise, oil on board, 23.5cm x 34cm. Indistinctly inscribed verso. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries

Mariota Bosanquet (1923-2022). Seated figure, oil on canvas, 29.5cm x 24cm. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries

Mariota Bosanquet (1923-2022). Man and woman, watercolour, signed and dated (19)94, 17cm x 27cm. Label verso At the Mall Galleries. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries

Mariota Bosanquet (1923-2022). Sunflower, oil on board, 44cm x 26cm. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries