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A contemporary Art Deco style table lamp, height 56 cm

A contemporary abstract art oil on canvas initialled O M, 90 cm x 90 cm.

Group including a large red Art Glass vase and two contemporary pottery vases

SEVEN BOXES OF BOOKS containing over 260 miscellaneous titles in hardback and paperback formats, subjects include encyclopaedic works, art and antiques, Observer books, biography, a large collection of Reader's Digest compilations, classic and contemporary fiction including over twenty novels by Wilbur Smith, Nancy Drew Mysteries and Ladybird books

ROSS HENDRICK (BRITISH CONTEMPORARY) 'NOWHERE ALLEY', a pop art style painting depicting a spray can of paint and a can of Campbells soup against a graffiti backdrop, signed lower right, acrylic marker pen on paper, approximate size 26cm x 37cm, Condition Report: frame marked in places

TINY RIOT (CONTEMPORARY ART COLLECTIVE - ANDREW, SARAH & NATALIE) 'KILLER QUEEN', a portrait of Freddie Mercury and HM Queen Elizabeth II superimposed together, monogram bottom right, turquoise open edition print on pearl paper, approximate size 41cm x 29cm including margins, Condition Report: good condition

CONTEMPORARY ART DECO DESIGN JUTE AND BAMBOO SILK CARPET, 331cm x 242cm.

A Lot of ten Japanese art prints, all fitted within gilt contemporary frames. [Largest- 87x73cm]

KATE WINDIBANK; a stoneware and porcelain balance bowl with irregular rim, textured surface covered in reactive slips and glazes and shell impressions to the base, diameter 26cm, height 22.5cm.One of 51 bowls included in the installation 'A Gathering'. Provenance: Exhibited at Wells Art Contemporary, 2023. Condition Report: Appears good with no obvious signs of faults, damage or restoration.

KATE WINDIBANK; a stoneware and porcelain balance bowl with irregular rim and heavily textured surface covered in reactive slips and glazes, diameter 26cm, height 23.5cm.One of 51 bowls included in the installation 'A Gathering'. Provenance: Exhibited at Wells Art Contemporary, 2023. Condition Report: Appears good with no obvious signs of faults, damage or restoration.

KATE WINDIBANK; a stoneware and porcelain balance bowl with irregular rim, textured surface covered in reactive slips and glazes and shell impressions to the base, diameter 26cm, height 24.5cm.One of 51 bowls included in the installation 'A Gathering'. Provenance: Exhibited at Wells Art Contemporary, 2023. Condition Report: Appears good with no obvious signs of faults, damage or restoration.

KATE WINDIBANK; a stoneware and porcelain balance bowl with irregular rim covered in reactive slips and glazes and shell impressions to the base, diameter 26cm, height 22cm.One of 51 bowls included in the installation 'A Gathering'. Provenance: Exhibited at Wells Art Contemporary, 2023. Condition Report: Appears good with no obvious signs of faults, damage or restoration.

Schalenobjekt Toots Zynsky Ausgezogene, verschmolzene und heiss verformte Farbglasfaeden. H. 13 cm, L. 23 cm. Lit.: Contemporary Crafts and the Saxe Collection, The Toledo Museum of Art, Hudson Hills Press, New York 1993, Plate 61''

STEPHEN DIXON (born 1957); 'Paradise Lost', a tin-glazed Maiolica earthenware plate decorated with in-glaze transfers, made 2022, diameter 30.5cm.“Paradise Lost comes from a series of tin-glazed narrative pieces, which combine my interests in ceramic traditions and contemporary issues. Donatello’s 'David' (and Goliath) references the ongoing conflict in the Ukraine, and overlays images from Piccolpasso’s three books of the art of the potter and the ruins of ancient Palmyra.” Condition Report: Appears good with no obvious signs of faults, damage or restoration.

Paul Nash (1889-1946), limited edition wood engraving on paper, Boredom (1928), 13.5cm x 9.4cm, numbered 12/45, with blind stamp of the Paul Nash Trust, mounted,glazed and framed. Published by Garton and Cooke, May 1985. Printed on Japanese Hosho paper by Ian Mortimer from the original woodblocks in the possession of theVictoria and Albert Museum. Mounted. Provenance: Betty Evans Collection, former President of the Contemporary Art Society for Wales

Book auction catalogue.- Paterson (Samuel, compiler) Bibliotheca Strangeiana. A Catalogue of the...library... of that distinguished naturalist and lover of the Fine Arts, the late John Strange, Esq., ink marking of some lots (?lots to be viewed), some foxing, lightly browned, contemporary half calf, gilt ducal monogram to head of spine, spine worn, joints split, but holding, rubbed, 8vo, Leigh, Sotheby & Son, 1801.⁂ Rare in commerce. Strange (1732-1799) was an English diplomat who was elected a Fellow of both the Society of Antiquaries and Royal Society for his contributions to Archaeology and Geology (books on Mineralogy and mineral baths are to be found in the catalogue). He spent a large amount of his professional and private life in Italy, publishing his scholarly findings in Archæologia and The Philosophical Transactions. While there he formed collections of related books, manuscripts, antiquities, and art, which are found in the present catalogue. The evolutionary embryologist Sir Gavin Rylands de Beer in a 1951 article notes 'how important and accurate, and how far in advance of their time, were his contributions to Geology...'.

NO RESERVE Armstrong (John) The Art of Preserving Health, second edition, 1744, bound before, Akinside (Mark) The Pleasures of Imagination. A Poem, engraved title, 1744, together 2 works bound as 1 vol., half-titles, contemporary ink ownership inscription of Anna Margaretta Allot to half-titles, scattered faint spotting, bookplate, near contemporary ink inscription to front pastedown, contemporary calf, rubbed, bumping to corners and spine extremities, § Thomson (James) Spring. A Poem, half-title, title in red and black, publisher's advertisement bound at end, 1728, bound before, Summer. A Poem,. 1727, and, Autumn. A Poem, second edition, 1730, and, Winter. A Poem, fifth edition, title in red and black, 1728, together 4 works bound as 1 vol., engraved frontispiece, occasional tiny worming, scattered spotting, previous owner's ink inscriptions to front free endpaper and early blank, cracked hinges, contemporary calf, rubbed, bumping to corners and extremities, 8vo (2).

NO RESERVE Medical and scientific journals.- Guy's Hospital Reports, c.70 vol., original cloth or cloth-back boards, several broken with covers detached or lacking c.1839-1909 § Richardson (Benjamin Ward). The Asclepiad. A Book of Original Research and Observation in the Science, Art, and Literature of Medicine, Preventive and Curative, 11 volumes [all published], uniform contemporary half calf, 1884-1895, library stamps; and c.30 vol. published by the New Sydenham Society, 8vo; sold as a collection of periodicals and not subject to return (c.110)⁂ Guy's Hospital Reports include a number of important papers by Richard Bright, including "Observations on Abdominal Tumors and Intumescence" (vol. 4, pp.208 - 264) and "Cases and Observations illustrative of Renal Disease" (vol. 5, pp. 101-161). The Asclepiad was originally published by Richardson, (sanitary reformer and anaesthetics pioneer), in 1861 with the subtitle of 'Clinical Essays'. It was intended as a periodical but Richardson's other activities led to the abandonment of this project until Richardson re-founded The Asclepiad with the new subtitle here.

NO RESERVE Angling.- Brookes (Richard) The Art of Angling, engraved frontispiece, illustrations, advertisements at end, one or two paper defects affecting odd word, scattered spotting, faint off-setting, small paper labels to endpapers covering previous owner's labels and inscriptions, contemporary calf, rebacked, rubbed and worn, 1799 § Wilson (James) The Rod and the Gun, engraved frontispiece, plates and illustrations, faint spotting to first and last few ff., straight-grain green morocco by Bayntun of Bath, gilt, a little rubbed, Edinburgh, 1840 § Révoil (Bénédict-Henry) Pêches dans l'Amérique du Nord, frontispiece, plates and illustrations, ex-Pembrokeshire Libraries with usual ink-stamps including withdrawn stamp to front pastedown, contemporary morocco-backed boards, gilt, a little rubbed, Tours, 1870 § Walton (Izaak) & Charles Cotton. The Complete Angler, plates and illustrations, scattered spotting, contemporary half-calf, a little rubbed, 1824; 12mo & 8vo (4).

Art technique.- Sculputra-Historico-Technica: or the History and Art of Ingraving, first edition, 10 engraved plates, 1p. advertisements at rear, bookplate, title and endpapers browned at margins, front endpaper detached, contemporary speckled calf, rubbed, upper cover detached, for S. Harding, 1747 § Gilpin (William) An Essay on Prints, third edition, bookplate, 1731; this bound with [Chelsum (James)] A History of the Art of Mezzotino, Winchester, by J. Robbins, 1786, occasional light foxing, later half calf, corners and joints a little rubbed; and a fourth edition of the Art of Engraving, 8vo (3)

*LEO DAVY (1924-1987) 'Highgate Fog I' circa 1950, oil on board, 119cm x 43cmLeo Davy was born in 1924 in Shipley, Yorkshire, the seventh of nine surviving children to an art teacher and painter father and a mother who was the daughter of a painter. At the age of just ten he won a national drawing competition and in 1939 he studied at the Kingston School of Art, under Reginald Brill, before moving on the Slade School of Fine Art between 1942 and 1945, then evacuated to Oxford due to the Blitz, where he studied alongside such future stars as Kyffin Williams. Davy was included in a mixed summer show at the important contemporary gallery Gimpel-Fils in 1950 alongside avant-garde artists of the day, including Patrick Heron, William Gear, Alan Davie and William Scott. Davy was strongly dedicated to the development of abstraction. It was through his panel paintings and works on paper that he reduced and refined scenes of everyday life into his own carefully considered abstract vision, applying thinck paint and washes to form blocks of colour, often quite angular. He settled in a dilapidated cottage in North Cornwall in 1968 with his wife, where he lived and worked until his sudden death in 1987. Davy was a self-imposed outsider, as David Duncan remembers: Davy was 'a man of very few words, in fact would only speak if spoken to'. Although Davy's main intent was to isolate himself and to follow an independent line of philosophical enquiry through his painting, his art was an essential means of communication to the rest of the world. As Davy proclaimed in 1946, at the age of 20, 'I only want to paint what only I can paint.'

ZHOU BROTHERS (ShanZuo and DaHuang Zhou) (b. 1952 and 1972) A large stylised figural sculpture signed "Zhou B. 97" to the reverse of the naturalistic base, wood with red stain, 205cm highThe Zhou Brothers are Chinese contemporary artists ShanZuo and DaHuang Zhou. ShanZuo was born in Nanning, Guangxi Province, China in 1952 and DaHuang was born in Wuming, Guangxi Province, China in 1957. They were both educated and trained in China and together they started their art career in 1973 and have been working collaboratively since. The Zhou Brothers moved to the United States in 1986 after having been at the cutting edge of the contemporary art movement in China in the 70’s and 80’s. The style of the Zhou Brothers’ work is often very abstract and has roots in the images of Chinese cave paintings. Later in their career they incorporated more Western influences into their work. The Zhou Brothers have gained many awards and honours in their career in both the United States and abroad.

*LEO DAVY (1924-1987) 'Seated Figures I' 1952, oil on board, 54.5cm x 30cmLeo Davy was born in 1924 in Shipley, Yorkshire, the seventh of nine surviving children to an art teacher and painter father and a mother who was the daughter of a painter. At the age of just ten he won a national drawing competition and in 1939 he studied at the Kingston School of Art, under Reginald Brill, before moving on the Slade School of Fine Art between 1942 and 1945, then evacuated to Oxford due to the Blitz, where he studied alongside such future stars as Kyffin Williams. Davy was included in a mixed summer show at the important contemporary gallery Gimpel-Fils in 1950 alongside avant-garde artists of the day, including Patrick Heron, William Gear, Alan Davie and William Scott. Davy was strongly dedicated to the development of abstraction. It was through his panel paintings and works on paper that he reduced and refined scenes of everyday life into his own carefully considered abstract vision, applying thinck paint and washes to form blocks of colour, often quite angular. He settled in a dilapidated cottage in North Cornwall in 1968 with his wife, where he lived and worked until his sudden death in 1987. Davy was a self-imposed outsider, as David Duncan remembers: Davy was 'a man of very few words, in fact would only speak if spoken to'. Although Davy's main intent was to isolate himself and to follow an independent line of philosophical enquiry through his painting, his art was an essential means of communication to the rest of the world. As Davy proclaimed in 1946, at the age of 20, 'I only want to paint what only I can paint.'

*JONATHAN KNIGHT (b. 1954) 'The Resting Otter' signed to the tail, bronze, 65cm longBorn in London, Jonathan Knight was brought up in an artistic atmosphere as his father was a noted book illustrator and his mother a designer and art school teacher. From the age of ten, Knight experimented in sculpture influenced by the work of Giacometti and Marino Marini. After graduating with a master’s degree in English from Cambridge, Knight returned to sculpture and began to specialise in equine sculpture, reflecting a lifelong fascination with horses. Early in his career, he had a one-man show at W H Patterson Fine Art in Mayfair, and received many equine commissions through both that gallery and the Sladmore Gallery, as well as receiving private commissions to sculpt a number of life-size horses for international studs and racecourses.By the early nineties however, Knight began to fight against the aesthetic restrictions of that genre. A considerable metamorphosis developed in his work. His subject matter was now largely birds and wild animals but treated in a contemporary manner in which superfluous detail was discarded in favour of a form and line and movement. His work thus joined a tradition of animalier sculpture that originated in the Art Nouveau movement and found expression in the work of Rembrandt Bugatti and Francois Pompon amongst others. Over the ensuing years, Knight’s reputation has grown through frequent exhibitions both in the UK and Belgium and Holland. He is now seen, through the unique sensibility and purity of his work, as one of the finest exponents of animalier sculpture working today. His sculptures, to which he personally gives individual and expressive patinas, are invariably cast in bronze and in highly limited editions.

* Smart (George, 1774-1846). The Soldier and the Maid, circa 1817, moveable watercolour and collage picture on card, including cut fabric (mostly felt), depicting a young girl in a tweed dress with chequered apron and blue felt hat, and a dashing military gentleman wearing red trousers with gold trim and a dark blue jacket (uniform similar to the 10th Hussar's Regiment), each with operating tab, the maid curtseying and the gentleman raising his hat, a thatched rustic dwelling and the sea with sailing ships in the background, toned, some light spotting and marks, old pin holes to edges, 27.8 x 22.5 cm, laid down on a blue paste paper-covered stretcher, verso with original printed paper label 'Smart, Cat Manufacturer, Frant, Near Tunbridge Wells' above a 26-line verse, with imprint 'Clifford, Printer, Tunbridge Wells' below, and a handwritten contemporary label 'Patronized by His Royal Highness the Duke of Sussex', with later pencilled date of 1820 belowQTY: (1)NOTE:Christie, George Smart, pp. 90-93 (this example unknown to Jonathan Christie).Rare: just two other examples of this subject - the only articulated picture by George Smart - are known to exist, and one of these is defective. The first is a double portrait showing both the maid and the soldier (minus his hat) set against a stone building similar to that depicted in the present example, and a church spire, but without the ships at sea. It was sold at Christie's in 2020 (Collection of Alexandra Tolstoy). The second is a pair of portraits showing the maid and soldier separately, the dwelling appearing in the former picture, and the sea visible in both (held by Tunbridge Wells Museum).East Sussex tailor George Smart, famed for his unique works of art fabricated from the scraps of cloth left over from his trade, was also noted for his portraits and dummy boards. His works were mentioned in several contemporary local guidebooks in the early 19th century which earned him minor celebrity status. His most famous subjects were ones he observed from his shop - Old Bright, the local postman, and The Goosewoman. Twenty-one works by George Smart were included in Tate Britain's 'British Folk Art' exhibition in 2014, and he is now recognised as one of the key figures in the history of English Folk Art. 

* Smart (George, 1774-1846). The Earth Stopper, circa 1820s, watercolour and collage (including cut felt) on paper laid down on bevelled wood panel (as issued), depicting a mounted countryman and his two dogs terrified by the silhouette of a chimney sweep standing in front of a donkey, crude paper repair to upper edge, rubbed in places, some chipping to edges, 26.2 x 38.8 cm, original printed paper label to verso 'G. Smart, maker of cloth & velvet figures, Frant, near Tunbridge Wells' above a 24-line verse, with imprint 'Clifford, Printer ... Tunbridge Wells' below, base of label with contemporary ink manicle and Latin inscription 'Ne plus ultra' QTY: (1)NOTE:Christie, George Smart, pp.74-83.East Sussex tailor George Smart, famed for his unique works of art fabricated from the scraps of cloth left over from his trade, was also noted for his portraits and dummy boards. His works were mentioned in several contemporary local guidebooks in the early 19th century which earned him minor celebrity status. His most famous subjects were ones he observed from his shop - Old Bright, the local postman, and The Goosewoman. Twenty-one works by George Smart were included in Tate Britain's 'British Folk Art' exhibition in 2014, and he is now recognised as one of the key figures in the history of English Folk Art.Unusually for Smart the subject of this creation is a borrowed one. Images of the earth stopper - an estate worker whose task it was to block up fox holes at night - date back to 1767, although Smart's humourous scene, in which the startled earth stopper interprets the silhouette of a chimney sweep and his donkey as a devil figure, most closely matches an unattributed print of around 1790, currently in the Lewis Walpole Collection at Yale University.  

Artform - A graduated pair of contemporary sculptures depicting a stylised head of a man and woman inspired by Oceanic Art, each raised to a square block base, tallest 58cm. (2)

Anita Harris - A contemporary ceramic vase of ovoid form with everted collar neck, decorated in the Sunburst pattern with an Art Deco sunburst motif over the tonal red glazed ground, together with a matched smaller example, both hand signed by Anita Harris in gold, tallest 21cm. (2)

Unknown - A contemporary Czech Art Glass sculpture, modelled as a stylised penguin, internally decorated with a black and orange spiral core and heavily cased in clear, raised to a block foot, height 31.5cm.

Svaja - a contemporary Studio Art glass sculptural table centre bowl of abstract form, the irregular curved body of clear, red, aubergine and white lattice glass, original label, 41cm diameter, a graduated pair of Rosenthal Classic plates, 31cm and 17.5cm diameters (3)

A Benham & Froud copper and brass tea kettle and cover designed by Dr Christopher Dresser, flaring square section with pierced scroll foot, brass rivet decoration, hammered finish, with applied over-slung brass handle and angled spout unsigned, 21cm. high (2)ProvenanceArts and Crafts, Woolley and Wallis Auctioneers, 21st June 2017, lot 294.Private collection LiteratureMichael Whiteway Christopher Dresser A Design Revolution, V&A, page 174 catalogue number 236 for a comparable example illustrated.Michael Whiteway Christopher Dresser 1834-1904, Skira, page 146 for a contemporary photograph from the Chubb Archive showing this design at the Art Furnisher's Alliance, circa 1880-1883.

CLARE RANSOM: two silver 'Shell' vesselsfine '999' standard silver, London 2009Hand-raised, stretched and folded to create these pleated shaped conical form vessels, the satin finish with a burnished edge, approximate width 10cm, weight 10.4oz. (2)Footnotes:Provenance:Private collectionPurchased from John Higgins Modern and Contemporary Silver selling exhibition June 2013.CLARE RANSOM (1964)Clare graduated with a BA in 3D Design Metalwork and Jewellery from Surrey Institute of Art and Design in 2005, and in 2007 an MA in Contemporary Craft Practice.In 2005 Clare won the New Designers Goldsmiths' Graduate Award for silversmithing and in 2006, she won two gold awards at the Goldsmiths Craft and Design Council Awards.She explores the intrinsic qualities of silver as a craft material. Using hammers and punches worked over nylon formers to manipulate a single sheet of silver, drawing it inwards into soft, flowing organic bowls and vessels.For further information on this lot please visit Bonhams.com

PHIL BARNES: a unique silver and enamelled 'Blue Leaves' vaseLondon 2015Plain polished body, the sides engraved and basse-taille enamelled in blue with leaves among trailing branches, further bright cut engraved leaves engraved to give more depth after enamelling, height 11.8cm, diameter at widest point 0.58cm, weight 8.1oz.Footnotes:Provenance:Private collectionPurchased from John Higgins Modern and Contemporary Silver selling exhibition July 2015.PHIL BARNES (1952-2019)Phil Barnes described the basse-taille technique, where the enamel is laid over a low relief engraved design giving variations of colour due to the different thicknesses of the enamel. A monotone effect is achieved with darker and lighter shades due to the variation of the depth of the engraving.Phil's working life spanned more than fifty years as a full-time professional enameller. Phil Barnes began his enamelling career in 1967, at the age of fifteen, following in his father's footsteps. He completed his apprenticeship with his father's company C F Barnes & Co in 1971 and in the same year won the coveted Jacques Cartier 'Craftsman of the Year' Memorial Award. The Cartier Award is given for work showing exceptional and outstanding craft skills, serving as a benchmark of the highest technical quality and Phil became the youngest ever recipient of the prized Cartier Award. He went on to become a working partner in the business and later set up his own workshop in Clapham, London following his father's retirement in 1983.By 2017 Phil had been awarded thirty-five Goldsmiths' Craft and Design Council awards for enamelling, engraving and designer finished pieces and in 2019 'Abstract Vase No. 1' was included into the Goldsmiths' collection. The passing on of knowledge was important to Phil and in 2019 he achieved his ambition to leave a written record of his way of working when his book 'Engraving and Enamelling – The Art of Champlevé' was published. This lot is recorded in this publication on page 107.Literature:Illustrated Phil Barnes, 'Engraving and Enamelling - The Art of Champlevé', (The Crowwood Press Ltd, 2019), page 107.For further information on this lot please visit Bonhams.com

JANE SHORT: a rare silver and enamelled 'Galaxy' vaseLondon 2008Cylindrical flared form vase, finely engraved and enamelled in champlevé and basse-taille techniques, with subtle engraving swirls around the sides, the central theme are the numerous stars incorporated into the design, some plain, others engraved or enamelled, on one side a central star is surrounded by a red enamelled burst of rays and with swirls enamelled in blues emanating from the flames, gilded to the interior, height 21.5cm, diameter at top 13.5cm, weight 29.5oz.Footnotes:Provenance:Private collectionPurchased from John Higgins Modern and Contemporary Silver selling exhibition June 2010.JANE SHORT MBE (1954)Jane was introduced to enamelling in 1974 whilst studying at the Central School of Art and Design, and every work since has been enamelled. In 1976 she studied at The Royal College of Art under Professor Gerald Benney graduating in 1979. Jane is an artist enameller, who combines the techniques of engraving and champlevé and basse-taille enamel to produce rich painterly images drawn from nature.Jane has become one of the best known and established enamellers, and has taught enamelling widely throughout her career, in 2016 she was awarded an Member of the Order of the British Empire (MBE) for services to the Craft of Enamelling.She was winner of the Jacques Cartier Memorial Award awarded by the Goldsmiths' Craft and Design Council in 2008 for outstanding craftsmanship.Jane has exhibited widely and her work is represented in the collections of many important museums, such as the Victoria and Albert Museum, the Fitzwilliam and Ashmolean Museums, The Keatley Trust, The Silver Trust Collection for use at 10 Downing Street and the Goldsmiths' Collection.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

AR * Hockney (David, 1937-). Portrait of Richard Hamilton, 1971, etching and aquatint on Hodgkinson handmade paper, published by Petersburg Press, London, signed and dated in pencil, numbered 24/30 (there were also 11 Artist's proofs), with the publisher's watermark, platemark 34 x 26.7 (13 3/8 x 10 1/2 ins), sheet size 45 x 37cm (17 5/8 x 14 1/2 ins), framed and glazed (49.5 x 41 cm)QTY: (1)NOTE:Provenance: Collection of Michael and Megan Dawson.Literature: Scottish Arts Council 126; Museum of Contemporary Art, Tokyo 118.

digital print with oil and enamel paint on canvassigned and dated 2010 187 by 194cm, unframedBarker has been, and remains, a prolific and active figure on the contemporary South African art scene. The artist’s name is synonymous with rebelliousness and recklessness, which is reflected in his energetic, seemingly aggressive compositions, but also extends to Barker’s personal and artistic identity. Through painting and creating, the artist has explored a nation's history, as well as his own experiences of growing up on a military base in Pretoria in the 60s and 70s in the midst of apartheid South Africa. His response as an artist was an aggressive and rebellious attack on the conservatism that surrounded him. The artist’s iconoclast approach to many of his pieces and his attempts to deconstruct and reinterpret Nationalist ideals has caused controversy on numerous occasions, with many associating him with a dubious sense of morality. Rock ’n’ Roll Church Lady (lot 362) demonstrates the sheer energy in Barker’s large-scale works, made up of gestural, dynamic mark-making and a riot of colour and visual noise. This work was created after the artist’s move to Cape Town, which acted as a catalyst for the emergence of a new body of work titled ‘Rock ’n’ Roll’. This series of works, completed in 2009, was a continuation of those pieces he had been creating in his Troyeville studio in previous years, but had a new energy and focus. “Like the musical genre that gives them their name, they are loud and brash and full of complex harmonies. Their scale is large, often being made up of multiple panels, but they also have an intimacy and quiet parts, as if they are a ballad.†(Brown, 2010: p. 54). This is true of Rock ‘n’ Roll Church Lady (lot 362) which illustrates a sensitivity that borders on the poetic, but which also shows his deep-rooted commitment to the pursuit of truth. The artist’s works have been included in several global biennales, art fairs and exhibitions, and would be a feature in any corporate or private collection. -ACCarol Brown (2010) Threading Through History in Wayne Barker: Super Boring, Stellenbosch: SMAC, p. 54Everard Read, Wayne Barker, Accessed 10 September 2021:https://www.everardread.co.za/artist/WAYNE_BARKER/biography/

Alice Tennant (Welsh Contemporary) Wild Meadow, signed lower right, watercolour, 53.5 x 74.5 cm, frame 71 x 92 cm Provenance: Collection of Mr Magdi Obeid (1943-2021), purchased from Medical Art Exhibition

Hadrian Pigott (b. 1961) Resurrection (after Richard H.) (1994) White shrink-wrapped soap, shelf  To be sold without reserve Property of a distinguished British collector  Provenance:  Jibby Beane Contemporary, 1994   Exhibition history: Multiple Choice, Jibby Beane Contemporary, London, 1994; Saatchi Young British Artists V, Saatchi Gallery, 1995; Hadrian Pigott: Hydrogenics, Victoria Miro Gallery, London, 1998; Hygiene: the art of public health, London School of Hygiene & Tropical Medicine, London, 2002. Dimensions: 9 in. (H) x 18 in. (W) x 5.5 in. (D)

Suzanne Treister (b. 1958) Rosalind Brodsky in her Electronic Time Travelling Costume to rescue her Grandparents from the Holocaust ends up mistakenly on the set of Schindlers List, Krakow, Poland, 1994 (1997) C-print  To be sold without reserve Property of a distinguished British collector  Provenance:  Standpoint Gallery, 2004  Exhibition history: No Other Symptoms - Time Travelling with Rosalind Brodsky, Canberra Festival of Contemporary Arts, 1997; No Other Symptoms - Time Travelling with Rosalind Brodsky: Internet project for Electronic Writing Research Ensemble @ On a Clear Day, European Media Art Festival, Osnabrück, Germany, 1997; No Other Symptoms - Time Travelling with Rosalind Brodsky Launch event with performance (involving Richard Grayson, Susan Hiller, Pauline van Mourik Broekman, Elaine Pyke and James Flint) and Ghosts of Maresfield Gardens video installation, Freud Museum, London, England, 1999; No Other Symptoms - Time Travelling with Rosalind Brodsky, Artspace, Sydney, 1999; Unframed, Standpoint Gallery, London, 2004.   Literature: S. Treister, No Other Symptoms: Time Travelling with Rosalind Brodsky, Black Dog Publishing, 1999.  Dimensions: 27.5 in. (H) x 19.5 in. (W)

Ann Toebbe (b. 1974) The Photo Engraver's Wife (2011) Cut paper, paint and glue on paper  To be sold without reserve Property of a distinguished British collector  Provenance:  Steven Zevitas Gallery, 2011  Exhibition history: NEXT Art Fair, Steven Zevitas Gallery, Chicago, 2011; Ann Toebbe: 12 x 12, Museum of Contemporary Art (MCA), Chicago, 2011; Paper, Saatchi Gallery, London, 2013; Ann Toebbe: Remarried, Monya Rowe Gallery, 2015.   Literature: Saatchi Gallery, Paper, Saatchi Gallery, 2013, p.190; K. Brooks, Paintings Of Living Rooms And Tiny Apartments Show What The Insides Of Marriage Look Like, Huffington Post, February 19, 2015; E. Shapiro, Remarried: The Interior âInformation Architectureâ of Ann Toebbe, Print Magazine, February 19, 2015; J. Saltz, To Do: February 11-February 25, 2015, New York Magazine, February 11, 2015; R. Smith, Ann Toebbe: Remarried, The New York Times, Art in Review, January 22, 2015.  Dimensions: 85 in. (H) x 108 in. (W)

Pair of contemporary Art Deco-style rugs, probably Chinese Superwash, each with a stylised radiating foliate medallion, within geometric-pattern Deco borders, in orange, pale blue, grey and buff, 123cm x 339cm Condition ReportLight wear to both, some stains to on of the rugs. General wear and tear.

▴ Julian Perry (b.1960)'Anderson Shelter'oil on board 79 x 61.5cmtogether with: a preparatory study signed, inscribed and dated 'For Daniel/with Best Wishes/Julian/August 07' l.r., pencil42 x 29.5cm, unframed (2)Provenance: With Austin Desmond Fine Art, Great Russell Street, London.Julian Perry has lived and worked in East London for more than thirty years. Over this period, he has been committed to using landscape painting as a vehicle for exploring the good and the bad in man's complex and often dysfunctional relationship to the landscape. Brownfield sites, nature reserves, caravan parks and allotment sheds have all been subjects for shows. Recent works have looked at the crisis in British forests due to disease and climate change. His works are held in numerous public and private collections, including the Museum of London, Bristol City Museum and Art Gallery, and the personal collection of HRH King Charles III. Perry also enjoys an international reputation, exhibiting at the Venice Biennale. He has won major British Council and Arts Council England awards, and in 2023 he was made a companion of the Guild of St George and elected a member of 'Contemporary British Painting'.Condition ReportFramed: 93.5 x 76.5cmNot viewed out of glazed frame, but appears to be in good condition. The pencil study has dirty marks and a large brown stain to the lower right corner, please see images.

▴ David Hockney OM CH RA (b.1937)'The French Shop' (Museum of Contemporary Art Tokyo 112; Scottish Arts Council 122) Etching and aquatint printed in black and red on wove paper, signed and dated 'David Hockney 71' in pencil l.r. and numbered '43/500', printed by The Print Shop, Amsterdam, and published by the Observer, Londonsheet 62.5 x 53.5cm, unframedCondition ReportSlight time staining with foxing throughout. Light handling creases with a 1cm crease mark just above the centre of the right edge. The print has been previously rolled and there is a small crease to the bottom left corner. Please refer to additional condition images.

▴ Jake and Dinos Chapman (b.1966 and 1962)'Bring me the Head of...', 1995mixed media sculpture, fibreglass, resin, wig, from an edition of 1532 x 26 x 17cm;with VHS video, numbered 89/200 and photographic still from the film (3)Provenance: Sotheby's, London, Contemporary Art, 25 March, 1999, lot 10.Literature: 'Jake and Dinos Chapman: Bad Art for Bad People', exh. cat., Liverpool, Tate Liverpool, 2006 (illustrated in colour, p.98).'Bring Me the Head of' is a 10-minute pornographic film featuring two actresses and a realistic model of a severed male head with a penis for a nose. They named the object 'Bring Me the Head of Franco Toselli!' in reference to a Milan gallerist. In 1994, Franco Toselli was supposed to show the Chapmans' sculptural work 'Mummy and Daddy Chapman', 1993 – which is comprised of two shop dummies with genitalia sprouting all over their naked bodies – but he refused to exhibit it. In revenge, the brothers remodelled the head of 'Daddy Chapman', substituting a penis for his nose, and recast it in fibreglass. The sculpture was exhibited alongside the film at the opening of Ridinghouse Editions in London, and sold in an edition of 15.Condition ReportSmall paint losses including ears, 'nose', and underside of head on bloodied area. Cracking of paint in ears which are at risk of further paint losses.Some water damage visible to label of vhs and damage to outer sleeve.

Ton Frenken,  Dutch 1930-2004 -  Presence, Tussen Akkorden, 1999;  acrylic on canvas, signed, titled and dated on the reverse 'Ton Frenken Presence, Tussen Akkorde 1999', 60 x 50cm (unframed) (ARR) Provenance:  Berkeley Square Gallery, London;  private collection, London;  Roseberys, London, Impressionist, Modern, Post War & Contemporary Art, 9th December 2020, lot 94;  private collection, purchased from the above   

JOSEPH LORENZL. AN ART DECO COLD PAINTED BRONZE FIGURE ON ONYX BASE modelled as a dancing girl with scarf, signed to base31cm high The condition of the bronze is in good original undamaged condition with no signs of repairs or restoration there eid some wear to the gilding on her scarf. The black slate rectangle has been reglued and there are some small chips to the bottom of the onyx base. The gilding looks to be contemporary to the bronze.

A contemporary Art Deco style wall mirror. The mirror being of fan form having a series of graduating angular panels. Measures 88cm x 100cm.

Two Border Fine Art models "Contemporary Cats" with original boxes

A Viz Glass Inc contemporary blown art glass centre piece. Height 25cm, Length 60cm.

"Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 6.77 x 9.24 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper."""

Chuck Close was an American artist known for his remarkable photorealist and large-scale portrait paintings. He was born on July 5, 1940, in Monroe, Washington, and passed away on August 19, 2021, in Oceanside, New York. Close's distinctive style involved creating highly detailed portraits using a grid system. He would break down an image into a grid and meticulously transfer each section onto a larger canvas or surface. Close's paintings were often close-up portraits of his family, friends, fellow artists, and himself. His works were characterized by a meticulous attention to detail and a focus on capturing the individuality of his subjects. In addition to his use of the grid technique, Close experimented with various mediums and materials throughout his career. He initially gained recognition for his large-scale airbrushed black-and-white portraits in the late 1960s and early 1970s. Later on, he incorporated other techniques such as finger painting and the use of handmade paper pulp to create texture and depth in his works. Close's art was not limited to painting. He also explored printmaking, photography, and collage, constantly pushing the boundaries of his creativity. Despite facing physical challenges, including partial paralysis due to a spinal artery collapse in 1988, Close continued to produce artwork using adaptive techniques and tools. He became an inspiration for many with disabilities and an advocate for accessibility in the arts. Chuck Close's work has been exhibited extensively in major museums and galleries worldwide. He received numerous awards and honors throughout his career, including the National Medal of Arts, presented to him by President Clinton in 2000. Close's contribution to the art world is widely celebrated, and his portraits remain iconic examples of contemporary American art. Measures 10 x 12 Verso is blank.Mounted to archival quality paper.

Cindy Sherman is an American artist widely recognized for her groundbreaking work in photography. She was born on January 19, 1954, in Glen Ridge, New Jersey. Sherman is known for her conceptual self-portraits in which she assumes various roles and personas, challenging conventional ideas of identity, gender, and representation. Sherman's photographs typically feature herself as the subject, but she transforms her appearance through makeup, costumes, props, and elaborate staging. By presenting herself as different characters, often referencing stereotypes from popular culture and art history, Sherman raises questions about the construction of identity and the influence of media on our perception of self. One of Sherman's most influential series is the "Untitled Film Stills" (1977-1980), where she presents herself as female characters from fictional narratives reminiscent of film noir and classic Hollywood cinema. Through these images, she examines the role of women in media and society, exploring themes of sexuality, power dynamics, and the gaze. Throughout her career, Sherman has continued to experiment with various styles and themes, challenging and subverting traditional notions of beauty, femininity, and the representation of women. Her work has had a significant impact on contemporary art, particularly in the field of photography and feminist art. Cindy Sherman's photographs have been exhibited internationally in major museums and galleries, and she has received numerous awards and honors for her contributions to the art world. Her work continues to provoke critical thinking and spark discussions about identity, representation, and the boundaries of art. Measures 6.51 x 8.24 Printed Circa 1990'sVerso is blank.Mounted to archival quality paper.

Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 7.02 x 9.24 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper.

Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 7.5 x 9.24 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper.

Ellsworth Kelly (1923-2015) was an American painter, sculptor, and printmaker. He was known for his minimalist and abstract art, often characterized by bold shapes, vibrant colors, and precise geometric forms. Kelly was born on May 31, 1923, in Newburgh, New York. He served in the U.S. Army during World War II and afterward studied art in Boston and Paris. During his time in France, he was exposed to European modernism, which greatly influenced his artistic style. In the 1950s, Kelly emerged as a prominent figure in the art world, associated with the abstract expressionist and minimalist movements. He developed a distinctive style that emphasized the pure form, color, and space. Kelly's work often featured simple shapes like squares, rectangles, circles, and curves, arranged in a way that explored the interplay between positive and negative space. Throughout his career, Kelly created various series of works, including paintings, sculptures, drawings, and prints. He produced large-scale installations as well, often integrated with architectural spaces. Some of his most famous works include "Colors for a Large Wall" (1951), "Spectrum I" (1953), and "Austin" (1985-1998), a monumental building featuring colored glass windows and stone panels. Ellsworth Kelly's art has been exhibited extensively in major museums and galleries around the world. His contributions to abstract art and minimalism have had a significant impact on the development of contemporary art. His work is celebrated for its simplicity, precision, and vibrant use of color. Kelly passed away on December 27, 2015, in Spencertown, New York, leaving behind a remarkable artistic legacy. Measures 6 x 8.98 Verso is blank.Mounted to archival quality paper.

Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 7.02 x 9.24 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper.

"Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 8 x 9.23 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper.

"Wayne Thiebaud (born November 15, 1920) is an American painter known for his vibrant and distinctive depictions of everyday objects and landscapes. He is associated with the pop art movement and is particularly recognized for his paintings of desserts, such as cakes, pies, and ice cream cones. Thiebaud was born in Mesa, Arizona, and grew up in Long Beach, California. He studied art at various institutions, including the Frank Wiggins Trade School, the California State University, Sacramento, and the San Jose State University. Thiebaud also served as an artist in the U.S. Army during World War II. His unique style combines elements of realism and abstraction. Thiebaud often applies thick layers of paint to create a sense of texture and depth in his works. He uses bold colors and strong shadows to enhance the three-dimensional quality of the objects he paints.In addition to his dessert-themed paintings, Thiebaud has also created numerous landscapes, portraits, and still-life compositions. His subjects range from cityscapes and rural scenes to everyday objects like lipstick tubes, shoes, and gumball machines. Thiebaud's work is characterized by its playful and whimsical nature, evoking a sense of nostalgia and Americana. Wayne Thiebaud's art has received widespread acclaim, and he has been the subject of numerous exhibitions and retrospectives. His work is featured in major museums and collections around the world. Thiebaud continues to be an influential figure in the contemporary art scene, and his paintings are celebrated for their distinctive style and celebration of ordinary, everyday objects. Measures 6 x 8.99 Printed circa 1950sVerso is blank.Mounted to archival quality paper.

Jean-Michel Basquiat (1960-1988) was an American artist of Haitian and Puerto Rican descent. He emerged as a prominent figure in the New York art scene in the late 1970s and 1980s. Basquiat is best known for his distinctive style that combined elements of street art, graffiti, and neo-expressionism.Basquiat was born on December 22, 1960, in Brooklyn, New York. He began his artistic journey as a street artist under the pseudonym SAMO, spray-painting enigmatic and poetic messages on buildings around the city. His raw talent and unique visual language quickly garnered attention and acclaim. In the early 1980s, Basquiat transitioned from street art to the gallery scene, gaining recognition for his vibrant and bold paintings. His works often incorporated symbolic imagery, text, and layered references to various cultural influences, including African, Caribbean, and African American history, music, and popular culture. Basquiat's paintings addressed themes such as race, identity, socio-political issues, and the human condition. During his short but prolific career, Basquiat collaborated with other artists, including Andy Warhol, and his works were exhibited internationally. He achieved considerable success and critical acclaim, becoming one of the most prominent and influential artists of his generation. Tragically, Basquiat passed away on August 12, 1988, at the age of 27 due to a drug overdose. Jean-Michel Basquiat's art continues to be celebrated for its raw energy, expressive style, and thought-provoking content. His work reflects his personal experiences as well as broader social and cultural narratives, making him an enduring and iconic figure in contemporary art. Measures 8.52 x 11.49 Verso is blank.Mounted to archival quality paper.

Keith Haring (1958-1990) was a prominent American artist known for his distinctive and instantly recognizable style characterized by bold lines, bright colors, and simplified forms. His work often featured social and political themes, and he became a prominent figure in the New York City art scene during the 1980s. Here are some key points about Keith Haring and his art:1. **Early Life and Influences**: Keith Haring was born in Reading, Pennsylvania, and showed an early interest in art. He attended the Ivy School of Professional Art in Pittsburgh before moving to New York City in 1978 to attend the School of Visual Arts.2. **Radiant Baby**: One of Haring's most iconic symbols is the "Radiant Baby," a crawling infant with rays of light around it. This image became a signature motif in his art and symbolized the concept of pure and untarnished innocence.3. **Street Art and Subway Drawings**: Haring initially gained recognition through his street art. He created chalk drawings on empty advertising panels in subway stations, which quickly gained attention for their bold, energetic, and accessible style. His use of public spaces for art led to the term "subway drawings."4. **Pop Shop**: In 1986, Haring opened the Pop Shop in New York City, which combined an art gallery with a store selling merchandise featuring his artwork. This endeavor was seen as an innovative approach to making art accessible to a broader audience.5. **Social and Political Themes**: Haring's work often conveyed social and political messages, including themes related to AIDS awareness, apartheid, anti-drug campaigns, and the struggle for civil rights. He used his art as a form of activism and a means to raise awareness of important issues.6. **Friendship with Jean-Michel Basquiat**: Haring had a close friendship and collaboration with fellow artist Jean-Michel Basquiat. They shared a studio space and often worked together on various projects, influencing each other's work.7. **Legacy and Influence**: Keith Haring's art and activism left a lasting legacy. He is celebrated for his commitment to social causes and his dedication to making art accessible to all. His influence can be seen in contemporary street art, pop culture, and fashion.8. **AIDS Advocacy**: Haring was openly gay and became an advocate for AIDS awareness and education. He used his art to raise funds for AIDS research and support organizations dedicated to fighting the disease.9. **Tragic Death**: Keith Haring tragically passed away in 1990 at the age of 31 due to complications from AIDS. His early death was a significant loss to the art world, but his work continues to be celebrated and remembered.Keith Haring's art remains highly regarded for its bold and expressive style, as well as its commitment to addressing important social issues. His influence on contemporary art and his dedication to using art as a platform for activism have solidified his place as a significant figure in 20th-century art history.Measures 32 x 24 x 16.