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Pierre Soulages is a renowned French painter and sculptor, primarily known for his work in abstract art. He was born on December 24, 1919, in Rodez, France. Soulages is often associated with the art movement known as "L'Art Informel" or "Tachisme," which emerged in the 1940s and 1950s. Soulages is particularly celebrated for his exploration of the color black and the concept of "outrenoir" (beyond black). He developed a unique technique of applying thick layers of black paint onto the canvas, creating textured surfaces and intricate light-reflecting effects. Through his manipulation of light and texture, Soulages aimed to evoke a sense of depth and dynamism in his artworks. While black is a dominant color in his paintings, Soulages also experimented with other colors, often using contrasting tones to create visual tension. He is known for his ability to create a sense of movement and energy through the interplay of light, texture, and color.Throughout his career, Soulages has received numerous accolades and recognition for his contributions to the art world. His works have been exhibited in major museums and galleries worldwide, and he has been the subject of retrospectives and solo exhibitions. In 2014, the Musée Soulages, a museum dedicated to his work, opened in his hometown of Rodez, showcasing a significant collection of his paintings and sculptures.Pierre Soulages is regarded as one of the most important contemporary artists in France and has had a significant impact on abstract art, particularly through his exploration of the expressive possibilities of the color black. Measures 6.25 x 8.52 Printed circa 1970sVerso is blank.Mounted to archival quality paper.

Zhang Huan is a Chinese contemporary artist known for his performance art, sculpture, and installations. He was born in 1965 in Anyang, Henan Province, China. Zhang Huan's work often explores themes of spirituality, cultural identity, and the human body. In the 1990s, Zhang Huan gained recognition for his provocative and daring performance art pieces. His performances were often physically demanding and involved endurance, ritualistic actions, and interactions with his own body. Through his performances, he addressed cultural and social issues in China, including the effects of rapid urbanization and globalization. One of Zhang Huan's notable performances is "12 Square Meters" (1994), where he covered his naked body in honey and fish oil and sat in a public restroom covered in flies. Another well-known performance is "To Add One Meter to an Anonymous Mountain" (1995), where he and a group of friends lay naked on a mountain, adding their bodies to its height. In the late 1990s, Zhang Huan shifted his focus to sculpture and installation art. His works often incorporate traditional Chinese materials and techniques, such as incense ash, wood, and metal. He created large-scale installations that referenced Chinese culture, history, and Buddhism. Zhang Huan's artworks have been exhibited internationally in major galleries and museums. His notable exhibitions include solo shows at the Shanghai Art Museum, the Asia Society in New York, and the Musée d'Art Contemporain de Lyon in France. His contributions to the art world have earned him critical acclaim and recognition. Zhang Huan is considered one of the most influential contemporary artists from China, and his work continues to inspire and provoke discussions about culture, spirituality, and the human condition. Measures 7.25 x 11 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.

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 9.5 x 11.5.

Bauhaus refers to a renowned art school that operated in Germany between 1919 and 1933. It was founded by architect Walter Gropius in Weimar and later moved to Dessau and Berlin. The school's name, Bauhaus, translates to "building house" in English, reflecting its focus on the integration of art, craftsmanship, and technology in architectural and industrial design.The Bauhaus had a profound impact on modern art, design, and architecture. Its approach emphasized functionalism, simplicity, and the idea of merging art with everyday life. The school sought to break down the barriers between different artistic disciplines, combining fine arts, crafts, and technology.The curriculum at the Bauhaus was comprehensive and included courses in areas such as painting, sculpture, architecture, typography, graphic design, industrial design, and theater. Prominent artists and designers, including Wassily Kandinsky, Paul Klee, László Moholy-Nagy, and Marcel Breuer, taught at the school.The Bauhaus also had a significant influence on architectural design, promoting principles such as the use of clean lines, open floor plans, and the integration of technology and industrial materials. Many iconic pieces of furniture and household objects associated with the modernist movement were designed at the Bauhaus.Despite its relatively short existence, the Bauhaus had a lasting impact on design and aesthetics. Its ideas and principles spread internationally, influencing subsequent generations of artists, architects, and designers. The legacy of the Bauhaus can still be seen in contemporary design, particularly in the areas of modernist architecture and functionalist industrial design.Measures 23.6 x 31.4.

Ken Haak was a celebrated fashion photographer. A native of Glendale, California, Haak attended the Art Center School in Los Angeles, where he studied painting and graphic design. Upon graduation, he moved to New York City and became an art director and graphic designer. He built a reputation in graphic design that led to receiving New York Art Director's Club Awards. His posters for The New York Times were exhibited by and formally entered into the permanent graphic design collection of The Museum of Modern Art. In mid-career he became a self-taught explorer in fashion photography who played light and shadow against skin and fabric to not simply dramatize the clothes, but exalt the body as well. His images reflect his strong sense of design in a style and manner both classic and contemporary. He elicits from his subjects images of intense eroticism and sensuality that convey both an innocence and candor uncommon in their warmth and beauty and sense of the human ideal. His photographs have appeared in such diverse publications as American Vogue, Harper's Bazaar, Playboy, Essence, Interview, and Men's Bazaar Italia. His books include "Ken Haak's Private Collection," "Summer Souvenirs," "Sleeping Beauties" and the illustrations for the exercise book "Working Out." (Rosehill Press, 122 E. 30th St. New York, NY). Measures 10 x 10.74 Printed Circa 1980'sVerso 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 9 Verso is blank.Mounted to archival quality paper.

Jim Dine is an American contemporary artist known for his contributions to the Pop Art movement. He was born on June 16, 1935, in Cincinnati, Ohio. Dine gained prominence in the 1960s for his unique artistic style, which combined elements of traditional painting, sculpture, and assemblage. Dine's work often incorporates everyday objects, such as tools, hearts, bathrobes, and skulls, which he uses as symbolic motifs. He is particularly recognized for his series of "happenings," which were interactive art events that blurred the boundaries between art and life. Throughout his career, Dine has explored a variety of mediums, including painting, drawing, printmaking, sculpture, and photography. He has experimented with different techniques and materials, including collage, assemblage, and incorporating found objects into his artwork. Dine's work has been exhibited extensively in galleries and museums around the world, and he has received numerous awards and honors for his contributions to the art world. His art is represented in major collections, including the Museum of Modern Art in New York, the Tate Modern in London, and the Centre Pompidou in Paris. Jim Dine's artistic career spans several decades, and he continues to create and exhibit his work to this day. His unique style and innovative approach to art have made him an influential figure in contemporary art history. Measures 9.27 x 8.25 Printed circa 2000sVerso is blank.Mounted to archival quality paper.

George Platt Lynes (1907-1955) was an American photographer known for his groundbreaking work in the fields of fashion and portraiture. Born on April 15, 1907, in East Orange, New Jersey, Lynes initially pursued a career in commercial photography. However, he gained significant recognition for his artistic and personal photographs that explored themes of beauty, male physique, and homoeroticism. In the 1930s and 1940s, Lynes became one of the first photographers to capture the male nude in a fine art context. His images often depicted male models in classical poses, evoking a sense of grace and sensuality. These photographs challenged societal norms and pushed boundaries in an era when homoerotic imagery was largely taboo. Lynes also excelled in fashion photography and worked extensively for Vogue and other prominent publications during the 1930s and 1940s. His fashion images combined elegance, drama, and a keen sense of composition, helping to redefine the genre and establish a new standard of sophistication. While Lynes' work was influential and widely praised, his personal life and artistic pursuits were constrained by the social and cultural attitudes of the time. Homosexuality was stigmatized, and his more explicit work was not widely exhibited or published during his lifetime. It wasn't until after his death from lung cancer in 1955 that his photographs received broader recognition and appreciation.Today, George Platt Lynes is recognized as a groundbreaking photographer who challenged societal norms through his exploration of male beauty and homoeroticism. His work has been exhibited in numerous museums and galleries, including the Metropolitan Museum of Art and the Museum of Modern Art in New York City. His photographs continue to inspire and influence contemporary artists and photographers. Measures 9.02 x 11.24 Verso is blank.Mounted to archival quality paper."

Ken Haak was a celebrated fashion photographer. A native of Glendale, California, Haak attended the Art Center School in Los Angeles, where he studied painting and graphic design. Upon graduation, he moved to New York City and became an art director and graphic designer. He built a reputation in graphic design that led to receiving New York Art Director's Club Awards. His posters for The New York Times were exhibited by and formally entered into the permanent graphic design collection of The Museum of Modern Art. In mid-career he became a self-taught explorer in fashion photography who played light and shadow against skin and fabric to not simply dramatize the clothes, but exalt the body as well. His images reflect his strong sense of design in a style and manner both classic and contemporary. He elicits from his subjects images of intense eroticism and sensuality that convey both an innocence and candor uncommon in their warmth and beauty and sense of the human ideal. His photographs have appeared in such diverse publications as American Vogue, Harper's Bazaar, Playboy, Essence, Interview, and Men's Bazaar Italia. His books include "Ken Haak's Private Collection," "Summer Souvenirs," "Sleeping Beauties" and the illustrations for the exercise book "Working Out." (Rosehill Press, 122 E. 30th St. New York, NY). Measures 8 x 7.98 Printed Circa 1980'sVerso is blank.Mounted to archival quality paper.

Ed Ruscha, born in 1937 in Omaha, Nebraska, is an American artist associated with the Pop Art movement and known for his exploration of language, typography, and the visual culture of Southern California. Ruscha's work encompasses painting, drawing, photography, and artist books, and he has made significant contributions to contemporary art.Ruscha's artistic style is characterized by his use of bold typography, strong compositions, and a distinctive sense of humor. He often combines text and image in his works, creating visually striking and conceptually layered pieces. Ruscha's fascination with language is evident in his use of words, phrases, and slogans, which he incorporates into his paintings and prints.One of Ruscha's most renowned series is the "Standard Station" series, which he began in the 1960s. In these works, he depicted gas stations, particularly the Standard Oil gas stations that dotted the American landscape, using a combination of precise representation and graphic stylization. These paintings capture the essence of American car culture and the iconic imagery associated with it.Ruscha's exploration of the urban landscape extends to his depictions of Los Angeles, where he has lived and worked for many years. His paintings often depict the city's iconic signs, billboards, and buildings, presenting a unique perspective on the sprawling metropolis. Through his use of bold colors and simplified forms, Ruscha captures the essence of the urban environment, evoking a sense of both familiarity and detachment.In addition to his paintings, Ruscha is well known for his artist books, which are highly regarded as works of art in their own right. His books often feature photographs, text, and drawings, exploring themes of language, culture, and the relationship between image and text. Ruscha's artist books have had a profound influence on the field of bookmaking and continue to be celebrated for their conceptual and aesthetic qualities.Ruscha's contributions to the art world have earned him international recognition and acclaim. His work has been exhibited in major museums and galleries around the world, and he has received numerous awards and honors for his artistic achievements.Ed Ruscha's art continues to captivate audiences with its unique blend of language, imagery, and wit. His exploration of American culture, particularly the visual and textual elements of everyday life, has left an indelible mark on the art world. Ruscha's work serves as a powerful reflection of the modern urban experience and continues to inspire and influence contemporary artists today.Measures 16.25 x 21.5.Signed, dated, and numbered in the plate.

David Hockney is a British artist known for his diverse and influential body of work in various mediums, including painting, drawing, printmaking, photography, and digital art. He is considered one of the most important artists of the 20th and 21st centuries. Here are some key aspects of David Hockney's life and art:1. **Early Life and Education:** David Hockney was born on July 9, 1937, in Bradford, West Yorkshire, England. He studied at the Royal College of Art in London during the 1950s and gained recognition for his talent and unique artistic style.2. **Pop Art and California:** In the early 1960s, Hockney was associated with the Pop Art movement, though his work often had a more personal and figurative quality. He became closely linked to California and spent much of his life in Los Angeles, where he was inspired by the vibrant colors, landscapes, and lifestyle.3. **Swimming Pool Paintings:** Hockney gained widespread acclaim for his series of paintings featuring swimming pools, such as "A Bigger Splash" (1967). These works captured the essence of the California lifestyle and became iconic in the art world.4. **Portraits and Cubism:** Throughout his career, Hockney experimented with different artistic styles and techniques. He explored portraiture, often using unconventional methods like photocollage, and was influenced by Cubism in works like "Pearblossom Hwy" (1986).5. **Photography and Joiners:** Hockney is known for his innovative photographic collages, which he called "joiners." These images consisted of multiple photographs taken from slightly different angles and assembled to create a single, fragmented image.6. **Digital Art:** In the later part of his career, Hockney embraced digital technology and created art on devices like the iPad. His iPad drawings, made with the Brushes app, showcased his continued experimentation with color and form.7. **Landscapes:** Hockney's love of nature and the countryside led him to create numerous landscape paintings, particularly of the Yorkshire countryside where he grew up. His series "The Arrival of Spring in Woldgate, East Yorkshire" captures the changing seasons in his hometown.8. **Legacy:** David Hockney's work has had a profound influence on contemporary art. He is known for his ability to adapt to new artistic mediums while maintaining a distinctive style. His vibrant use of color and exploration of perception continue to inspire artists and viewers alike.David Hockney's contributions to the art world have earned him numerous awards and honors, including the Order of Merit from Queen Elizabeth II. His work remains highly sought after, and he continues to be an influential figure in the art community.Measures 19.75 x 24.5.

Ken Haak was a celebrated fashion photographer. A native of Glendale, California, Haak attended the Art Center School in Los Angeles, where he studied painting and graphic design. Upon graduation, he moved to New York City and became an art director and graphic designer. He built a reputation in graphic design that led to receiving New York Art Director's Club Awards. His posters for The New York Times were exhibited by and formally entered into the permanent graphic design collection of The Museum of Modern Art. In mid-career he became a self-taught explorer in fashion photography who played light and shadow against skin and fabric to not simply dramatize the clothes, but exalt the body as well. His images reflect his strong sense of design in a style and manner both classic and contemporary. He elicits from his subjects images of intense eroticism and sensuality that convey both an innocence and candor uncommon in their warmth and beauty and sense of the human ideal. His photographs have appeared in such diverse publications as American Vogue, Harper's Bazaar, Playboy, Essence, Interview, and Men's Bazaar Italia. His books include "Ken Haak's Private Collection," "Summer Souvenirs," "Sleeping Beauties" and the illustrations for the exercise book "Working Out." (Rosehill Press, 122 E. 30th St. New York, NY). Measures 9.98 x 12.74 Printed Circa 1980'sVerso is blank.Mounted to archival quality paper.

Richard Misrach is a contemporary American photographer known for his large-scale photographs of the American landscape. Born on February 25, 1949, in Los Angeles, California, Misrach began his career in the 1970s and has since become renowned for his captivating and thought-provoking images. One of Misrach's most notable bodies of work is titled ""Desert Cantos,"" a series that explores the vast desert landscapes of the American West. These photographs depict the interplay between human presence and the natural environment, often highlighting the impact of human activity on these seemingly untouched spaces. Through his meticulous compositions and use of color, Misrach prompts viewers to contemplate issues related to ecology, politics, and the intersection of nature and civilization. Another significant project by Misrach is ""The Golden Gate,"" a series of photographs focusing on the Golden Gate Bridge in San Francisco. These images capture the iconic landmark from various angles and distances, showcasing its beauty and symbolic importance within the urban landscape. Misrach's work has been widely exhibited in galleries and museums around the world. His photographs are held in numerous prestigious collections, including the Museum of Modern Art (MoMA) in New York, the National Gallery of Art in Washington, D.C., and the San Francisco Museum of Modern Art (SFMOMA). Over the course of his career, Richard Misrach has received numerous awards and honors for his contributions to the field of photography. His work continues to inspire and provoke discussions about the relationship between humans and the natural world. Measures 14.01 x 10.52 Printed Circa 1970'sVerso is blank.Mounted to archival quality paper."

Ken Haak was a celebrated fashion photographer. A native of Glendale, California, Haak attended the Art Center School in Los Angeles, where he studied painting and graphic design. Upon graduation, he moved to New York City and became an art director and graphic designer. He built a reputation in graphic design that led to receiving New York Art Director's Club Awards. His posters for The New York Times were exhibited by and formally entered into the permanent graphic design collection of The Museum of Modern Art. In mid-career he became a self-taught explorer in fashion photography who played light and shadow against skin and fabric to not simply dramatize the clothes, but exalt the body as well. His images reflect his strong sense of design in a style and manner both classic and contemporary. He elicits from his subjects images of intense eroticism and sensuality that convey both an innocence and candor uncommon in their warmth and beauty and sense of the human ideal. His photographs have appeared in such diverse publications as American Vogue, Harper's Bazaar, Playboy, Essence, Interview, and Men's Bazaar Italia. His books include "Ken Haak's Private Collection," "Summer Souvenirs," "Sleeping Beauties" and the illustrations for the exercise book "Working Out." (Rosehill Press, 122 E. 30th St. New York, NY). Measures 9.75 x 12.52 Printed Circa 1980'sVerso is blank.Mounted to archival quality paper.

George Platt Lynes (1907-1955) was an American photographer known for his groundbreaking work in the fields of fashion and portraiture. Born on April 15, 1907, in East Orange, New Jersey, Lynes initially pursued a career in commercial photography. However, he gained significant recognition for his artistic and personal photographs that explored themes of beauty, male physique, and homoeroticism. In the 1930s and 1940s, Lynes became one of the first photographers to capture the male nude in a fine art context. His images often depicted male models in classical poses, evoking a sense of grace and sensuality. These photographs challenged societal norms and pushed boundaries in an era when homoerotic imagery was largely taboo. Lynes also excelled in fashion photography and worked extensively for Vogue and other prominent publications during the 1930s and 1940s. His fashion images combined elegance, drama, and a keen sense of composition, helping to redefine the genre and establish a new standard of sophistication. While Lynes' work was influential and widely praised, his personal life and artistic pursuits were constrained by the social and cultural attitudes of the time. Homosexuality was stigmatized, and his more explicit work was not widely exhibited or published during his lifetime. It wasn't until after his death from lung cancer in 1955 that his photographs received broader recognition and appreciation.Today, George Platt Lynes is recognized as a groundbreaking photographer who challenged societal norms through his exploration of male beauty and homoeroticism. His work has been exhibited in numerous museums and galleries, including the Metropolitan Museum of Art and the Museum of Modern Art in New York City. His photographs continue to inspire and influence contemporary artists and photographers. Measures 9.02 x 11.02 Verso is blank.Mounted to archival quality paper."

Banksy is the pseudonymous name of an anonymous street artist, political activist, and filmmaker known for his provocative and often politically charged artwork, primarily in the form of graffiti and stenciled street art. Here are some key points about Banksy:1. **Identity Secrecy**: Banksy's true identity has remained a closely guarded secret since he first emerged on the street art scene in the early 2000s. Various theories and speculations about his identity have circulated, but he has successfully maintained his anonymity.2. **Artistic Style**: Banksy's work is characterized by its satirical and subversive themes, often addressing political and social issues. His art combines elements of humor, political commentary, and visual impact.3. **Stencil Art**: Many of Banksy's artworks are created using stencils, which allow for intricate and detailed designs. This technique enables him to create his distinctive images quickly on various surfaces, including walls, bridges, and buildings.4. **Political Activism**: Banksy's art often conveys strong political messages, criticizing topics such as war, consumerism, inequality, and government policies. His pieces have been used to raise awareness about various global issues.5. **Global Presence**: Banksy's work has been found in cities around the world, including London, New York City, Paris, Bethlehem, and others. His art often appears in unexpected and high-profile locations.6. **Documentary Films**: Banksy has also ventured into filmmaking. His documentary film "Exit Through the Gift Shop" (2010) explores the world of street art and garnered significant attention.7. **Controversy**: Banksy's work has generated controversy and sometimes legal issues. Many of his pieces are considered illegal graffiti, leading to their removal or destruction by authorities. However, his art is also highly sought after by collectors, and some pieces have been sold for substantial sums.8. **Social Media and Popularity**: Banksy's work has gained immense popularity on social media platforms, where his art is widely shared and discussed. His subversive and thought-provoking messages have resonated with a global audience.9. **Charitable Work**: Banksy has occasionally used his art to support charitable causes. For example, he has donated artwork for auction to raise funds for organizations and initiatives.10. **Elusiveness**: Banksy's elusiveness, coupled with his ability to create impactful and thought-provoking art in public spaces, has made him one of the most famous and enigmatic figures in the art world.Banksy's art challenges conventional norms and often forces viewers to reconsider their perspectives on various societal issues. Despite his anonymity, his influence on contemporary art and popular culture is undeniable, and his work continues to capture the imagination of people around the world.Measures 54 x 36.

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 8.25 x 6.73 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 x 9.23 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.

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 7.25 x 8.24 Printed circa 1950sVerso 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 6.01 x 9 Verso is blank.Mounted to archival quality paper.

Pierre Soulages is a renowned French painter and sculptor, primarily known for his work in abstract art. He was born on December 24, 1919, in Rodez, France. Soulages is often associated with the art movement known as "L'Art Informel" or "Tachisme," which emerged in the 1940s and 1950s. Soulages is particularly celebrated for his exploration of the color black and the concept of "outrenoir" (beyond black). He developed a unique technique of applying thick layers of black paint onto the canvas, creating textured surfaces and intricate light-reflecting effects. Through his manipulation of light and texture, Soulages aimed to evoke a sense of depth and dynamism in his artworks. While black is a dominant color in his paintings, Soulages also experimented with other colors, often using contrasting tones to create visual tension. He is known for his ability to create a sense of movement and energy through the interplay of light, texture, and color.Throughout his career, Soulages has received numerous accolades and recognition for his contributions to the art world. His works have been exhibited in major museums and galleries worldwide, and he has been the subject of retrospectives and solo exhibitions. In 2014, the Musée Soulages, a museum dedicated to his work, opened in his hometown of Rodez, showcasing a significant collection of his paintings and sculptures.Pierre Soulages is regarded as one of the most important contemporary artists in France and has had a significant impact on abstract art, particularly through his exploration of the expressive possibilities of the color black. Measures 6.25 x 8.52 Printed circa 1970sVerso is blank.Mounted to archival quality paper.

Pierre Soulages is a renowned French painter and sculptor, primarily known for his work in abstract art. He was born on December 24, 1919, in Rodez, France. Soulages is often associated with the art movement known as "L'Art Informel" or "Tachisme," which emerged in the 1940s and 1950s. Soulages is particularly celebrated for his exploration of the color black and the concept of "outrenoir" (beyond black). He developed a unique technique of applying thick layers of black paint onto the canvas, creating textured surfaces and intricate light-reflecting effects. Through his manipulation of light and texture, Soulages aimed to evoke a sense of depth and dynamism in his artworks. While black is a dominant color in his paintings, Soulages also experimented with other colors, often using contrasting tones to create visual tension. He is known for his ability to create a sense of movement and energy through the interplay of light, texture, and color.Throughout his career, Soulages has received numerous accolades and recognition for his contributions to the art world. His works have been exhibited in major museums and galleries worldwide, and he has been the subject of retrospectives and solo exhibitions. In 2014, the Musée Soulages, a museum dedicated to his work, opened in his hometown of Rodez, showcasing a significant collection of his paintings and sculptures.Pierre Soulages is regarded as one of the most important contemporary artists in France and has had a significant impact on abstract art, particularly through his exploration of the expressive possibilities of the color black. Measures 7.5 x 10.76 Printed circa 1970sVerso is blank.Mounted to archival quality paper.

George Platt Lynes (1907-1955) was an American photographer known for his groundbreaking work in the fields of fashion and portraiture. Born on April 15, 1907, in East Orange, New Jersey, Lynes initially pursued a career in commercial photography. However, he gained significant recognition for his artistic and personal photographs that explored themes of beauty, male physique, and homoeroticism. In the 1930s and 1940s, Lynes became one of the first photographers to capture the male nude in a fine art context. His images often depicted male models in classical poses, evoking a sense of grace and sensuality. These photographs challenged societal norms and pushed boundaries in an era when homoerotic imagery was largely taboo. Lynes also excelled in fashion photography and worked extensively for Vogue and other prominent publications during the 1930s and 1940s. His fashion images combined elegance, drama, and a keen sense of composition, helping to redefine the genre and establish a new standard of sophistication. While Lynes' work was influential and widely praised, his personal life and artistic pursuits were constrained by the social and cultural attitudes of the time. Homosexuality was stigmatized, and his more explicit work was not widely exhibited or published during his lifetime. It wasn't until after his death from lung cancer in 1955 that his photographs received broader recognition and appreciation.Today, George Platt Lynes is recognized as a groundbreaking photographer who challenged societal norms through his exploration of male beauty and homoeroticism. His work has been exhibited in numerous museums and galleries, including the Metropolitan Museum of Art and the Museum of Modern Art in New York City. His photographs continue to inspire and influence contemporary artists and photographers. Measures 9.24 x 10.98 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 7.77 x 10.26 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper.

Ed Ruscha, born in 1937 in Omaha, Nebraska, is an American artist associated with the Pop Art movement and known for his exploration of language, typography, and the visual culture of Southern California. Ruscha's work encompasses painting, drawing, photography, and artist books, and he has made significant contributions to contemporary art.Ruscha's artistic style is characterized by his use of bold typography, strong compositions, and a distinctive sense of humor. He often combines text and image in his works, creating visually striking and conceptually layered pieces. Ruscha's fascination with language is evident in his use of words, phrases, and slogans, which he incorporates into his paintings and prints.One of Ruscha's most renowned series is the "Standard Station" series, which he began in the 1960s. In these works, he depicted gas stations, particularly the Standard Oil gas stations that dotted the American landscape, using a combination of precise representation and graphic stylization. These paintings capture the essence of American car culture and the iconic imagery associated with it.Ruscha's exploration of the urban landscape extends to his depictions of Los Angeles, where he has lived and worked for many years. His paintings often depict the city's iconic signs, billboards, and buildings, presenting a unique perspective on the sprawling metropolis. Through his use of bold colors and simplified forms, Ruscha captures the essence of the urban environment, evoking a sense of both familiarity and detachment.In addition to his paintings, Ruscha is well known for his artist books, which are highly regarded as works of art in their own right. His books often feature photographs, text, and drawings, exploring themes of language, culture, and the relationship between image and text. Ruscha's artist books have had a profound influence on the field of bookmaking and continue to be celebrated for their conceptual and aesthetic qualities.Ruscha's contributions to the art world have earned him international recognition and acclaim. His work has been exhibited in major museums and galleries around the world, and he has received numerous awards and honors for his artistic achievements.Ed Ruscha's art continues to captivate audiences with its unique blend of language, imagery, and wit. His exploration of American culture, particularly the visual and textual elements of everyday life, has left an indelible mark on the art world. Ruscha's work serves as a powerful reflection of the modern urban experience and continues to inspire and influence contemporary artists today.Measures 16.25 x 24.Signed and dated in the plate.

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 6.52 x 8.25 Printed Circa 1990'sVerso is blank.Mounted to archival quality paper.

Hilma af Klint (1862-1944) was a Swedish artist and a pioneer of abstract art. She is recognized as one of the earliest artists to create abstract paintings, preceding well-known abstract artists like Wassily Kandinsky. Af Klint's innovative and spiritual approach to art challenges traditional narratives about the origins of abstract art.Af Klint's artistic journey was heavily influenced by her interest in spiritualism, mysticism, and theosophy. She was a member of a group of spiritualists known as "The Five," which included herself and four other women artists. Together, they conducted séances and sought to communicate with spiritual entities, which significantly impacted Af Klint's art.Her abstract works are characterized by vibrant colors, intricate geometric shapes, and symbolic elements. She believed that her paintings were a result of spiritual guidance and often worked in a meditative state. Af Klint's art explores themes of spirituality, the human connection to the cosmos, and the intersection of the physical and spiritual realms.It's important to note that, during her lifetime, Af Klint kept much of her abstract work private, as it didn't align with the artistic conventions of her time. It wasn't until many years after her death that her abstract and spiritual art gained recognition and appreciation.Hilma af Klint's legacy is that of a visionary artist who defied artistic norms and predated the abstract art movement by several years. Her innovative work challenges conventional art history narratives and continues to inspire contemporary artists interested in the intersections of art, spirituality, and abstraction.Measures 24 x 36.Oil on canvas.Sold "after" Klint.

Richard Misrach is a contemporary American photographer known for his large-scale photographs of the American landscape. Born on February 25, 1949, in Los Angeles, California, Misrach began his career in the 1970s and has since become renowned for his captivating and thought-provoking images. One of Misrach's most notable bodies of work is titled ""Desert Cantos,"" a series that explores the vast desert landscapes of the American West. These photographs depict the interplay between human presence and the natural environment, often highlighting the impact of human activity on these seemingly untouched spaces. Through his meticulous compositions and use of color, Misrach prompts viewers to contemplate issues related to ecology, politics, and the intersection of nature and civilization. Another significant project by Misrach is ""The Golden Gate,"" a series of photographs focusing on the Golden Gate Bridge in San Francisco. These images capture the iconic landmark from various angles and distances, showcasing its beauty and symbolic importance within the urban landscape. Misrach's work has been widely exhibited in galleries and museums around the world. His photographs are held in numerous prestigious collections, including the Museum of Modern Art (MoMA) in New York, the National Gallery of Art in Washington, D.C., and the San Francisco Museum of Modern Art (SFMOMA). Over the course of his career, Richard Misrach has received numerous awards and honors for his contributions to the field of photography. His work continues to inspire and provoke discussions about the relationship between humans and the natural world. Measures 14.01 x 10.52 Printed Circa 1970'sVerso 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 7.25 x 8.5 Printed circa 1950sVerso is blank.Mounted to archival quality paper."""""""""""""""

"Donald Sultan is an American painter known for his distinctive still-life compositions characterized by bold, graphic imagery. He was born on May 10, 1951, in Asheville, North Carolina. Sultan is recognized for his large-scale works that often combine abstract and representational elements.Sultan's early works from the 1970s and 1980s gained him prominence in the art world. He gained recognition for his use of industrial materials like tar, vinyl tiles, and spackle to create textured surfaces. These materials became a signature of his style and added a sculptural quality to his paintings. One of Sultan's most famous series is the Disaster Paintings created in the 1980s. These works depict natural and man-made disasters, such as fires, floods, and industrial accidents, using his characteristic style of bold, black forms against vibrant, colorful backgrounds. In addition to his disaster-themed works, Sultan is also known for his still-life subjects, particularly flowers. His flower paintings often feature large-scale blooms with rich, vibrant colors, emphasizing the contrast between the organic subject matter and the industrial materials used in his process.Throughout his career, Sultan has exhibited his work in numerous galleries and museums around the world, including the Museum of Modern Art (MoMA) and the Solomon R. Guggenheim Museum in New York City. His paintings can be found in the collections of major institutions and private collectors. Donald Sultan's work has had a significant impact on contemporary art, and he continues to create and exhibit his art to this day. Measures 7.74 x 7.75 Verso is blank.Mounted to archival quality paper."""

Yoshitomo Nara is a contemporary Japanese artist known for his colorful and whimsical paintings, drawings, and sculptures that often feature children and animals. He was born in Hirosaki, Japan, in 1959, and studied at Aichi Prefectural University of Fine Arts and Music and the Kunstakademie Düsseldorf in Germany.Nara's work is characterized by its simplicity and childlike quality, yet it often conveys a sense of ambiguity or underlying darkness. His subjects, typically wide-eyed children or animals, appear innocent at first glance, but their expressions and gestures often suggest a deeper emotional complexity or psychological tension.Nara has exhibited his work extensively in galleries and museums around the world, and he has become one of the most influential artists of his generation. His art has been featured in numerous publications, including the New York Times, Artforum, and Art in America. He has also collaborated with musicians and designers, such as Beck and Marc Jacobs.In addition to his artistic career, Nara is also known for his advocacy work for earthquake and tsunami relief in Japan. He has donated proceeds from his art sales to various charities and has organized benefit concerts and exhibitions.Verso is blank.Measures (approx): 14.3 x 20.3.

"Donald Sultan is an American painter known for his distinctive still-life compositions characterized by bold, graphic imagery. He was born on May 10, 1951, in Asheville, North Carolina. Sultan is recognized for his large-scale works that often combine abstract and representational elements.Sultan's early works from the 1970s and 1980s gained him prominence in the art world. He gained recognition for his use of industrial materials like tar, vinyl tiles, and spackle to create textured surfaces. These materials became a signature of his style and added a sculptural quality to his paintings. One of Sultan's most famous series is the Disaster Paintings created in the 1980s. These works depict natural and man-made disasters, such as fires, floods, and industrial accidents, using his characteristic style of bold, black forms against vibrant, colorful backgrounds. In addition to his disaster-themed works, Sultan is also known for his still-life subjects, particularly flowers. His flower paintings often feature large-scale blooms with rich, vibrant colors, emphasizing the contrast between the organic subject matter and the industrial materials used in his process.Throughout his career, Sultan has exhibited his work in numerous galleries and museums around the world, including the Museum of Modern Art (MoMA) and the Solomon R. Guggenheim Museum in New York City. His paintings can be found in the collections of major institutions and private collectors. Donald Sultan's work has had a significant impact on contemporary art, and he continues to create and exhibit his art to this day. Measures 7.52 x 7.74 Verso 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 8.25 x 11.74 Verso is blank.Mounted to archival quality paper.

Yoshitomo Nara is a contemporary Japanese artist known for his colorful and whimsical paintings, drawings, and sculptures that often feature children and animals. He was born in Hirosaki, Japan, in 1959, and studied at Aichi Prefectural University of Fine Arts and Music and the Kunstakademie Düsseldorf in Germany.Nara's work is characterized by its simplicity and childlike quality, yet it often conveys a sense of ambiguity or underlying darkness. His subjects, typically wide-eyed children or animals, appear innocent at first glance, but their expressions and gestures often suggest a deeper emotional complexity or psychological tension.Nara has exhibited his work extensively in galleries and museums around the world, and he has become one of the most influential artists of his generation. His art has been featured in numerous publications, including the New York Times, Artforum, and Art in America. He has also collaborated with musicians and designers, such as Beck and Marc Jacobs.In addition to his artistic career, Nara is also known for his advocacy work for earthquake and tsunami relief in Japan. He has donated proceeds from his art sales to various charities and has organized benefit concerts and exhibitions.Verso is blank.Measures (approx): 20.25 x 14.25.

Donald Sultan is an American painter known for his distinctive still-life compositions characterized by bold, graphic imagery. He was born on May 10, 1951, in Asheville, North Carolina. Sultan is recognized for his large-scale works that often combine abstract and representational elements.Sultan's early works from the 1970s and 1980s gained him prominence in the art world. He gained recognition for his use of industrial materials like tar, vinyl tiles, and spackle to create textured surfaces. These materials became a signature of his style and added a sculptural quality to his paintings. One of Sultan's most famous series is the Disaster Paintings created in the 1980s. These works depict natural and man-made disasters, such as fires, floods, and industrial accidents, using his characteristic style of bold, black forms against vibrant, colorful backgrounds. In addition to his disaster-themed works, Sultan is also known for his still-life subjects, particularly flowers. His flower paintings often feature large-scale blooms with rich, vibrant colors, emphasizing the contrast between the organic subject matter and the industrial materials used in his process.Throughout his career, Sultan has exhibited his work in numerous galleries and museums around the world, including the Museum of Modern Art (MoMA) and the Solomon R. Guggenheim Museum in New York City. His paintings can be found in the collections of major institutions and private collectors. Donald Sultan's work has had a significant impact on contemporary art, and he continues to create and exhibit his art to this day. Measures 7.75 x 7.75 Verso is blank.Mounted to archival quality paper."

Contemporary studio art glass dish of organic shell-like form, with ribboned & flecked decoration, indistinctly signed to base, dated 2019. (Measures approx 42.5cm wide)

MICHAELA YEARWOOD-DAN (B. 1994)Maten 2018 signed and dated 2018 on the reverse; signed with the artist's initials and dated '18 on the stretcheroil on canvas79.5 by 59.5 cm.31 5/16 by 23 7/16 in. Footnotes:ProvenanceAcquired directly from the artist by the present owner in 2019Bursting with energy, Maten, 2018 is an exuberant example of Michaela Yearwood-Dan's highly coveted abstract paintings. Lush strokes of paint sweep across the surface of the canvas, with daubs of colour and peaks of impasto that have been applied thickly with a palette knife. The whimsical surface is juxtaposed against strong brushstrokes of dark blue, drawing the eye to all areas of the painting with a sense of movement and lyricism. As with many of her paintings, Maten also holds a reflective quality, where the viewer can't help but be drawn into the world of the artist. Working across various media, Yearwood-Dan's paintings, prints and ceramics are transcendent and organic pieces that are a joy to behold. There is something very powerful and feminine about her compositions in the way that they explode boldly from the surface with swirling marks, botanical motifs, abstract landscapes and text referenced from poetry or song lyrics. Utilising rich colour and lush brushstrokes to evoke sensations, Yearwood-Dan creates a sumptuous energy which references her Black heritage, femininity and personal narratives. These depictions are also political, with a nod to, and celebration of queer identity which can be seen in the bright colours of the lesbian and bi-sexual flag, or the historic symbolism associated with pansies and carnations, the latter made famous by Oscar Wilde in 1892 when the poet and playwright instructed some of his friends to wear green carnations on their lapel as a secret gay symbol. Creating her own unique visual language, Yearwood-Dan has garnered attention as one of the rising stars of the international contemporary art scene. With solo exhibitions in New York and London and works featured in prominent public collections such as the Institute of Contemporary Art Miami, Florida and the Crocker Art Museum, Sacramento, Maten is a captivating example by one of the most exciting young artists working globally today.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

TRACEY EMIN (B. 1963)The Last Black Horse circa 1985 signed and titled on the reverseoil and wood collage on board45.4 by 30.5 cm.17 7/8 by 11 15/16 in.This work was executed circa 1985.Footnotes:ProvenanceBilly Childish Collection, London (gift from the artist)Acquired directly from the above by the present owner in 2008The artistic and personal relationship between Tracey Emin and Billy Childish is a compelling narrative within the contemporary art world, marked by both collaboration and divergence. Emerging from the same generation of British artists in the late 20th century, Emin and Childish share a complex and intertwined history that has significantly shaped their respective careers.Romantically involved in the early 1980s, Emin and Childish's artistic trajectories were closely linked during this period, marked by a shared exploration of personal and often confronting themes in their work. Staying together for several years the relationship appears to have been troubled at times, with Childish stating that he treated her 'abysmally as a boyfriend' ('Billy Childish: Childish attitude', www.independent.co.uk, accessed 21 September 2023) and as their careers developed, their paths separated. Emin's work, characterised by its confessional and autobiographical nature, garnered widespread acclaim and made her a household name as one of the sensationalist Young British Artists. In contrast, Childish maintained a more underground presence, focusing on a diverse range of artistic pursuits, from painting and poetry to music.Presented here is a rare opportunity to acquire works infused with the interwoven history of two internationally acclaimed artists. There is a sense of intimacy and revelation yet also intrusion, as the viewer becomes privy to their private narrative and all three lots were formerly in the collection of Billy Childish. Lot 39 Self Portrait appears to be a companion piece to a portrait that Childish painted of Tracey Emin. Both works were executed in 1982 during their relationship and share stylistic qualities. Here Childish has painted his figure with sharp features set against a canary yellow background and contrasted with a blue curtain. The work is imbued with a rather pensive tone; the nudity of the sitter displays a sense of vulnerability, whilst the figure refuses to meet the gaze of the viewer, the sidesways glance reveals an underlying tension and uncertainty.Created soon after, Lot 40 Untitled and Lot 41 The Last Black Horse by Emin are rare early paintings that similarly demonstrate the mutual creativity and connection between the two artists. Like the preceding Self Portrait, these two works are framed in striking black and the surface is rendered in thick strokes of paint as the figures appear almost sculpted by the impasto. Incised into the border of The Last Black Horse is the symbol of a gallows, which is tattooed on the arm of Childish and visible in Self Portrait and acts as a homage to her former partner. The angular features and thick brush strokes are unlike her now characteristic sweeping strokes and celebrated painterly style of figuration that borders on abstraction. However, present in these early pieces are the pillars that Emin continues to reference throughout her career, displaying a rawness and honesty and drawing upon the themes of love and desire.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

BILLY CHILDISH (B. 1959)Self Portrait 1982 signed SH and dated 82; inscribed SP 1 of 3 on the reverseoil on board 121.7 by 61.7 cm.47 15/16 by 24 5/16 in.Footnotes:ProvenanceCollection of the artistAcquired directly from the above by the present owner in 2008LiteratureBilly Childish, Childish - Paintings of a Backwater Visionary, London 2005, pp. 34, 173, illustrated in colourThe artistic and personal relationship between Tracey Emin and Billy Childish is a compelling narrative within the contemporary art world, marked by both collaboration and divergence. Emerging from the same generation of British artists in the late 20th century, Emin and Childish share a complex and intertwined history that has significantly shaped their respective careers.Romantically involved in the early 1980s, Emin and Childish's artistic trajectories were closely linked during this period, marked by a shared exploration of personal and often confronting themes in their work. Staying together for several years the relationship appears to have been troubled at times, with Childish stating that he treated her 'abysmally as a boyfriend' ('Billy Childish: Childish attitude', www.independent.co.uk, accessed 21 September 2023) and as their careers developed, their paths separated. Emin's work, characterised by its confessional and autobiographical nature, garnered widespread acclaim and made her a household name as one of the sensationalist Young British Artists. In contrast, Childish maintained a more underground presence, focusing on a diverse range of artistic pursuits, from painting and poetry to music.Presented here is a rare opportunity to acquire works infused with the interwoven history of two internationally acclaimed artists. There is a sense of intimacy and revelation yet also intrusion, as the viewer becomes privy to their private narrative and all three lots were formerly in the collection of Billy Childish. Lot 39 Self Portrait appears to be a companion piece to a portrait that Childish painted of Tracey Emin. Both works were executed in 1982 during their relationship and share stylistic qualities. Here Childish has painted his figure with sharp features set against a canary yellow background and contrasted with a blue curtain. The work is imbued with a rather pensive tone; the nudity of the sitter displays a sense of vulnerability, whilst the figure refuses to meet the gaze of the viewer, the sidesways glance reveals an underlying tension and uncertainty.Created soon after, Lot 40 Untitled and Lot 41 The Last Black Horse by Emin are rare early paintings that similarly demonstrate the mutual creativity and connection between the two artists. Like the preceding Self Portrait, these two works are framed in striking black and the surface is rendered in thick strokes of paint as the figures appear almost sculpted by the impasto. Incised into the border of The Last Black Horse is the symbol of a gallows, which is tattooed on the arm of Childish and visible in Self Portrait and acts as a homage to her former partner. The angular features and thick brush strokes are unlike her now characteristic sweeping strokes and celebrated painterly style of figuration that borders on abstraction. However, present in these early pieces are the pillars that Emin continues to reference throughout her career, displaying a rawness and honesty and drawing upon the themes of love and desire.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

WILLIAM KENTRIDGE (B. 1955)Office Love 2001 signed with the artist's signature woven into the reverse; signed, titled, dated 2003, numbered 3/3 and variously inscribed on a label affixed to the reversemohair, acrylic and polyester tapestry341 by 451.6 cm. 134 1/4 by 177 13/16 in. This work was executed in collaboration with Marguerite Stephens in 2003, and is number 3 from an edition of 3 and 2 APs.Footnotes:ProvenanceAnnandale Galleries, SydneyAcquired directly from the above by the present owner in 2004ExhibitedSydney, Annandale Galleries, William Kentridge: Learning The Flute / Automatic Writing, 2004, illustrated on the cover in colourSydney, S.H. Ervin Gallery, 2004: The Year in Art, 2004 Philadelphia, Philadelphia Museum of Art, William Kentridge Tapestries, 2007-2008, p. 65, no. 17, another example exhibited and illustrated in colourSydney, University of Technology Sydney, 2010-2015, work on loan to the University Another example of this edition is held in the permanent collection of the Philadelphia Museum of Art, Philadelphia.Incisively political and yet profoundly poetic, Office Love belongs to a series of tapestries which William Kentridge began in 2001. This present work is from an edition of three that were executed between 2001 and 2005; the first edition of which is held in the permanent collection of the prominent Philadelphia Museum of Art. The monumental scale and intricate execution of this present work, along with the foundations of cultural and historic sensibility, sets Kentridge apart as an artist who has achieved an extraordinary, compelling contribution to the disciplines of 21st century art. Office Love illustrates an intricate map of Johannesburg with almost life size silhouettes dramatically set against the cartographical formality of the chart. The duality of his composition is arresting; the darkness of his silhouettes, or protagonists, as they so boldly encompass the composition, rest atop the delicate pastel threads delicately woven to construct a map of the city, in an almost collaged fashion. The silhouettes depict a stocky businessman with a typewriter for a head, who purposefully approaches three pieces of what one might decipher as 'feminine' office furniture, the largest of which is a transcriber's table. Interestingly, typewriters started to become standardised in the 1890s, shortly after the years in which Johannesburg was founded and developed as a city. It might be considered that everyday objects such as typewriters recall an early 20th-century colonial world as perceived by the artist that would be apparent to a child growing up in the 50s and 60s.  The title Office Love contributes to the assertion of male and female receptivity and possibly contains a more profound meaning; perhaps the depiction of the stocky male advancing is sexual tension or perhaps it is simply progress in today's age. Born in Johannesburg in 1955, William Kentridge has become one of the most highly regarded and sought after living contemporary artists. He has produced a searing interdisciplinary body of work ranging from drawing, film, animation, theatre, sculpture, tapestry and even opera, that explores themes of colonial oppression and social conflict, loss and reconciliation, alongside the transient nature of both personal and cultural memory.  He seeks to transmute sobering political events into powerful poetic allegories that resonate profoundly, still to this present day. Setting his oeuvre in context, Kentridge was the son of prominent anti-apartheid lawyers; Sir Sydney Kentridge and Felicia Geffen. His father famously defended Nelson Mandela during the Treason Trials of 1956 – 1961, and his mother was a highly respected human rights advocate who set up an organisation to provide free legal support to marginalised members of South African society, that is still in service today. This political background and family lineage proved vital to shaping Kentridge's artistic career.  Upon graduating from the prestigious University of Witwatersrand with a bachelor's degree in politics and African studies, Kentridge enrolled at the Johannesburg Art Foundation, where he studied Fine Arts. His interest in African history and politics remained with him and influenced his work. Due to his parents' involvement in South African politics, Kentridge grew up acutely aware of the injustices in the country, and art became a form of expression for him. Reputed perhaps more widely are his compelling animations that reveal the process of their own creation by showing how individual frames have been drawn, adapted, erased, and otherwise transformed from one image to the next; but William Kentridge introduced the medium of tapestry into his repertoire as another way to tell difficult and harrowing stories akin to his native homeland and the period in which he grew up in. Like his animations, Kentridge's tapestries are also developed from his drawings, the first media his artistic practise evolved from. These preparatory collaged drawings conjure shadowy figures from ripped construction paper which he then collaged onto the web-like background of nineteenth-century atlas maps of Europe and Johannesburg. He began making tapestries in collaboration with the Stephens Tapestry Studio, run by the mother and daughter team of Marguerite Stephens and Tina Weavind, whom he would collaborate with for 24 years. The tapestries are woven from mohair harvested from Angora goats farmed in the Eastern Cape, South Africa, and in Lesotho. The raw mohair was processed and dyed in northern Eswatini before being transferred to the looms at the studio in Diepsloot on the outskirts of Johannesburg. The mapping of geography across many South African cities to produce these tapestries, perhaps speaks to Kentridge's heritage and underlying political preoccupations that resonated in his art. Kentridge's tapestries, which included the first edition of Office Love, were the subject of an important exhibition dedicated solely to this medium organised by the Philadelphia Museum of Art in 2007. Exhibited were eleven works from a multiple of series that showcase similar silhouetted figures set against the backdrop of maps, carrying bundles and belongings as they move forward. The backgrounds of the beautifully woven and embroidered maps, along with the juxtaposition of hulking figures couldn't be more direct. The curator of the exhibition, Carlos Basualdo, explained, 'Kentridge initially thought of his tapestries as 'permanent projections. While they evoke the moving image, his tapestries also illuminate the centrality of drawing in his practice. He uses the language of one medium to talk about another medium, while at the same time dealing with societies that are themselves in a state of transition'.  (Carlos Basualdo, William Kentridge Tapestries https://philamuseum.org/calendar/exhibition/notationswilliam-kentridge-tapestries, 19 September 2023). It is plausible to argue that no other South African artist has achieved greater status than William Kentridge. His career has brought him international recognition as one of today's major living artists. This reputation is confirmed by the stature of the global institutions and art museums that have exhibited his work. 

TRACEY EMIN (B. 1963)Untitled 1984 dated 84 and inscribed TRACI XX on the reverseoil on board 33.9 by 23.3 cm.13 3/8 by 9 3/16 in.Footnotes:ProvenanceBilly Childish Collection, London (gift from the artist)Acquired directly from the above by the present owner in 2008The artistic and personal relationship between Tracey Emin and Billy Childish is a compelling narrative within the contemporary art world, marked by both collaboration and divergence. Emerging from the same generation of British artists in the late 20th century, Emin and Childish share a complex and intertwined history that has significantly shaped their respective careers.Romantically involved in the early 1980s, Emin and Childish's artistic trajectories were closely linked during this period, marked by a shared exploration of personal and often confronting themes in their work. Staying together for several years the relationship appears to have been troubled at times, with Childish stating that he treated her 'abysmally as a boyfriend' ('Billy Childish: Childish attitude', www.independent.co.uk, accessed 21 September 2023) and as their careers developed, their paths separated. Emin's work, characterised by its confessional and autobiographical nature, garnered widespread acclaim and made her a household name as one of the sensationalist Young British Artists. In contrast, Childish maintained a more underground presence, focusing on a diverse range of artistic pursuits, from painting and poetry to music.Presented here is a rare opportunity to acquire works infused with the interwoven history of two internationally acclaimed artists. There is a sense of intimacy and revelation yet also intrusion, as the viewer becomes privy to their private narrative and all three lots were formerly in the collection of Billy Childish. Lot 39 Self Portrait appears to be a companion piece to a portrait that Childish painted of Tracey Emin. Both works were executed in 1982 during their relationship and share stylistic qualities. Here Childish has painted his figure with sharp features set against a canary yellow background and contrasted with a blue curtain. The work is imbued with a rather pensive tone; the nudity of the sitter displays a sense of vulnerability, whilst the figure refuses to meet the gaze of the viewer, the sidesways glance reveals an underlying tension and uncertainty.Created soon after, Lot 40 Untitled and Lot 41 The Last Black Horse by Emin are rare early paintings that similarly demonstrate the mutual creativity and connection between the two artists. Like the preceding Self Portrait, these two works are framed in striking black and the surface is rendered in thick strokes of paint as the figures appear almost sculpted by the impasto. Incised into the border of The Last Black Horse is the symbol of a gallows, which is tattooed on the arm of Childish and visible in Self Portrait and acts as a homage to her former partner. The angular features and thick brush strokes are unlike her now characteristic sweeping strokes and celebrated painterly style of figuration that borders on abstraction. However, present in these early pieces are the pillars that Emin continues to reference throughout her career, displaying a rawness and honesty and drawing upon the themes of love and desire.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

MIMMO PALADINO (B. 1948)Untitled 1985 incised with the artist's signature, dated 1985, numbered 3/3 and stamped with the FONDERIA DI GIACOMO NAPOLI foundry mark bronze 152 by 173 by 82 cm. 59 13/16 by 68 1/8 by 32 5/16 in. This work is number 3 from an edition of 3. Footnotes:ProvenancePrivate Collection, UK Exhibited Monterrey, Museo de Arte Contemporaneo de Monterrey, Mimmo Paladino, 1994, pp. 173, 177, no. 16, another example exhibited and illustrated in black and whiteLiteratureEnzo Di Martino, Paladino-La Scultura 1980-2008, Milan 2009, pp. 55, 408, illustrated in black and whiteMimmo Paladino, a protagonist of the Italian Transavanguardia movement, dedicated the early years of his artistic career to exploring the religious themes and mythological interpretations present in the outstanding sculptural examples presented here.Despite the present works varying styles and dates, the pivotal role of the human figure becomes evident; with motifs clearly inspired by Classical mythology, Christianity, Egyptian and tribal art. Figura con Stella with its bowed head, facing the star displays an act of subordination, further highlighted by the star motif, which represents the heavens or home of the gods. Untitled, which has similar connotations, exhibits seemingly sacrificial objects lying on the table-top alluding to death and sacrifice. Paladino argues that while these themes inspire his work, they don't define it: 'The figures in my paintings, the animals, the masks, the theme of death – I do not want to explain or analyse them. They are the roots out of which the picture develops, but not its content.' (the artist in: Studio International, Mimmo Paladino: Black and White, studiointernational.com, 27 September 2023) Although unmistakably contemporary, Paladino collaborates with the past to make his sculptures timeless and universal. Mimmo Paladino was a key member of the Transavanguardia movement, which is considered one of the most influential movements of post-war Italian art. Coined by the critic Achille Bonito Oliva, Transavanguardia demonstrated an international revival of expressionist painting and sculpture in the late 1970s and 1980s. Directly translated as 'beyond the avant-garde', the movement reacted against the original avant-garde with an aim to return to the traditional act of painting, one that elicited emotion, especially joy, and provided meaning. The movement was marked by five prominent artists, including Paladino, whose artworks drew attention at the 1980 Venice Biennale for their diverse styles and common vision. According to Oliva, Transavanguardia relied heavily on the materialism of techniques and new materials, rejecting conceptual ideas and recuperating the intensity of the image and the narrative. The present works are clear examples of Paladino's take on the Transavanguardia movement, a movement which became an internationally recognised phenomenon and whose works are highly sought after by collectors today.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

MIMMO PALADINO (B. 1948)Figura con stella 2000 bronze 95 by 65 by 132 cm. 37 3/8 by 25 9/16 by 51 15/16 in. This work was executed in 2000. Footnotes:ProvenancePrivate Collection, UKMimmo Paladino, a protagonist of the Italian Transavanguardia movement, dedicated the early years of his artistic career to exploring the religious themes and mythological interpretations present in the outstanding sculptural examples presented here.Despite the present works varying styles and dates, the pivotal role of the human figure becomes evident; with motifs clearly inspired by Classical mythology, Christianity, Egyptian and tribal art.Figura con Stella with its bowed head, facing the star displays an act of subordination, further highlighted by the Stella, which represents the heavens or home of the gods. An earlier work, yet with similar connotations, Senza titolo with seemingly sacrificial objects lying on the table-top alluding to death and sacrifice. Paladino argues that while these themes inspire his work, they don't define it: 'The figures in my paintings, the animals, the masks, the theme of death – I do not want to explain or analyse them. They are the roots out of which the picture develops, but not its content.' (the artist in: Studio International, Mimmo Paladino: Black and White, studiointernational.com, 2006) Although unmistakably contemporary, Paladino collaborates with the past to make his sculptures timeless and universal. Mimmo Paladino was a key member of the Transavanguardia movement, which is considered one of the most influential movements of post-war Italian art. Coined by the critic Achille Bonito Oliva, Transavanguardia demonstrated an international revival of expressionist painting and sculpture in the late 1970s and 1980s. Directly translated as 'beyond the avant-garde', the movement reacted against the original avant-garde with an aim to return to the traditional act of painting, one that elicited emotion, especially joy, and provided meaning. The movement was marked by five prominent artists, including Paladino, whose artworks drew attention at the 1980 Venice Biennale for their diverse styles and common vision. According to Oliva, Transavanguardia relied heavily on the materialism of techniques and new materials, rejecting conceptual ideas and recuperating the intensity of the image and the narrative. The present works are clear examples of Paladino's take on the Transavanguardia movement, a movement which became an internationally recognised phenomenon and whose works are highly sought after by collectors today.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

FERNANDO BOTERO (1932-2023)Dog on a cushion 1976 incised with the artist's signature and numbered 5/6bronze34 by 37 by 40 cm.13 3/8 by 14 9/16 by 15 3/4 in.This work was executed in 1976, and is number 5 from an edition of 6.Footnotes:Provenance Didier Imbert Fine Art, ParisPrivate Collection, Saint Tropez (acquired from the above in 1993)Thence by descent to the present ownerExhibitedMonte Carlo, Marisa del Re Gallery, Fernando Botero, 1992, another example exhibitedParis, Avenue Des Champs-Élysées, Grand Palais and Galerie Didier Imbert Fine Art, Botero Aux Champs-Élysées - Sculptures et Œuvres sur Papiers, 1992-1993, p. 156, another example exhibited and illustrated in colour Literature Jean-Clarence Lambert, Benjamín Villegas (Ed.), Botero Sculptures, Colombia 1998, p. 61, another example illustrated in colour, n.p., another example illustrated in colour Renowned for his distinctive style characterised by voluptuous and exaggerated forms, the Colombian artist Fernando Botero has left an indelible mark on the history of art. His works evoke a sense of affection and endearment, transcending cultural and linguistic boundaries and animals often play a quintessential role in them. Having studied under Roberto Longhi, a distinguished authority on Italian Renaissance and Baroque art, Botero obtained a remarkable art historical knowledge of Western Classicism that transfuses his oeuvre and made him one of the world's most revered and sought-after artists of the present day. The canon of art history, especially the European one became a rich source of inspiration, and no subject is quite as interwoven into the history of art as the humble dog, man's best friend and faithful companion. Dog on a Cushion from 1976 is a beautifully playful example of Botero's celebrated sculptural practice, with the small well-rounded canine proudly perching on a fluffy cushion- an emblem of domesticity and comfort but also a nod to the importance we give to the pets in our lives. The artist's fascination with horses, cats, birds, and dogs is a prominent feature throughout his oeuvre. Characterised by an intentional exaggeration of his subjects' forms, Botero's ability to infuse life into his sculptures is striking. The present work is not a mere imitation of a dog but a celebration of its essence, the exaggerated curves and humorous expectantly outstretched tongue emphasize the joviality and charm of the animal, which might at any moment jump off the cushion.Dogs have held a significant role in art history as subjects of fascination, symbolism, and companionship. From ancient cave paintings to the masterpieces of the Renaissance and beyond, dogs have been depicted in various contexts, reflecting their diverse roles in human societies. As companions and symbols of fidelity, dogs often appear in portraits, signifying loyalty, trust, and the bonds of friendship. Furthermore, their depictions in hunting scenes highlight their utilitarian roles as skilled hunters and trackers. In the broader context of art history, dogs have served as allegorical symbols, representing virtue, faithfulness, or even human qualities, reminding us of their enduring importance in the human experience.Profoundly influenced by the classical masterworks he saw during his studies and travels, Botero dedicated his life to critically re-interpret iconic paintings, paying homage to the great artists of the past whilst finding true originality doing so. Not unlike Picasso, whose Cubist breakthrough came after experimenting with the construction of a guitar, Botero had his artistic revolution with a mandolin. In 1956, the artist painted an image of a mandolin resting on a table and decided to place a disproportionately small hole in the body of the instrument, thus transforming it into an object of exaggerated mass and monumentality; a lifelong fascination with the exploration of volume was born.World-renowned for his often epic paintings, Botero's foray into sculpture has further enriched his artistic repertoire over the decades. Dog on a Cushion stands as a prime example of his prowess in this medium. His sculptures are characterised by the same aesthetic principles that define his paintings—exaggerated volumes, harmonious proportions, and a playful approach to form. The transition from canvas to three-dimensional sculpture however allowed the artist to bring his iconic subjects to life in a tangible and interactive way with a tactile quality that invites viewers to engage on a more physical level. Dog on a Cushion exemplifies this approach, with its smooth, sensuous surfaces inviting touch and exploration. The artist said that 'For my entire life, I've felt as if I had something to say in terms of sculpture. It's a very strong desire...pleasure—that of touching the new reality that you create. Certainly, in a painting you give the illusion of truth, but with sculpture, you can touch its reality . . . . If I paint a knife in my pictures, it's imaginary, but if I sculpt it, then the sensation of having it in your hand is real— it's an object from your spirit, it's a sensual experience even in its execution. It brings a special joy to touch the material with your hands.' (the artist in: E. J. Sullivan, Botero Sculpture, New York 1986, p. 13.Fernando Botero's contributions to the world of art are substantial and far-reaching and his unique style and unwavering commitment to his artistic vision have earned him a significant place in art history. His oeuvre serves as a bridge between traditional and contemporary art, drawing from classical techniques while infusing them with a modern and innovative sensibility. Embracing diversity and celebrating the inherent charm in all subjects, he challenges conventional notions of beauty and representation and forces viewers to reconsider their preconceived notions and stereotypes. The same dog of undefined breed as in the present work can be found in many of the artist's paintings, and a large-scale sculpture version, without the plump cushion, can be found in the Plaza Botero in the artist's hometown of Medellín. Other Botero works are presently held in the collections of The Museum of Modern Art in New York, the Art Institute of Chicago, and the Museo Botero in Bogotá. In 1958 and 1992 Botero participated in the Venice Biennale and represented Colombia in the 5th São Paulo Biennial, Brazil. He has had major retrospectives at the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (1979); Seibu Museum of Art, Tokyo (1981); Museo Nacional Centro de Arte Reina Sofía, Madrid (1987); Museo de Bellas Artes, Bilbao (2012); and many others. Botero's international recognition and ability to transcend geographical and cultural boundaries has elevated the visibility of Latin American artists on the global stage. Unequivocally timeless, his work continues to inspire artists worldwide, encouraging them to explore new dimensions of expression and representation and Dog on a Cushion offers a wonderful opportunity to acquire a charming example from the contemporary master's celebrated oeuvre.For further information on this lot please visit Bonhams.com

SALMAN TOOR (B. 1983)Pre-Drinks 2018 oil on panel45.7 by 45.7 cm.18 by 18 in.This work was executed in 2018.Footnotes:ProvenanceAcquired directly from the artist by the present ownerExhibitionLahore, Lahore Biennale, Are you Here?, 2018Recognised for his evocative compositions that combine the present with the art historical past, Salman Toor is considered one of the most exciting emerging artists in the world of figurative painting. Toor creates masterful canvases that depict the convergence of intimate everyday moments set against contemporary, domestic scenes that convey a feeling of warmth, nostalgia, but also that of alienation and contemplation. This present work, Pre-Drinks, was exhibited at the Lahore Biennale in 2018, the year it was executed. The composition wonderfully embodies the artist's fascination and focus on the human form, representations of male identity whilst revealing a sense of mystery and intimacy, to stunning effect. Here the viewer stumbles upon a quiet moment between two young men; it is a moment of contemplation; they are relaxed in their comfortable contemporary surrounding enjoying food and drinks amongst books and magazines. We are reminded that this is a painting of the modern day with the inclusion of a mobile phone or tablet that engages the figure on the right. Toor's works are often imbued with an air of the past mixed with modern life; indeed, upon moving to New York, Toor came into his stride as an artist who crafted hybrid tableaus that sought to marry East and West, perhaps a meditative contemplation on his past and present. He often acknowledges his childhood experiences in Pakistan, particularly in the influences of Pakistani advertisements and glamorous images from his mother's magazines, and here on the edge of the table is a magazine depicting a figure in Eastern attire. Toor's style of painting is easily discernible; his paintings employ a palette of bold colour applied in a painterly Mannerist style, layering the canvases with fluid brushstrokes. Toor incorporates his signature palette of emerald green in the clothing of his male figure; the artist once commented that the glamorous tones of emerald green evoked the nocturnal allure and fantasy of a freely queer life. There is a sense of ease between these two men, they are not actively engaging yet are present and content in one another's company, and as the title suggests this is perhaps just the beginning of their evening together. Toor has often described his figures as undernourished and hairy bodies of colour occupying familiar bourgeois urban spaces. He envisions them as educated and creative individuals perhaps navigating the artist's life in New York City amidst shifting ideas about race, immigration, foreignness, and American identity. These figures sometimes resemble lifestyle images, representing fantasies about himself and his community, he seeks to create imagined scenes in which he and his friends are totally free to be themselves.Born and raised in Lahore, Pakistan, Toor moved to Ohio to study painting before settling in New York. While in Ohio, he studied art history intently and focused on learning the techniques of artists like Caravaggio, Peter Paul Rubens, and the refined Rococo canvases of Jean-Antoine Watteau. 'Instead of moving with the times, I wanted an academic education in painting. I wanted to be as good as the white old masters. In fact, I was happy only when I could pretend that I was a 17th or 18th century painter living in Madrid, Venice or Holland' (the artist in: Ayla Angelos, 'I wanted to be as good as the white old masters': meet painter Salman Toor www.itsnicethat.com, 23 September 2023). Toor's widely acclaimed first solo museum exhibition, How Will I Know, was on view in 2020-21 at the Whitney Museum of American Art in New York City. In late 2022 a major retrospective titled No Ordinary Love, was held at the Baltimore Museum of Art in Maryland and later travelled to the Tampa Museum of Art in Florida, the Honolulu Museum of Art in Hawai'i, the Rose Art Museum at Brandeis University in Massachusetts before closing at M Woods in Beijing earlier this year. Today, Toor's works are held in the permanent collections of the Tate, London, the Whitney Museum of American Art, New York, the Walker Art Center, Minneapolis, M Woods, Beijing and the Museum of Contemporary Art Chicago among others.Throughout his current oeuvre, his compositions of the mundane and the memorable moments of his characters' lives, reveals a deeply relatable existence, ultimately creating an opportunity for empathy and private vulnerability through the language of painting which is beautifully evident in this present work.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

Yusuf Adebayo Cameron Grillo (Nigerian, 1934-2021)Red Ayan signed and dated 'GRILLO/ 72' (lower right); titled 'RED AYAN' (verso)oil on board121 x 59.5cm (47 5/8 x 23 7/16in).(framed)Footnotes:ProvenanceA private collection, UK.According to Yusuf Grillo, his favourable thematic use of the drummer in his works originated from his childhood. While growing up in Lagos, Grillo and a group of his friends would often be exposed to many drum players at special occasions. As there was no television or radio during his adolescence, drummers became the main source of entertainment at family and celebratory functions. It is these events that prompted a sense of nostalgia for Grillo, and that he revisits in his works when depicting a drummer or in this case Ayan, the Yoruba title for a talking drum player or the action of drumming. Chika Okeke-Agulu argues that the prominence of drums within Grillo's work as 'of all the instruments in Yoruba music ensemble, the drum is arguably the most important because of its ability to produce sonic equivalences of the Yoruba speech'(Chika Okeke-Agulu, Yusuf Adebayo: Painting. Lagos. Life, (Italy: Skira Editore, 2020) p, 39). Grillo himself elaborates on his affinity for the drum: 'We call it 'talking drum' but in the hands of a Master drummer, it is a versatile as a pipe organ. The drum stick selectively hits not only points on the circular skin, its circumference but even outside it. The muscles around the armpit, the fingers on the other hand and at rare times the thigh and knee can produce CHORDS, TREMOLO, and STACCATO.' (Yusuf Grillo, in, IGI ARABA: An Exhibition and Retrospective of Works by Yusuf Grillo, (Art House Contemporary, The Space, 2015).The present work displays a drummer or Ayan in the act of creating music. The bold redness of the work is certainly rare in Grillo's oeuvre, and contributes to the vibrant mood of the work. Where Grillo is widely recognised for his blue and fluid tonal palettes, here he emphasises the main subject, isolating them from their surroundings through this contrasting red. However, the work remains rhythmic in terms of the meticulously geometrical composition, iconic of the artist.To be heavily influenced by his heritage and cultural history was not a peculiar tendency of Grillo. Given his prominent involvement with the Zaria Art Society formed in 1958 collaboratively with other dominant contemporary artists of Nigeria such as Uche Okeke and Demas Nwoko, Grillo's work may be read with a framework of the 'Natural Synthesis' ideology. This concept was rooted with the understanding that incorporating pre-colonial and colonial artistic concepts was to be informed of ones history and was to result in Modern West African Art. By acknowledging the colonial past of their country, the Zaria Art Society sought to regain ownership of their heritage and to not consciously limit their creative intuition. Grillo himself stated: 'This politically desirable aim often forms the philosophy of many a contemporary artist, with the sad result that sincere creative urges are replaced by over consciously chauvinistic syntheses.' (Yusuf A. Grillo,'Appreciations of Felix Idubor', African Arts 2:1 (autumn 1968), p. 33.)Indeed, the drum emulates a symbolic narrative for the cultural life of the people Grillo grew up surrounded by and is therefore befitting of a reoccurring subject in the artist's painting. What makes the present work a rare piece in his oeuvre, is the unusual (yet not abnormal) use of red in the palette and therefore distinguishing the work as rare in comparison to his wider body of work.For further information on this lot please visit Bonhams.com

Ibrahim El-Salahi (Sudan, born 1930)Untitled c.1964 signed 'Salahi' (lower right)ink on paper 24.5 x 21.7cm (9 5/8 x 8 9/16in).(framed)Footnotes:Provenance Collection of Mr and Mrs Oscar Edwards, Australia;A private collection.Ibrahim El-Salahi is perhaps Sudan's most celebrated living artist. A career spanning five decades, his work was brought to international attention when a major retrospective of his work was held at London's Tate Modern in 2013. The exhibition showcased the breadth of Salahi's oeuvre and explored his key themes: the legacy of colonialism, the creative influence of faith, and his own hybrid identity.Created at a time when El-Salahi was pronouncing himself as an artist, a concurrent stylistic theme can be seen in this work that emerged in the late 1950s and 60s. The inspiration of these figurative depictions can be concluded as stemming from different aspects of the artist's life. Intuitive in his artistic approach, El-Salahi's process in depicting these faces is a response to his inner self, isolated from the outside world. In his art human existence is linked to a world of dreams and mediations which bore a heavy and ever-present presence within his work. The dense imagery threatens to burst out from the confines of the page, the dynamic lines pulse with energy and life. As an older man, El-Salahi reflected on these early drawings:'It was almost like I had a fever and I had so many ideas coming through me and I had to put them through. So the picture plane was covered, with objects, with figures, with shapes, near and far, big and small, it was packed...there was no space - you cannot travel through it easily...' (El-Salahi, interview with Sarah Adams in April, 2002)Towards the top of the work emerges from the black ink, the word 'Lights' in Arabic. Mobilising text as an aesthetic tool, this word assists the nature of the present work given its black background for the fine illustrations to appear, creating a sense of light and dark. As calligraphy bore a strong position in many of the artist's most successful works, the present work can act as a striking example of El-Salahi's incorporation of his Sudanese heritage with his Western artistic training. The Oscar Edwards collection was significantly unusual given its location in Australia. Indeed Mr and Mrs Edwards typically collected non-Australian Art in the 1950s and 60s after selling their predominantly Australian art collection in the 1930s and 40s. This rejection of a parochialistic approach to collecting enabled the couple to enrich their collection, focussing their attention more towards smaller works by great artist's, finding them more aesthetically significant and appealing than a major work by a smaller artist. It was towards the end of the 1950s and early 60s that Ibrahim El-Salahi began to define his original style, a style that would harness his success. In 1962, El-Salahi received a UNESCO Fine Arts Fellowship to study abroad in the USA. In 1964 he would return to travel throughout the Americas and was exposed to influential members of the art world such as Alfred Baar Jr, director of the MOMA. By 1969, El-Salahi had acted as the chief Sudanese representative for the first World Festival of Black Arts in Dakar, was a member of the Committee at the UNESCO Paris headquarters for the study of Arab culture, participated in the Contemporary African Art exhibition at the Camden Arts Centre in London, and was a member of the Sudan Cultural delegation. Despite these monumental achievements, interestingly, the artist and activist noted of the Camden Arts Centre exhibition 'it was exciting, but also frustrating, because there was little response from the rest of the world, or even Africa itself.' (Ibrahim El-Salahi in Mark Hudson, 'Ibrahim El-Salahi: from Sudanese prison to Tate Modern show', The Guardian, (3 July 2013)). Therefore, given the provenance of the present work and indeed his far reach to international collectors, the present work is a colossal demonstration El-Salahi's global reception. BibliographyLena Fritsch, Ibrahim El-Salahi: A Sudanese Artist in Oxford (Oxford: Ashmolean Museum, 2018)For further information on this lot please visit Bonhams.com

Prof. Uche Okeke (Nigerian, 1933-2016)Onwa, Face of the Moon, 1983 signed 'UO/:3' (lower right)gouache on paper 45 x 30cm (17 11/16 x 11 13/16in).(framed)Footnotes:ExhibitedGoethe Institute Lagos, Uche Okeke, 60th Birthday Anniversary, Retrospective Exhibition, (1993). 32.LiteratureFrank Aig-Imoukhuede, Uche Okeke, 60th Birthday Anniversary, Retrospective Exhibition, Goethe Institute Lagos, (1993), p. 33. (illustrated)Though possessing human-like qualities, the features of the present figurative subject are so curved that they become distorted. The linear fluidity of Uli contributes to the richness of the present work. While holding an aesthetic purpose within the work, the Uli depiction is also used in the artist's response to the ideology of this folklore synthesising with artistic expression deriving from the Negritude ideology. The philosophical understanding of Natural Synthesis was enriched particularly by the Igbo indigenous art traditions, namely with Uli motifs. This concept of Natural Synthesis came to fruition during Okeke's time studying at the Nigerian College of Arts, Science and Technology from 1957-1961, during which he and his fellow students formed the Zaria Art Society. This society aimed to maintain the value of local tradition within modern art and not diminish it under colonial intervention. Furthermore, while championing their heritage, it was also key to the ideological concept of the society that they embrace the expressive direction of contemporary art, therefore fusing the old with the new to create culturally informed work. They were establishing traditional art as repackaged and accepting of change.The importance of Uche Okeke lies in his recognition of the possibilities of Uli as a design resource for enriching modern art and, together with Nigeria's other innovators, of providing us with real '20th Century African Art' different from the travesties now and again foisted on a gullible world as the 'true form of 20th century creativity in Africa,' (Frank Aig-Imoukhuede in the Foreword of the exhibition catalogue: Uche Okeke, 60th Birthday Anniversary, Retrospective Exhibition, Goethe Institute Lagos, 1993). BibliographyOnwuakpa, S. I. & Chukueggu C.C., 'Natural Synthesis and Contemporary Nigerian Visual Arts: An Exposition of Uche Okeke's Works', African Research Review: An International Multi-disciplinary Journal, Ethiopia, Vol. 10(4), Serial No. 43, September 2016For further information on this lot please visit Bonhams.com

Ablade Glover (Ghanaian, born 1934)Town Aerial View Abstract signed and dated 'Glo/ 94' (lower right)oil on canvas 100.5 x 150.5cm (39 9/16 x 59 1/4in).(framed)Footnotes:Professor Glover's paintings shift between abstraction and detailed realism depending on the viewer's precise distance from the canvas.When viewed up close, the present work appears to be a constellation of random shapes. Take a step back however, and the inchoate array comes into focus. The abstract shapes transform into a townscape, captured under particular conditions of light and weather.The birds-eye view utilises Western perspectival techniques; the repeated squares of colour that represent the roofs of these Accra dwellings gradually shrink in size towards a horizon positioned beyond the top frame edge.The present lot demonstrates Glover's fascination with the restless dynamics of the urban environment and the opportunities it offers for human interaction and exchange. He locates the precise point where the random events of daily life are resolved into a harmonious order: each roof blends into the townscape and the flux of the present is revealed as an intense instance of eternity.BibliographyJ.Castellone, Contemporary Nigerian Art in Lagos Private Collections, (Ibadan, 2012), pp.14 & 89.For further information on this lot please visit Bonhams.com

Amoako Boafo (Ghanaian, born 1984)Self-Portrait 2019 signed, dated and titled 'AMOAKO M/ BOAFO 2019/ KING' (lower right) oil on card 69.5 x 49.5cm (27 3/8 x 19 1/2in).(framed)Footnotes:ProvenanceAcquired directly from the artist, 2019;A private collection. In 2014, after studying at the Ghanatta College of Art and Design in Accra, Amoako Boafo won a scholarship to study at the Vienna Art Academy in Art and Design in Austria. With a body of work that is centred around figurative portraiture, Boafo's first recognition was in 2017 when he receive the Jury Prize and Walter Koschatzky Art Prize. In 2019 he would also win the STRABAG Artaward International. With a career stimulated by passion and self-motivation, given that as a child he was told he would never be able to attain and retain a career as an artist, Boafo has defied his humble beginnings. He has beaten the odds to become one of the most successful and exciting contemporary artists today.Painted in 2019, the present work may have acted as a precursor to his major exhibition I STAND BY ME at Chicago's Mariane Ibrahim Gallery in 2021. The title of the exhibition reflects the artists observation of individuality and one's role in society, to define how one sees themselves. Speaking on his self-portraiture:'Before I actually painted myself a lot, because I had to be okay with myself and how I portrayed myself for others to kind of understand my work. And so what I will look at is facial expressions, how celebratory they are, the self-confidence right? Then I will look at ... I mean, that's also another angle: that whatever the person is doing in society, how they are creating spaces.' ('Amoako Boafo gets online with Idris Elba', Christian Dior, (extract from a YouTube interview, 17 July 2020) 4:38-5:10).The present work possesses the artist's iconic finger painting technique, a motif he associates with freedom and an embrace of the natural state of lack of control. By eliminating a tool between himself and the art he creates, Boafo defines himself as a sculptor, rendering his subjects directly from his hand. Famous also for his lively and bold palette, the colour yellow is also significant in the colour's association with optimism and celebration.The intimate crop of the work characterises this self-portrait as unusual in the artist's oeuvre. Given he commonly works with oversized canvases and compositions that allow us to see more of the figure's body, it could be said, that the smaller and closer scale position the artist places us in in relation to the subject, enables an intimate view of the artist.In some instances, Boafo has been compared to Egon Schiele, a label which the artist welcomes:'I enjoy bringing Black portraiture to Europe. I am interested in creating work that incorporates multicultural elements rooted in my experiences in both Europe and Africa, including Egon Schiele. (Amoako Boafo in conversation with Dean Kissick, 'Figurative painter Amoako Boafo on his stratospheric rise', GQ Magazine, (29 January 2021, online).As he exclusively portrays people from the Diaspora and beyond, Boafo celebrates his community whilst also reflecting on the complexities of subjectivity. Challenging the historic representation of people from the Diaspora, Boafo aims to create a fresh narrative on the reality of his community's identity.For further information on this lot please visit Bonhams.com

Godwin Oluwole Omofemi (Nigerian, born 1988)The Gatekeeper III, 2020 signed and dated 'Oluwole Omofemi/ 2020' (lower right); inscribed '2 Gatekeeper/ Oil & Acrylic on Canvas/ 48 inch x 48 inch/ 2022' (verso)oil and acrylic on canvas121 x 121cm (47 5/8 x 47 5/8in).(framed)Footnotes:ProvenanceAcquired directly from the artist, 2020;A private collection.Born in Ibadan, Nigeria in 1988, Oluwole Omofemi's aptitude for painting was recognised at a young age and fostered by established artists who collectively drew inspiration from the vibrant city. Through his developing body of work, he has gained a reputation for his captivating depictions of female subjects, typically set against vivacious backgrounds such as the bright blue the present work.While the models for the paintings are typically friends and family of the artist, Omofemi believes they accrue a spiritual quality when transferred to canvas. He understands women to be close to God as he associates the qualities traditionally associated with femininity, including love, acceptance, and forgiveness, with the Divine. As Omofemi explains, 'I don't want to just paint a picture. I want a picture that captures the soul. I want a picture that captures personality. These are the things I want people to see' (Omofemi quoted in P. Laster, 2021). It could be concluded therefore, that the present lot is a call to society to promote equality and the education of justice and equity amongst young people for the future of society.BibliographyPaul Laster, 'Reclaiming Identity: Oluwole Omofemi's Paintings Reflect His African Roots', Whitehot Magazine of Contemporary Art, (May 2021, online)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

Wangechi Mutu (Kenyan, born 1972)Studies of Crystal Waters (i-iii): (i) watercolour on card30.5 x 22cm (12 x 8 11/16in).(ii) watercolour and foil on card29.5 x 22cm (11 5/8 x 8 11/16in).(iii) ink on card30.5 x 22.7cm (12 x 8 15/16in).(3)Footnotes:Born in Kenya yet cementing her career in New York, Wangechi Mutu is a renowned multi-disciplinary artist whose work is included in Museums such as the MoMA in New York, The Whitney, the Museum of Contemporary Art in both Chicago and Los Angeles, and the Tate Modern in London amongst many others. In 2010, Mutu was awarded the 'Artist of the Year' by Deutsche Bank, a prize which included a solo exhibition at the Deutsche Guggenheim in Berlin that would travel and finish at the Wiels Centre for Contemporary Art in Belgium.These drawings were executed by Mutu in 2001. They formed part of a commission to create watercolour storyboard illustrations and the styling for a photoshoot for a fashion lookbook featuring pioneer, innovator, and dance music legend Crystal Waters. Fashion photographer Jason Mickle interpreted the artist's watercolours through the lens of his camera creating the shots seen in the lookbook at the Giraffe Hotel in New York. Jason Mickle was also used by Crystal Waters for the cover shoot of her song Come on Down.For further information on this lot please visit Bonhams.com

Dominique Zinkpe (Beninese, born 1969)Minuit à Abomey (Midnight in Abomey) inscribed and dated 'Abomey 11/05/7' (upper centre); signed and dated 'ZINKpe 09' (lower right); signed, titled and dated 'Minuit Abomey/ ZINKPE 09' (on the reverse)oil and acrylic on canvas 150 x 179cm (59 1/16 x 70 1/2in).(unframed)Footnotes:ProvenanceAcquired from Ed Cross Fine Art, London, 2006;A private collection.ExhibitedEdinburgh, The English Speaking Union, Witness: The Spectre of Memory in Contemporary African Art, (2010);Cambridge, Heong Gallery at Downing College, When The Heavens Meet The Earth, (2017)Literature When The Heavens Meet The Earth, ed. Claire Varley & Tessa Jackson (Cambridge: Heong Gallery at Downing College, 2017), pp, 102 - 105. (illustrated)Born in 1969 in Cotonou, Benin, a self-taught artist, Dominique Zinkpè works with a wide body of media, showcasing his ability and freedom in creating art. Benin's history, its pre-colonial greatness and the impact of subsequent French rule, is embedded in his work. His visual language draws inspiration from Catholicism, Animism and indigenous traditions - celebrating the nation's rich diversity, but also highlighting the unresolved tensions. His works have become famous and successful for their hybrid forms of part human and part animal characters. It is often unclear whether they are among the living or the dead. Zinkpè was awarded the Prix Jeune Talent Africain (Young African Talent) Award at the Grapholie in Abidjan in 1993. In 2002 he received the West African Economic and Monetory Union (UEMOA) Prize at the Dakar Biennale.For further information on this lot please visit Bonhams.com

Full title: A Hispano-Moresque luster-glazed albarello, Manises, Spain, 3rd quarter 15th C.Description:H.: 29,5 cm Provenance:- Property of The Mary Duke Biddle Trent Semans Foundation; On loan to the Duke University Museum of Art, 1956-2020. Mary Duke Biddle Trent Semans (1920-2012) was an American philanthropist, local and state-wide leader, and patron of the arts. A member of the Duke University Board of Trustees and the first female chairman of The Duke Endowment, she helped guide these institutions during five decades of service. In the 1960's she helped found the North Carolina School of the Arts, the USA’s first public conservatory, and in her mother's memory, created The Mary Duke Biddle Gallery for the Blind at the North Carolina Museum of Art. Ref.: - The Hispanic Society, Accession Number: E598, for an interesting related armorial example. (direct link available on rm-auctions.com)- The British Museum, London, Reg no. G.563, for a related example. (direct link available on rm-auctions.com)- In Sam Fogg's exhibition catalogue 'Lustreware from Spain', a related example is shown (nr. 7). Here, it is noted that 'a group of albarelli whose style (like that of the charger in the preceding entry) is typical of ceramics from the Valencian town of Manises. From the late fourteenth century Manises became famous for its production of cobalt-blue and lustreware and, along with Paterna, it developed into one of the most important Valencian centres for the production of Hispano-Moresque pottery. The special attraction of Manises pottery was its workshops’ mastery over the challenging lustred glaze. The Manises lustre had an orange-gold hue, produced with a silver pigment and about a tenth part of copper, which demanded a specialised firing process at much lower temperatures than other glazes. The combination of pointed leaf, looped tendril, fern ornament and bryony flower that decorate our vessel emerged from the earlier fioralixi designs thought to have entered Valencian potters’ repertoires by around 1430, and help date its production to the middle years of the century. Variations of this delicate form of decoration, at once refined and energetic, soon found currency among Europe’s wealthy patrons, and the rarefied, luxury status of such ceramics is evinced by their incorporation into contemporary panel paintings including most famously of all Hugo van der Goes’ Portinari Altarpiece of around 1475, today in the Galleria degli Uffizi (link to catalogue available on rm-auctions.com)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com

HEDWIG PILLITZ (BRITISH - HUNGARIAN 1896-1987) Hedwig Pillitz (lots 31-39) Introduction We know frustratingly little of the talented Hedwig Pillitz who excelled as a portraitist, particularly portraits of those in the performing arts, notably leading actors and musicians. Born in Hampstead Hedwig was the eldest daughter of Arpad Armin Pillitz (1867-1948), and Josephine Fischer (1876) who had emigrated to England from Hungary. Both she and her younger sister Doris attended South Hampstead High School for girls. There Hedwig excelled at art and Doris in music and drama. The sisters’ considerable accomplishments are mentioned in the 1926 South Hampstead High School Magazine Jubilee Number where they are listed as members of the school’s Past and Present Club. Doris was praised for her musical contribution at the Old Girls’ Dinner in July that year, and the ‘Art’ report records that Hedwig had exhibited a landscape in the 1926 ‘Paris Salon’. Elsewhere, under the heading ‘Recent News’ it was noted that Hedwig was showing a flower piece and a landscape at the Autumn Exhibition at the Walker Gallery, Liverpool and that Doris had gained a First Class degree in acting at the Central School of Speech Training and Dramatic Art; was the winner of the second year students’ Diction Competition, and had been awarded a prize for verse recital at the 1926 Oxford Recitations. A year on Doris is a cast member in the 1927-28 season at the Old Vic, performing in Hamlet, The Merchant of Venice, King Lear, Romeo and Juliet, and The Two Noble Kinsmen. It may well have been through Doris that Hedwig met ‘Yorkie’, also an actor at the Old Vic, whose portrait she painted whilst living at 28 Abercorn Place, St John’s Wood (lot 39), and at which address she also painted the dashing Michael Lane (lot 35). Hedwig attracted notable female sitters too as the lots in the present sale attest. Among them, the striking Marguerite Kelsey, a professional model in considerable demand among painters of the day (lot 31), and Russian born Shulamith Shafir, a distinguished concert pianist who made her English concerto debut in 1936 aged just thirteen, and first appeared at the Royal Albert Hall in 1941 (lot 33). With many of Pillitz’s sitters being artists and performers, it is not surprising perhaps to find that of her few paintings in public collections, the best is also of an actor: Dorothy Black in the role of Emily Brontë in The Brontes (Victoria & Albert Museum). Hedwig painted Black in the lead role in 1933, the year that the play, written by Alfred Sangster, transferred from Sheffield to the Royalty Theatre, London. All Hedwig’s paintings in the present sale seem to have been painted from the late 1920s through until the 1950s.HEDWIG PILLITZ (BRITISH - HUNGARIAN 1896-1987)PORTRAIT OF MARGUERITE KELSEYoil on canvas 62.3 x 49.5cm; 24 1/2 x 19 1/2in(unframed)With her high cheek bones, fine features and cropped-back hair set off by her striking lime-green necklace, plunging neck line and viridian dress, Pillitz captures Kelsey with the contemporary poise and elegance for which she became noted. Kelsey started modelling at the age of fifteen and quickly became popular amongst artists for her ability to hold poses for a long time. The best-known likeness of her is by Meredith Frampton of 1928 in Tate Britain. Sitting upright on a settee with her legs behind, her gaze averted and wearing a white dress with red shoes she is the epitome of contemporary refinement. Kelsey also sat for Sir William Reid Dick, Sir John Lavery, Augustus John and Dame Ethel Walker amongst many other painters of the day. ARR may apply

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) Hans Feibusch (lots 40-65)IntroductionTo stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss. The son of a Frankfurt dentist, Feibusch had fought for the Kaiser in the First World War, emerged alive from the Russian Front, and had studied with Carl Hofer in Berlin and with fauve painter Emil Othon Friesz and cubist André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate. Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in Feibusch becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches and a range of civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the public eye. After his last exhibition at the Lefevre Gallery in 1951 he didn’t have another commercial gallery show until the late 1970s. Instead Feibusch threw himself into large scale mural projects, designing the decorations for the tea room at the Victoria & Albert Museum in 1946 (lots 52-54), and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built. These included painting the Ascension above the altar at All Saints, Plumstead (lot 62); Angels with Children for the baptistry of Christ Church and St Stephen’s, Battersea (lot 60) and the Baptism of Christ for Old Saint George’s Baptist Church, Plymouth (lots 61). Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and wrote the foreward for the catalogue of the first exhibition of the Society of Mural Painters held in 1950. A consummate draughtsman, Feibusch evoked bomb-damaged London with a keen eye and in unnerving detail (lots 49 & 50); a natural colourist, he responded to the light of his surroundings on his travels with a breathtaking freshness and immediacy (lots 57 & 58); and he applied visual humour to his commercial designs (lot 55). But above all it is the manner in which he places the human form at the heart of his work with such innate fluidity that leaves an abiding impression on the viewer and makes his work so compelling today. Exhibition Reference: The full details of the travelling exhibition abbreviated in lots 40-65 is: Chichester, Pallant House Gallery; London, Ben Uri Art Gallery; Northampton, Museum and Art Gallery; Eastbourne, Towner Art Gallery; Newport, Museum & Art Gallery, Hans Feibusch, The Heat of Vision, 1995-96HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)PORTRAIT OF LUTZ FEIBUSCHsigned and dated H Feibusch / 1917 lower rightred chalk41 x 31cm; 16 x 12 1/4in46.5 x 36.5cm; 18 1/4 x 14 1/4in (framed) Lutz Feibusch, the artist's brother, was tragically killed in an avalanche while skiing in 1929. ARR may apply

MICHAEL ROTHENSTEIN (BRITISH 1908-1993) Michael Rothenstein (lots 24-30) IntroductionMichael Rothenstein was born in Hampstead where he grew up on Church Row, the youngest child and second son of William Rothenstein and Alice (née Knewstub) (lots 1-13). He studied painting at Chelsea Polytechnic and the Central School of Arts and Crafts (1924-27), and had an early solo exhibition at the Warren Gallery on Maddox Street, London W1 in 1931. His fluid youthful style is reflected in such faintly satirical works as Making Hay (lot 24). Rothenstein suffered from bouts of depression, but towards the end of the ‘thirties painted a series of bravura landscapes (lots 25-28) a selection of which he exhibited at the Matthiesen Gallery in 1938. After War broke out, his careful observation of the English countryside made him well suited to participating in the Pilgrim Trust Recording Britain project set up by Sir Kenneth Clark. But thereafter increasingly Rothenstein turned to print making. Among his early successful prints was Timber Felling (1945), which he made for the School Prints Series to give children an understanding of contemporary art. He also made drawings for the War Artists Committee. And he visited S W Hayter’s Atelier 17 in Paris, returning to England to make colour etchings. In 1954 he moved to Great Bardfield in Essex, home to a thriving coterie of artists, amongst them Edward Bawden and Kenneth Rountree, where he set up a graphic workshop while also teaching at Camberwell School of Art and Stoke-on-Trent College of Art. (lots 29 & 30). During the 1950s and ‘60s Rothenstein burnished his reputation as one of the most experimental print makers in Britain. Accolades included winning the Giles Bequest Competition for colour woodcuts and linocuts in 1954 and 1956. He lectured extensively, wrote several books on the subject, amongst them Frontiers of Printmaking (1966), and was instrumental in the formation of the printmakers Council, serving as its first chairman. In 1977 he was voted ARA, and in 1984 RA. MICHAEL ROTHENSTEIN (BRITISH 1908-1993)MAKING HAYsigned and dated Michael Rothenstein 1931 upper leftgouache65 x 60cm; 25 1/2 x 23 3/4 in 80 x 76 cm; 31 1/2 x 30in (framed)ARR may apply

AN ARCHAIC GREEN JADE AXE BLADE, DAO, NEOLITHIC PERIODChina, c. 3000-1700 BC. Of trapezoidal form with a thin blade and beveled lower edge, pierced with three apertures along the upper edge. The translucent stone of a dark green hue with russet clouding and veins, and black shadings around the edges.Provenance: From the collection of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out together with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition with ancient wear, some losses, chips and nibbles which have smoothened over the centuries of handling. Natural fissures in the stone, some of which have developed into small hairlines.Weight: 269.3 gDimensions: Length 24 cm Expert's note: Jessica Rawson in Chinese Jade from the Neolithic to the Qing, British Museum, 1995, pages 184, discusses jade ceremonial blades of the neolithic period and how they evolved from stone reaping implements.Literature comparison: Compare a related jade harvesting knife, hu, 62.7 cm long, dated to the Neolithic period, in the National Museum of Asian Art, Smithsonian Institution, accession number F1916.417. Compare a related jade harvesting knife, hu, 32.4 cm long, dated to the Neolithic period, in the National Museum of Asian Art, Smithsonian Institution, accession number F 1916.375.Auction result comparison: Type: RelatedAuction: Bonhams London, 18 March 2023, lot 4Price: GBP 17,850 or approx. EUR 21,000 converted at the time of writingDescription: A very large archaic jade axe blade, dao, Neolithic periodExpert remark: Note the larger size (38.5 cm). 新石器時代青玉刀中國，西元前約 3000-1700年。青玉質，局部褐色沁。刀呈扁平片狀，長條形，淺圓弧刃。上端有三個單面鑽螺旋式孔，一側局部漸增灰白色土沁，一面有黃褐色紋理，通體光素，圓潤渾厚。來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：狀況良好，有磨損，一些缺損、磕損。玉料上有天然裂縫。 重量：269.3 克 尺寸：長 24 厘米 專家注釋：Jessica Rawson 在 《Chinese Jade from the Neolithic to the Qing》（大英博物館，1995年，第184頁）討論新石器時代的玉祭刀以及它們如何從石製收割工具演變而來的專題。 文獻比較： 比較一件相近的新石器時代青玉刀笏，長62.7 厘米，收藏於史密森學會國立亞洲藝術博物館，館藏編號F1916.417。比較一件相近的新石器時代青玉留皮刀笏，長32.4 厘米，收藏於史密森學會國立亞洲藝術博物館，館藏編號F 1916.375。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2023年3月18日，lot 4 價格：GBP 17,850（相當於今日EUR 21,000） 描述：新石器時代玉刀 專家評論：請注意尺寸較大 (38.5 厘米)。