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Jack Vettriano OBE (Contemporary) "Night Geometry", a film noir style portrayal of two lovers, limited edition print, 187/495, signed in pencil, certificate of authenticity from DeMontfort Fine Art verso, card mounted in ebonised frame under glass, 76 cm x 90 cm overall [Vettriano is often regarded as one of the most successful Scottish artists. He originally trained to become a mining engineer, but after exhibiting at The Royal Scottish Academy's annual show in 1988, began his career as a full time artist and exhibited in London, Hong Kong, Edinburgh and New York. His most famous painting 'The Singing Butler' sold at Sotheby's for £744,800.]

Remis; art glass (Contemporary) a pair of signed glass sculptures in clear, green and blue glass by artist Remigijus Kriukos, 29cm and 21cm

John F. Kavanagh (1853-1898)The Boatman (1888)Oil on canvas, lined 44 x 80cm (17¼ x 31½")Signed, inscribed 'Paris' and dated 1888John F. Kavanagh (or Kavanaugh) was born in Canada in 1853, the son of Irish immigrant parents. He moved to the United States and worked as a photographic printer, then as an artist in Cleveland, Ohio. He studied at the National Academy of Design, New York. Back in Cleveland, he established himself as a portrait artist in crayon. (1)In his late twenties, feeling the need to continue his studies and broaden his experience, following the pattern of many of his North American and Irish contemporaries, he set off for Europe.  He spent several years studying in academies there, visiting artists colonies, and gaining experience as a painter of nature. From 1882-1884 Kavanagh studied in Munich,  with Greek-born artist Nikolas Gysis; he then studied in Paris, at the Academie Julian, 1886-1887, registering in the atelier of Gustave Boulanger and Jules Lefebvre, 11August 1886.(2) He studied in the atelier of Fernand Cormon, 1888-1889. While in Paris Kavanagh lived in a variety of addresses, for example at 7 rue de Tournon in 1887; at 233 rue de Faubourg-Saint-Honoré in 1888; and at 40 avenue de Wagram in 1889. Like many of his contemporaries he was attracted to painting in the open air, for example near Paris, at Fontainebleau and at Scheveningen in the Netherlands. While still a student Kavanagh exhibited seven pictures at the Paris Salon (Société des Artistes Francais), this prestigious French institution recognising the value of his work in portraiture, genre, landscape and drawing. In 1887, for example, he exhibited Une Berger (a shepherdess), and a woman of Scheveningen. In 1888 he showed a picture of a schoolmaster, a portrait and a drawing. He exhibited a portrait and a drawing again in 1889.(3) In that year Kavanagh returned to America. He taught portraiture and became director of the Art Club, Cleveland. Sadly his latter years were difficult ones; he became destitute and sold the contents of his studio, dying in 1898.Curiously, in some standard dictionaries of art, Kavanagh’s name is confused with his Irish namesake and near contemporary Joseph Malachy Kavanagh (1856–1918), (4) or is omitted. So, his significance as an important plein-air artist is often overlooked.More often associated with portraiture, Kavanagh is represented here with two sunny river landscapes, both inscribed ‘Paris 1888’, painted during his student years in France, and both coming from private collections.The Boatman features a man in a punt on a gleaming stretch of river. He is viewed from behind standing in the front and wielding a pole. His figure is carefully defined in sunlight and shadow, reflected in the calm waters. The large horizontal canvas allows Kavanagh to include a panoramic sunlit landscape on the opposite bank. Above the river bank a harvest scene, with haystacks and a large, red-roofed barn, can be seen. Beyond is a settlement with houses and churches. The sunny, colourful landscape represented with lively brushstrokes suggests that Kavanagh may have been familiar with Impressionist paintings.The inscription of ‘Paris’ and ‘1888’ after the artist’s signature is significant, denoting that the landscape was painted during the period when Kavanagh was studying in Paris.Dr. Julian Campbell

Basil Blackshaw HRHA RUA (1932-2016)Running ManOil on canvas, 152 x 122cm (59¾ x 48")Provenance: From the artist's estateUniversally admired despite what some might regard as the challenging nature of a great deal of his work, Basil Blackshaw often seemed to nurture either one of two strong inclinations: one was to achieve the guileless honesty of a child in how he drew and painted, avoiding all the signs of adult visual sophistication. The other, not too dissimilar, was to make a satisfying painting while at the same time entirely nullifying the conventional trappings of an image. As it happens, both tendencies depended on his exceptional conventional abilities, pressed into service to bypass and transcend those same abilities. And both could involve writing across the composition, like an actor breaking the fourth wall. No matter what he was doing, he never shed the canny instincts of a gifted picture-maker.His running figure is a fine compendium of these various characteristics. The figure is both simple, scant on detail and painted in an unmodelled red ochre. But it’s also subtle, rendered in a manner that distinctly recalls classical Greek art (though wearing contemporary white running shoes, presumably Nike) and sensitively observed so that the attitude, the movement, feel exactly right. The background, displaying Blackshaw’s mastery with shades of grey and his sheer love of paint, could be a cast concrete wall, and the unruly text an ambiguous mix of applied and graffitied lettering.The son of a horse trainer, and thoroughly at home in a rural world of horses, dogs and farmyards, Blackshaw was feted as a prodigy but backed away from a conventional artistic career trajectory, quietly quitting a teaching job (he never returned after a cold snap temporarily closed the school) and moving from the city back to the country. His core subject matter included animals, the human figure (Jude Stephens was his long-term model), landscape and portrait subjects. He excelled in all areas and built a wide, faithful following, as well as being greatly esteemed by his peers.Aiden Dunne, April 2023

James Arthur O'Connor (1792-1841)Rocky Landscape with Figure (1840)Oil on canvas, 35 x 45cm (13¾ x 17¾")Signed with initials and dated 1840Provenance: Collection Chidley Coote, Dublin; Lady Woods, Marino, Killiney, Co. Dublin, thence by descentExhibited: Dublin, Exhibition of Arts, Industries and Manufactures, Exhibition Palace, 1872; Dublin Municipal Gallery of Modern Art, 'O'Connor Centenary Exhibition' 1941, Catalogue No. 48The Romantic movement in early 19th century European painting was a response to the Enlightenment era and its emphasis on reason and logic. It was characterized by a fascination with emotion, imagination, individualism, and the natural world. James Arthur O’Connor belongs to the great Romantic movement, a movement that celebrates - in literature, music and especially in painting - creativity and a deep understanding of the power of nature. He was perhaps one of Ireland’s best loved painters of the 19th century until being eclipsed by Walter Osborne and others of the Irish Impressionist school.James Arthur O’Connor was born in Dublin, the son of an engraver and printer, William O’Connor. Although given a few lessons by Dublin artist William Sadler, he was largely self-taught. A lifelong friend of George Petrie and Francis Danby, he went to London with them in 1813, only to return a short time later to look after his orphaned sisters. His reputation as an artist quickly developed while back in Ireland, painting a series of landscapes for the Marquis of Sligo and Lord Clanricarde. In 1821 O’Connor and his wife, Anastasia, emigrated to London and the following year he exhibited at the Royal Academy. Over the course of the next decade he travelled a great deal in Europe, visiting France, Belgium, Holland and Germany, spending several months in the Rhine Valley. With his eyesight and his general health failing in 1839, his output diminished dramatically and he eventually died, virtually penniless, in London in 1841.John Hutchinson noted, in the catalogue for the 1985 exhibition in the National Gallery of Ireland, that O’Connor’s work may be divided into three distinct phases – the early topographical paintings, mid-period picturesque and the late romantic works. Romantic painters sought to create art that evoked strong emotional responses in the viewer, often through dramatic subject matter, intense colour, and dynamic compositions and O’Connor’s late works, such as the selection in this sale, reflect his abiding interest and fascination in the dramatic, such as the moonlit scene with the ruined castle reaching high above the surrounding trees. The presence of a solitary figure standing on a rocky outcrop and an attendant dog provides dramatic scale. Tranquillity is a common theme in these later works and possess a pastoral calm that transforms them into very pleasing compositions which went down very well with the picture buyers of the time. However, by the mid 1830s O’Connor was quite depressed about his lack of sales, complaining in correspondence about the fact that he wasn’t ‘selling a single picture’. Solitude too is a feature of pictorial compositions through the 18th and early 19th centuries and is a motif that O’Connor developed in his later work. The Canadian art historian David Solkin made interesting observations in relation to this theme in 1982 when he wrote ‘(It) gives emblematic form to the notion of rural retirement, as a moral activity which allows man the opportunity to study and to become aware of the greatness of God … such a message was designed to appeal to contemporary patrician landowners, who like to think of themselves as virtuous hermits in the private confines of their country estates.’ While O’Connor’s solitary figures, as represented in these present works, may not be seen as aristocratic in any sense, they are representative of the broader family of man, whether a fisherman preparing his rod or an ambulant red-clad countrywoman with bonnet and basket. While O’Connor’s star waned in the later years of his life, his work has continued to have a great appeal, a testament to his enduring power as a painter of timeless natural sublimity. 

OLMEC MASQUETTE MEXICO, 900 - 400 B.C. carved and polished green serpentine, the distinctive features displaying a subtly downturned mouth, broad nose and narrowed eyes framed by a frowning brow, the ears pierced, raised on a bespoke mountDimensions:10.5cm tall (unmounted)Provenance:Provenance:Ex Samuel Dubiner Collection, Canada (1960s)Barry Kernerman, TorontoOrtiz Collection, MiamiNote: Note: The Olmec civilization, which thrived in the Gulf Coast region of Mexico from approximately 1400 - 400 BC, is renowned for its remarkable artistic achievements, among which serpentine masks such as the present example are particularly noteworthy. Crafted from the distinctive deep green stone, they were characterised by intricate carvings that depicted human visages with exaggerated features, such as downturned mouths, almond-shaped eyes, and broad noses. The masks also incorporated serpentine imagery in the form of coiled snakes or serpent-like figures that surrounded the faces or extended from the top of the masks. It is believed that serpentine masks were utilised in ceremonial and ritual contexts, likely in conjunction with funerary practices or religious festivals, and were probably worn by priests or other elite members of society during these events. The masks also held symbolic value as status symbols, owing to their valuable materials and the skilled craftsmanship required to create them. The Olmec civilization has had a profound impact on the development of modern art, particularly during the early 20th century, when Western artists rediscovered the art of ancient cultures, including that of the Olmec. This renewed interest in Olmec art influenced the emergence of modernist art movements such as Cubism and Surrealism. Olmec sculptures' stylised, geometric forms, such as the iconic "colossal heads," served as sources of inspiration for artists such as Pablo Picasso and Henry Moore, while the Olmec's use of negative space and abstraction was influential in the development of modernist sculpture. In addition, the Olmec's fascination with the natural world, particularly the serpent, inspired Surrealist artists such as Salvador Dali and Max Ernst, who integrated serpent imagery into their works. The Olmec's use of jade and other precious materials also influenced modernist jewellery and decorative arts. Today, the Olmec's legacy remains a significant source of inspiration for contemporary artists who continue to draw on its bold forms and use of negative space.

Art Pepper CD Box Set, The Complete Village Vanguard Sessions - 9 CD Box Set released 1995 on Contemporary (9CCd-4417-2) - With Book - All in Excellent condition

Contemporary Illustrated Account from Sinn Fein Prisoner Byrne (Joseph) Prisoners of War, 8vo D. (The Art Depot) 1917. First Edn., illus. & illus. ptd. wrappers. Rare.(1) * Some Recollections of an Irish Deportee.

A Contemporary Canadian Art Glass Ornament by Frantic Farm Studio, Gourd, 19cm high

Contemporary Art Deco-style figurine, dancer seated on a plinth, approx 17.5 w x 22 h cms. 

(Cerea 1835 - Milano 1909)Cm 69x38 | In 27.17x14.96Oil on canvasFemale portrait. Technique: Oil on canvas Biography Luigi Sorio (Cerea, 1835 - Milan, 1909) trained in Verona at the Academy of Fine Arts. He began exhibiting from the 1850s, presenting himself as an interpreter of literary or historical scenes of a clear romantic matrix, veiled by a certain sentimentalism. At a later stage he specialized in portraits and genre scenes, elaborated especially from his move to Milan. In 1869 Luigi Sorio was appointed professor at the Academy of Verona, after winning the competition announced by it, thanks to a portrait of Victor Emmanuel II. Very skillful in the representation of facts of the chronicle contemporary to him, he managed to perfectly combine his academic training with the use of photography. This new medium, in fact, is an aid to observing and imitating the real thing, much in the style of the younger painter and his countryman Angelo Dall'Oca Bianca (1858-1942). After moving to Milan, Luigi Sorio exhibited frequently at a series of exhibitions in Rome, Genoa, and Milan, devoting himself mainly to official portraiture. In the meantime he resigned from academic teaching and devoted himself fully to painting, gaining much recognition and commissions. He died in Milan in 1909. The Romantic Strand At the beginning of his career, Luigi Sorio identified himself with literary or historical themes of the Romantic field. From 1856 he began exhibiting at the Society of Fine Arts in Verona paintings such as The Kiss, preserved at the city's Gallery of Modern Art. To 1866 dates Beatrice Cenci, while to 1869 Margherita, a character from Goethe's Faust. Alongside these sentimental compositions are also some history paintings such as Polish Exiles and Tommaseo. Luigi Sorio: portraits and contemporary news scenes As early as 1869, as mentioned, Luigi Sorio distinguished himself as a skilled portraitist, winning a competition with The Portrait of Victor Emmanuel II. From this time on he established himself as a representative of this genre, devoting himself mainly to official portraits. They are almost always characterized by half-length figures, silhouetted against neutral backgrounds and with strong emotional notation. Examples are Portrait of Luigia Gemma Bracht, Bishop of Carpi, General Fanti and Isabella Galletti Gianoli, a soprano singer. At the 1876 Florence Exposition he presented Portrait of Gino Capponi, while at the 1892 Genoa Exposition he presented King Umberto at Monza. Alongside the strand of portraits, Luigi Sorio specialized in pleasing genre scenes such as Un gentile pensiero, of 1870. At the 1883 National Exhibition of Fine Arts in Rome he sent Idyll and Prayer and Distraction. Especially in his Milan phase, he devoted himself to pictorial narration of contemporary news scenes. Thanks to photography, used as a means of probing and delving into reality, the paintings are imbued with a kind of "journalistic" value. An example of this chronicle genre is Episode of the Verona Flood of 1882, presented in Verona in 1883. The painting Viva Il Re, belonging to the same production, marks the author's definitive success. It was in fact purchased by Umberto I for the Villa Reale in Monza and won several praises at the 1892 Columbian Exhibition in Genoa. Luigi Sorio Quotes Do you know the value of your painting by this painter? You can count on our experienced art historians for a free appraisal even in less than 24 hours. We buy Paintings by the Artist. Contact us either by uploading images of the canvas directly in the form below, or by using the contact criteria above. Due to long experience in the field, we can offer an estimate furthermore his paintings and coeval artists. For a rigorous estimate, it is essential to have photos of the work with respective measurements, the signature and also the back.

(Vjatka, Russia 1889 - Roma 1957)Cm 80x64 | In 31.50x25.20Oil on canvasAleksej Vladimirovic Isupov, known by the Italianized name Alessio Issupoff, was born in Vyatka (present-day Kirov) on March 10, 1889. The son of an icon carver and gilder, he learned to paint from the artisan painters who worked with his father. Wanting to give expression to his artistic creativity, young Alexis did not take up his father's trade but left Vyatka for Moscow, where he attended the School of Painting, Sculpture and Architecture. He was mentored by painter Apollinarij Michajlovic Vasnetsov, Viktor's brother, who introduced him to the Moscow art milieu and helped him find work. Studying and visiting museums, Issupoff formed his own aesthetic "taste" by modulating it to contemporary Russian and French art. In addition to Vasnetsov, he had Valentin Serov and Konstantin Korovin as his teachers, who educated him in genre, landscape and portrait painting. Obtaining his diploma in 1912, he took up traveling in the Ural region. Assigned to the Tashkent garrison, he avoided the raw experience of World War I. After finishing his military service, he traveled around Turkestan immersing himself in a colorful and "magical" environment that would strongly mark his painting. Indeed, many of his best-known works offer evocative visions of the remotest moors of Central Asia. Settling in Samarkand with his wife Tamara Nikolaevna, he served here as director of the local Committee for Restoration and Conservation of Works of Art and City Monuments. He then perfected himself in the technique of tempera on wooden panel, creating works that, in style, were reminiscent of traditional icon painting. His return to Moscow in 1921 marked the beginning of the most painful period of his private life. Finding himself in financial straits, Issupoff was reduced to being a "regime" artist, that is, painting portraits of senior Soviet leaders and scenes inspired by the Russian Revolution and Red Army exploits. Once again it was Vasnetsov who helped him, finding him a salaried job within one of the many Moscow Committees. Plagued by health problems, he traveled to Italy in 1926 for treatment. His life then took a radical turn. Italy was the place of his rebirth, both personal and artistic. Issupoff immediately found there a benevolent and flattering welcome. He had, since his arrival, occasion to be appreciated by critics and the public. As early as 1926 his first solo exhibition was held in Rome. Numerous other exhibitions followed in the most important cities of the Peninsula and, in 1930, the 17th Venice Biennale "consecrated" the work of the Russian painter. Enjoying esteem, affluence and freedom of expression, the artist decided not to repatriate. How painful that decision had been is shown by Issupoff's own production. Painting "from memory," he recreated the Russia he had left behind. Not the Soviet one, but the pre-revolutionary one he had known in childhood and youth. "The impressions he retains of his country return in the new pictures with greater richness of motif and breadth of unfolding: misty moors, the rivers that furrow, frosty and gloomy, the snow-white countryside, birch trees embroidering their silvery frappe amid veils of mist, and horses grazing, sledding, troika, and plow." Nostalgia, combined with failing health, exacerbated depression, which struck him in old age causing him to hole up in his own home and isolate himself from the world. In his last years, says his wife Tamara, he painted very little and was never present at the opening of exhibitions dedicated to him. He died in Rome on July 17, 1957, and was buried at Testaccio Cemetery. Nine years later, Tamara returned to Russia, taking with her the paintings she inherited from her husband. Many of these works were donated by her to the art museum in Vyatka, Issupoff's hometown.

(Venezia 1879 - Venezia 1933)Cm 28x37 | In 11.02x14.57Oil on panelA daughter of art, she was initiated at an early age into painting by her father, Guglielmo Ciardi, a protagonist with Favretto of the Venetian School of the Real and from 1894 holder of the chair of "Town and Sea Views" at the Venice Academy of Fine Arts. Together with his father and brother Beppe Ciardi they painted from life, as Guglielmo had learned at the Academy when, a pupil of Domenico Bresolin, he was brought by the master into the presence of nature. Emma Ciardi is a woman for the time in which she finds herself living, at the turn of the 19th and 20th centuries, outside the box. She lives the transition between the nineteenth and twentieth centuries in the midst of epochal revolutions that will transform the world, chooses to fit into the tradition of vedutismo that has its masters in Carlevarijs and Canaletto, and does so with a personal and unmistakable style. A constant presence at the Biennial (from 1903 to 1932, except for the 1926 edition), he travels, knows English and French, takes his Venetian parlar around the world, participates in all the most important national (Turin, Milan, Florence, Rome, Naples) and International (Munich, Barcelona, Paris, Buenos Aires, Pittsburgh, San Francisco) art festivals, holds his solo exhibitions in London (1910, 1913, 1928), Paris (1914), New York (1924), Brussels (1925), Chicago (1924), the most accredited gallery owners offer her their spaces to show her works in Milan, London, Paris, New York, collectors from all over Europe and America buy her paintings, newspapers speak of her as "among the most interesting and most personal painters, painters and not women painters because Ciardi is such an artist that she needs no such distinction." Not many women can make a profession out of their talent, Emma does and with an entrepreneurial spirit unheard of for a woman of the early twentieth century she marries her work. A true star of the time. Even D'Annunzio passing through Venice goes to visit her in her atelier where, without getting lost in "ciacole," she works. Thinking that a painter should express himself with his brushes and colors and not with words, she repeats, "Co le ciacole non si fanno i quadri." A woman of few words and a lot of work (as Ugo Ojetti wrote about her in the Corriere della Sera in 1909), she obtained in the first three decades of the twentieth century public and critical recognition and awards in Milan, Berlin, London, Paris, Brussels, New York, and San Francisco. An extremely fecund painter, her paintings are scattered all over the world, she works for an international clientele that from Venice to London and from New York to Buenos Aires requests her paintings. While Picasso initiated with Cubism a veritable revolution in the field of art by subverting the traditional way of viewing a painting and creating an obvious shock in the public, Futurism launched incendiary proclamations subverting tradition, Emma Ciardi entered the great vein of Venetian vedutista painting. She studies and loves Guardi and, like Cataletto does with the camera ottica, photographs the motifs that strike her or paints en plein air, like the Impressionists in parks and gardens of aristocratic mansions and then processes the impression in the studio. She writes, "I have made two studies, but the painting I have not yet found. These are tints that I will need to compose the paintings that always have to be invented," an obvious statement of poetics and operative practice. He chooses to portray the landscape, makes portraits of cities with which he becomes acquainted Florence, London, Paris, Basel, Bruges. Venice and ancient gardens populated by ancient ladies and knights are the great protagonists of her repertoire. In the gardens that make her famous, she starts from life, observes and fixes the landscape before her eyes then, in the studio, brings into the compositions a crowd of characters dressed in eighteenth-century fashions arranging them on the scene studied from life. They are not characters, actors (her models are wooden mannequins two span high that Emma herself drapes in eighteenth-century robes and tricorns), but pure semblances of light, conjured up to act out the fable of life. For Emma, the real is the base, the springboard to the dream. Her figures, luminous as if they were emanations of places, stand out chromatically on the meadows like gems set in green. Her light and bright painting is dense with matter; one has to look closely at her paintings to appreciate the rich, color-filled thickness of her painterly touch. He often uses white; every inch of painting is a chromatic feast, a feast for the eyes. In the last period of his existence he found new inspiration in Refrontolo, in the Treviso countryside, where he bought a house and retired to the quiet of the countryside to paint. Here, dormant whispers and rustles, idylls, dances and madrigals, vezzi and graces (words that often return in the titles of her works) it is nature that speaks in her paintings with grandiose simplicity. If at the time Emma's painting appealed without disturbing, even today her skillful craft, her minute, fractured brushwork, teeming with hues, fast, that she is able to evoke with the slightest touch of the brush a gondola, a parasol, a Pierrot's guitar, with a touch that is always sure, without retouching "i quadri va in malora se i xe titignai," sparkling knows how to fascinate and seduce. In the tamed landscapes, in the combed skies, in the radiant and poignant Venices, together with Emma we seek the beauty for which the human being of all times yearns. She died in Venice on November 16, 1933. In the Information Sheet handwritten by Emma in 1932, kept at the Historical Archives of Contemporary Arts in Venice, she states that her works have been acquired and are held in public collections in Vienna, New York, Munich, Barcelona, Brussels, Washington, Oran and Buenos Aires.

(Verona 1827 - Roma 1902)Cm 27x15 | In 10.63x5.91Olio su tela applicataCabianca began painting in his native Verona, continuing later at the Accademia in Venice and from 1851 in Milan under the guidance and influence of Domenico Induno. Although he was in close contact with Telemaco Signorini and Odoardo Borrani from 1853 (the year he moved to Florence also to escape persecution by the Austrian police for his patriotic ideals ) until 1855 he painted mainly interiors. It was not until 1858 that he fully adhered to the poetics of the Macchiaioli, standing out for his marked chiaroscuro taste. Together with Cristiano Banti he carried out in the two-year period 1859-60 a long series of studies in the locality of Montemurlo, in the vicinity of Prato. In this period his most emblematic works were the Porcile and Woman with a Pig against the Sun, relevant for the realistic element of the subject and the play of light. In the years immediately following, Cabianca continued his studies first in La Spezia together with Signorini and Banti, delving into the effects of sun and light, and then later in Arezzo where he had moved. La Contadina a Montemurlo and La Donna a Montemurlo turned out to be valuable works both for their immediacy and for the consistency of style and lyrical narrative. In the 1960s, Cabianca was influenced by romantic and conventional elements as well as getting carried away by his technical skill. His most appreciated labors of this phase were Le monachine (1861), Il bagno tra gli scogli (1864) and Dante giovinetto (1867). In 1870 he moved to Rome and also began to devote himself to watercolors, which were particularly successful in England, thus renouncing the transition to the second phase of the Macchiaioli group of painters' research, which Signorini called "better realism." In 1899 he participated in the 3rd International Art Exhibition in Venice. In 1927, on the centenary of his birth, an exhibition was dedicated to him. More recently, in 2007, his exhibitions were held in Florence, Orvieto and Perugia. In 1977 in Rome at the National Gallery of Modern and Contemporary Art, curated by Dario Durbè, an exhibition of the almost intact atelier fund left by the artist at his death including all the notebooks with drawings kept in the Cabianca archive was held. In 2008 in Florence at the Alinari National Museum of Photography an exhibition "I macchiaioli e la fotografia" was held with a catalog edited by Monica Maffioli, in which 36 photographic images from the Cabianca archive connected to the Macchiaioli milieu are published. He died in Rome on March 22, 1902.

Günther Uecker (1930 Wendorf) (F)'Nagel', 1989, hg. von der Galerie Waßermann, München, Stahlskulptur, Höhe 180 cm, im unteren Teil des Nagels 'UECKER' bezeichnet, eines von 100 Exemplaren, partiell oberflächliche Kratzer, partiell korrodiert, Kopie der Bestätigung von Günther Uecker (2014) anbeiGünther Uecker gilt als einer der bekanntesten lebenden und weiterhin auch schaffenden deutschen Künstler. Er studierte an den Kunstakademien in Düsseldorf und Berlin. Bereits in den ausgehenden 1950er Jahren fand Uecker eine Gestaltungsform in Nägeln und machte sie zu seinem ausdrucksstarken kompositorischen Element. Auf Platten, Holzbrettern, Baumstümpfen wurden sie genagelt und teilweise weiß getüncht, wodurch er Raum und Bewegung erarbeiten konnte. Er fügt sie in sowohl dynamischer als auch streng symmetrischer Anordnung zu einer bewegten Masse und Formationen zusammen oder präsentiert sie, wie hier, in einzelner Form. 1961 schloss sich Uecker der ZERO-Gruppe an und arbeitete mit Heinz Mack und Otto Piene zusammen. Die zentrale Frage der ZERO-Gruppe ist die der Kunst selbst. Ist Kunst nur zur Abbildung gedacht? Eben diese Frage gilt es zu überwinden! Die genannten Künstler haben damit revolutionäre Arbeit geleistet, die bis heute in der zeitgenössischen Kunst nachhallt. Wir freuen uns in dieser Auktion einen überlebensgroßen einzelnen Nagel aus Stahl anbieten zu können. Auf dem Nagelkopf stehend und die Spitze des Nagels emporragend ist er mit Griffrillen detailliert und mit einer Höhe von 178 cm geschaffen. Durch den Nagel als Skulptur übersetzt Uecker das Hauptelement seiner künstlerischen Sprache selbst in eine eigene Form - eine Form immenser Größe bedenkt man die tatsächliche Größe eines handelsüblichen Nagels. Ein kleiner Nagel, der für gewöhnlich eingeschlagen oder eingetrieben wird, um Dinge zu befestigen, zusammenzuhalten oder zu konstruieren ist hier nicht gezeigt. Sondern die Methode des Künstlers und das damit einhergehende Mittel seiner Kunst ist in eine skulpturale Form gebracht: Der Nagel selbst. Es geht hier also nicht um die Abbildung eines Nagels, sondern um die Darstellung seines eigenen künstlerischen Schaffens, innerhalb einer Skulptur.Günther Uecker (1930 Wendorf) (F)'Nail', 1989, steel sculpture, height 180 cm, in the lower part of the nail inscribed 'UECKER', one of 100 copies, published by Galerie Waßermann, Munich partially superficial scratches, partially corroded, Copy of the confirmation by Günther Uecker (2014) attachedGünther Uecker is considered one of the best-known living and still creating German artists. He studied at the art academies in Düsseldorf and Berlin. Already in the late 1950s, Uecker found a form of design in nails and made them his expressive compositional element. On boards, wooden planks, tree stumps they were nailed and partly whitewashed, enabling him to work out space and movement. He assembled them in both dynamic and strictly symmetrical arrangements to form moving masses and formations or, as here, presented them in single forms. In 1961 Uecker joined the ZERO group and worked together with Heinz Mack and Otto Piene. The central question of the ZERO group is that of art itself. Is art only meant to be depicted? It is precisely this question that must be overcome! The aforementioned artists have done revolutionary work that continues to resonate in contemporary art to this day. We are pleased to offer in this auction a larger-than-life single nail made of steel. Standing on the head of the nail with the tip of the nail rising up, it is detailed with grip grooves and created with a height of 178 cm. Through the nail as sculpture, Uecker translates the main element of his artistic language itself into a form of its own - a form of immense size considering the actual size of a common nail. A small nail that is usually hammered or driven in to fasten, hold together or construct things is not shown here. Rather, the artist's method and the accompanying means of his art are brought into a sculptural form: the nail itself. So it is not a matter of depicting a nail here, but of representing his own artistic work, within a sculpture.

Pavlos Dionyssopoulos('Pavlos') (1930 Filitra, Griechenland - 2019 Paris)Bar, Mischtechnik mit Zeichnung und Collage auf Karton, 101 cm x 67,5 cm Blattmaß, signiert, 75 datiert, partiell oberflächlicher Papierabrieb, partiell leicht fleckig, minimal nachgedunkelt, verso MontierungsrückständeNach dem Studium an der Kunstakademie in Athen ging Pavlos 1954 mit einem Stipendium des französischen Staates nach Paris, wo er sich 1958 dauerhaft niederließ und seine neue künstlerische Heimat fand. Um 1960 wandte er sich unter dem Eindruck der Nouveaux Réalistes von der Malerei ab und der Assemblage und Collage zu. Seit 1963 stellte er auf den Jahresausstellungen des Salon des Réalités Nouvelles aus, dem wichtigsten Forum für zeitgenössische Kunst in Frankreich seit 1946. Eine große Gruppe in Pavlos' Werk ist in einer Kombinationstechnik aus Zeichnung und Malerei sowie Formen und Streifen aus zurechtgeschnittenem, sekundär verwendetem Papiermaterial gefertigt. Die Flaschen des unteren Regalfachs sind in diesem Fall zur Hälfte aus weißen Papierformen aufgeklebt, während die andere Hälfte als gezeichnete Kontur erscheint. Die oberen Flaschen sind aus je zwei Papierformen zusammengesetzt, welche zum Teil farbige Rasteroffsetpunkte auf dem Plakatdruck erkennen lassen. Mit blauem und weißem Farbstift sind Hintergrund und Konturen auf hellbraunem Leichtkarton ausgeführt.Pavlos Dionyssopoulos('Pavlos') (1930 Filitra, Greece - 2019 Paris) Bar, mixed media with drawing and collage on cardboard, 101 cm x 67,5 cm sheet dimension, signed, dated 75, some superficial paper abrasion, slight spotting, minimal darkening, mounting residues on versoAfter studying at the Academy of Fine Arts in Athens, Pavlos went to Paris in 1954 on a scholarship from the French government, where he settled permanently in 1958 and found his new artistic home. Around 1960, under the influence of the Nouveaux Réalistes, he turned away from painting and towards assemblage and collage. From 1963 onwards, he exhibited at the annual exhibitions of the Salon des Réalités Nouvelles, the most important forum for contemporary art in France since 1946. A large group in Pavlos' work is made in a combination technique of drawing and painting, as well as shapes and stripes of paper material cut to size and used secondarily. In this case, half of the bottles on the lower shelf are glued on from white paper shapes, while the other half appears as a drawn outline. The upper bottles are each composed of two paper shapes, some of which reveal coloured halftone offset dots from poster printing. The background and contours are drawn with blue and white coloured pencil on light brown light cardboard.

Tschang-Yeul Kim (1929 Maengsan/Korea - 2021 Seoul/Südkorea)Wassertropfen, Öl auf Leinwand, 55 cm x 46 cm, signiert, 77 datiert, verso auf dem Keilrahmen signiert, 153 nummeriertKim Tschang-Yeul gilt neben Nam June Paik und Lee Ufan als einer der bekanntesten zeitgenössischen Künstler Koreas. Er setzte sich seit Beginn seines Schaffens für die Kunst ein, wurde dafür in den "Ordre des Arts et des Lettres" aufgenommen und erhielt 2013 eine Auszeichnung für seine kulturellen Verdienste. Berechtigt, bedenkt man nicht nur sein künstlerisches Schaffen, sondern auch die politischen Gegebenheiten, unter denen er lebte. Dazu gehört das damals japanisch besetzte Korea - das heutige Nordkorea. Nach der Landesteilung wurde er als junger Mann verhaftet und floh nach zehntägiger Haft in das damalige Seoul, das wiederum unter US-Kontrolle stand. Kim Tschang-Yeul studierte Kunst an der Seoul National University. 1958 gründete er die Modern Artists' Association und schloss sich der Informel-Bewegung an, angeführt von Whanki Kim, einem bahnbrechenden abstrakten Künstler Koreas. Die Rockefeller Foundation ermöglichte ihm ein Stipendium, um an der Art Students League of New York zu studieren. Im Anschluss zog Kim Tschang-Yeul nach Paris, wo er bis zu seinem Tod 2021 lebte. Für seine geradezu meditative Auffassung in der Darstellung von Wassertropfen wird Kim Tschang-Yeul weltweit gefeiert. Dabei verwendet der Künstler Abstraktion und Hyperrealismus zugleich, um die feinen Wassertropfen auf der Leinwand darzustellen und eine naturbelassene Ruhe in seinen Werken zu kreieren. Der Künstler erfüllte seine Werke mit den taoistischen Prinzipien seiner Erziehung und charakterisierte Wasser als eine amorphe Einheit, die von der Kraft der Auflösung und Reinigung durchdrungen ist. Die in Feinmalerei gefassten Wassertropfen auf der groben Leinwand scheinen so fragil und gleichzeitig fest montiert zu sein, als ob man sie wie Murmeln vom Bildträger nehmen könnte. Die Herkunft der Tropfen wirft Fragen auf: Sind sie vom Himmel herab auf die Leinwand getropft oder haben sie sich durch die Fasern der Oberfläche gepresst? Ebenso sollte man meinen, dass eine solch raue Oberflächenbeschaffenheit gefährlich für einen natürlichen Wassertropfen sei. Jeder der hier dargestellten zahlreichen Tropfen ist individuell, so wie er es auch in der Natur wäre. Alle werden sie von einer seitlich leicht erhöhter Lichtquelle angestrahlt und schlagen ihren förmigen Schatten in entgegengesetzte Richtung. Dabei scheinen die Stränge der Leinwand durch den transluziden Körper aus Wasser. Ihre feine Beschaffenheit könnte durch die porösen Strukturen aufplatzen oder gar aufgesogen werden und doch halten alle Wassertropfen auf diesem Bild bereits für Jahrzehnte stand. Die Werke von Kim Tschang-Yeul stoßen eine Art Meditation an und so lassen sich aus der Betrachtung Lebensweisheiten ziehen: Der Eine bekannte Wassertropfen, der Wasser zu einem Wellenschlag in Bewegung setzt. Das Wasser, das als Element der Natur das Leben selbst symbolisiert. So auch die Summe unendlich vieler Wassertropfen, die Ozeane ausmachen. All diese Parallelen können auf die Wassertropfen auf der graubraunen Leinwand bezogen werden. Vielleicht nicht verwunderlich, dass sich der Künstler gerade dieses Gestaltungsmittel zu Eigen gemacht hat, wenn man sich seinen Lebensweg dazu ansieht. Er als Künstler, als freier und kreativer Kopf, lebte in einer Welt mit starken Grenzen und politischen Reglements. Doch bleibt der Tropfen bestehen und schenkt dem Betrachter damit nicht nur Freude über die Schönheit eines Wassertropfens, sondern sogar Hoffnung und Zuversicht auf eine bessere Welt. Tschang-Yeul Kim (1929 Maengsan/Korea - 2021 Seoul/South Korea) Water Drops, oil on canvas, 55 cm x 46 cm, signed, dated 77, signed verso on stretcherframe, numbered 153Along with Nam June Paik and Lee Ufan, Kim Tschang-Yeul is considered one of Korea's best-known contemporary artists. He has championed the arts since the beginning of his career, was inducted into the Ordre des Arts et des Lettres and received an award for his cultural achievements in 2013. This is justified, considering not only his artistic work, but also the political circumstances in which he lived. This includes the then Japanese-occupied Korea - today's North Korea. After the division of the country, he was arrested as a young man and fled after ten days' imprisonment to what was then Seoul, which in turn was under US control. Kim Tschang-Yeul studied art at Seoul National University. In 1958, he founded the Modern Artists' Association and joined the Informel movement, led by Whanki Kim, a pioneering Korean abstract artist. The Rockefeller Foundation provided him with a scholarship to study at the Art Students League of New York. Kim Tschang-Yeul then moved to Paris, where he lived until his death in 2021.Kim Tschang-Yeul is celebrated worldwide for his almost meditative approach to depicting water drops. The artist uses abstraction and hyperrealism at the same time to depict the fine drops of water on the canvas and create a natural calm in his works. The artist infused his works with the Taoist principles of his upbringing, characterising water as an amorphous entity imbued with the power of dissolution and purification. The water drops on the rough canvas, set in fine painting, seem so fragile and at the same time firmly mounted, as if they could be removed from the picture support like marbles. The origin of the drops raises questions: Did they drip down from the sky onto the canvas or did they squeeze through the fibres of the surface? Likewise, one would think that such a rough surface texture would be dangerous for a natural drop of water. Each of the numerous drops depicted here is individual, just as it would be in nature. All of them are illuminated by a light source slightly elevated from the side and cast their shaped shadows in opposite directions. In the process, the strands of the canvas shine through the translucent body of water. Their fine texture could burst or even be absorbed by the porous structures, and yet all the drops of water on this painting have already withstood for decades.Kim Tschang-Yeul's works trigger a kind of meditation, and so life lessons can be drawn from their contemplation: The One familiar drop of water that sets water in motion to create a ripple. Water, as an element of nature, symbolises life itself. So too the sum of infinite water drops that make up oceans. All these parallels can be related to the water drops on the grey-brown canvas. Perhaps it is not surprising that the artist has made this very means of design his own, if one looks at his life's journey in this regard. He as an artist, as a free and creative mind, lived in a world with strong borders and political regulations. Yet the drop remains and thus gives the viewer not only joy at the beauty of a drop of water, but even hope and confidence in a better world.

Gary Walton (contemporary), Seascape, two ships and a lighthouse, acrylic on board, signed, 29 x 60cm. Buckingham Fine Art labels verso.

Debbie Boon (Contemporary)"Watchful"Signed and numbered 39/95, giclee print, 49.5cm by 49.5cmSold together with DeMontfort Fine Art Certificate of Authenticity

Debbie Boon (Contemporary)"Contemplating"Signed and numbered 32/95, giclee print, 50cm by 50cmSold together with DeMontfort Fine Art Certificate of Authenticity

Zinsky (Contemporary)"Ever Danced with the Devil"Signed and numbered 43/150, glazed paper board, 102cm by 81cmSold together with DeMontfort Fine Art Certificate of Authenticity

Nick Holdsworth (Contemporary)"Noughties Playboy"Signed and numbered 39/95, giclee print on box canvas, 96cm by 71.5cmSold together with DeMontfort Fine Art Certificate of Authenticity

Contemporary urban art screenprint, Einstein and Stormtroopers, signed in pencil, image 30cm x 42cm, framedGood condition

Paul Nash (1889-1946), limited edition woodcut on paper, Bird, 1925, 5.0cm x 6.3cm, mounted. Published by Garton and Cooke, May 1985. Ed. 12/45. Printed on JapaneseHosho paper by Ian Mortimer from the original woodblocks in the possession of the Victoria and Albert Museum, with blindstamp of the Paul Nash Trust. Provenance – Betty Evans Collection, former President of the Contemporary Art Society for Wales

Gautier (Théophile) Le Capitaine Fracasse, 3 vol., one of 150 copies, half-titles, etched portrait frontispiece and 14 plates after Charles Delort, vol. 3 with some marginal spotting, contemporary turquoise half morocco, some faint toning, t.e.g., original printed wrappers bound in, lightly foxed, Paris, Librarie des Bibliophiles, 1884; Une Larme du Diable, half-title and a few ff. with very faint foxing, red morocco by P.[etrus] Ruban, covers with gilt border and foliate corner-pieces, spines and dentelles ornate in gilt, g.e., Paris, Desessart, 1839; Le Roman de la Momie, half-title, black morocco by P.[Etrus] Rubans, covers and spines with art nouveau design of ?lotus flower and leaves in gilt, dentelles ornate in gilt, g.e., original yellow printed wrappers bound in, Paris, Librarie de L. Hachette et Cle., 1858; and 19 others by the same, handsomely bound in morocco in various colours, several by Petrus Ruban, many with original wrappers bound in, 8vo (24) ⁂ Provenance: I. Alfred and Blanche de Curzon [bookplate]; II. & III. Daniel Henry Holmes [bookplates].

Georgios Zongolopoulos (Greek, 1903-2004)Cycladique, 1990 signé en grec et monogrammé 'Z' (sur la base)acier inoxydable 135 x 160 x 52cm (53 1/8 x 63 x 20 1/2in).Réalisé en 1990.signed in Greek and monogrammed (on the base) stainless stealFootnotes:ExpositionsVenice, XLV Esposizione Biennale Internationale d'Arte, Greek Pavilion, Giorgos Zongolopoulos, June 13 - October 10, 1993. Thessaloniki, Macedonian Museum of Contemporary Art, Zongolopoulos, Greece - XLV Venice Biennale 1993 (illustrated in the exhibition catalogue). LittératureZongolopoulos, Grecia - XLV Biennale di Venezia 1993, Ministry of Culture - Direction of Fine Arts, Athens 1993 (illustrated).D. Pavlopoulos, Zongolopoulos, K. Adam editions, Athens 2007, p. 118 (illustrated).Cycladic is a work of imaginative power and intellectual verve that explores the expressive potential of volume and the rhythmical relations between solids and voids. The cycle, a geometric shape Zongolopoulos was particularly fond of (compare Olympic rings, 1991, Bonhams Greek Sale, April 24, 2013, lot 89) is charged with symbolic import, alluding to the globe itself. In 1968, four years after the artist's first showing at the Venice Biennale, prominent French art critic and founder of the Salon de la Jeune Sculpture Denys Chevalier wrote of Zongolopoulos: 'With the purity and stripping down of his original idea, with the economy of expression and geometric rigor of his statements, he belongs to the first rank of contemporary artists who set out to create sculptures based not on fleeting trends but rather on something permanent, belonging to both the past and the future.'11 Text included in the catalogue of the Zongolopoulos showing in the 1993 Venice Biennale.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

Dimitris Mytaras (Greek, 1934-2017)Composition grecque signé en grec (en bas à gauche)huile sur toile120 x 160cm (47 1/4 x 63in).Peint au début des années 1970s.signed in Greek (lower left) oil on canvasFootnotes:ProvenancePrivate collection, Athens.ExpositionsAndros, Museum of Contemporary Art - Basil & Elise Goulandris Foundation, Dimitris Mytaras, from the Contemporary to the Timeless, July 1 - September 30, 2018 (illustrated in the exhibition catalogue, pp. 114-115).LittératureGrafi magazine, no. 1, May-June 1978 (cover illustration).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Nikos Engonopoulos (Greek, 1907-1985)Trois philosophes signé en grec et daté '37' (en bas à droite)huile sur toile106 x 93cm (41 3/4 x 36 5/8in).Peint en 1937.signed in Greek and dated (lower right) oil on canvasFootnotes:ProvenanceThe Artist's Estate.Private collection, Athens.ExpositionsAthens, Nicolas Calas residence, Exhibition of Paintings by Nikos Engonopoulos, 1939 (possibly).Venice, XXVII Esposizione Biennale Internationale d'Arte, Greek Pavilion, Nikos Engonopoulos, June 19 - October 17, 1954, no. 2 (listed in the exhibition catalogue, p. 294).Sao Paolo, Brazil, III Bienal de Sao Paolo, Museum de Arte Moderna, July-October 1955 (listed in the general exhibition catalogue, p. 161, no. 1).LittératureFiche Descriptive des Oeuvres Pavillon Grec, Venice Biennale, 1954, handwritten list, p.5, no. 40.K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 204, p. 76 (shown in a 1954 photograph with the artist), p. 241 (illustrated), p. 409 (catalogued and illustrated).Nikos Engonopoulos, Painter and Poet, conference minutes, Benaki Museum, Athens 2010, p. 177, fn.18 (mentioned).Nikos Engonopoulos, exhibition catalogue, Andros, Museum of Contemporary Art - Basil & Elise Goulandris Foundation, 2017, p. 257 (shown in a 1954 photograph with the artist).A significant missing piece of 20th c. Greek art, discovered recently by Bonhams and returned to public view after nearly 70 years,1 this pioneering work—Engonopoulos's first surrealist oil—was shown in the 1954 Venice Biennale,2 where for the first time, Greece was represented by one artist alone.In Venice, Engonopoulos showed alongside such towering figures of modern art as Arp, Ernst, Miro, Klee, Bacon and Magritte, since the exhibition had requested participating countries to adhere to the theme of Surrealism. Prefacing the exhibition catalogue, Biennale's Secretary General R. Palluchini noted: 'Greece devotes its entire pavilion to Engonopoulos, whose work certainly is a surprise to everybody.'Here, the artist subverts—in a typical surrealist fashion—the conventional ways with which rational thought perceives the world by replacing the heads of the three philosophers with archetypal geometric forms. Paying homage to the great Cézanne who exhorted painters to depict reality in terms of simple geometric shapes and volumes, he finds in the cube, the sphere, and the triangle the underlying, basic structure of the world, the all-encompassing essential force that binds the universe. These archetypal forms echo the ideal world of Plato who considered them pure beauty and fundamental elements for building the world. Elemental and three-dimensional, these forms also seem like stemming from a Bauhaus workshop in the 1920s, forming an imaginary cultural bridge that spans the millennia. As noted by Walter Gropius, the great German architect and founder of the Bauhaus School, these original geometric shapes are purely abstract entities that dash through time and all countries, ensuring validity in all human creations.The visual act, set against the schematised and unmistakably Engonopoulian formations of travelling clouds, takes place in a shallow stage-like space that heightens the overall sense of theatricality. Engonopoulos, who never hesitated to explore the correlations between theatrical and pictorial space and introduce the theatrical into his painting,3 has once said that 'under the stage lights, with the most harmonious moves, in a coordinated whole, amidst colours and music, every human dream comes alive, flooding the soul with guileless joy, far from the obligations and obstacles of grim reality.'4 Conceived on a human scale, this kind of contained setting that both frames and accentuates human activity, seems like a faithful emulation of Greece's natural environment. The lack of vast open spaces and supernatural landscapes whose sheer size nullifies the human scale, is a typically Greek element.5 Navigating the viewer to a magical world of poetic metaphor, a host of details trigger various associations ranging from Medieval and Renaissance times (the chequered tilework echoes similar motifs by Mantegna and Giovanni Antonio Fasolo) to Giorgio de Chirico's pittura metafisica (highlighted by the triangular shape used in constructing the philosopher's head). In the left middleground, the red figure carrying a heavy bag possibly alludes to the myth of Sisyphus and the philosophical theory that existence is absurd, while in the upper right corner, the tall buildings perched on a steep hill are reminiscent of similar structures in works by Parthenis and de Chirico. Although the unexpected staging of dream-like scenes is a fascinating feature of Engonopoulos's art, no less impressive is his handling of colour. The shimmering yellow, green and orange tunics worn by the three standing figures and the enamel-like blues and reds applied without tonal gradations, sparkle like rubies and emeralds, making the entire pictorial surface shine like a stained-glass window in a Gothic cathedral.1 The painting remained accessible to scholarly research only though a black and while archival photograph published in the artist's catalogue raisonée (see Littérature).2 Up until the mid-20th century the famous Venice Biennale was the only major artistic event worldwide. Especially for outlying countries like Greece, showing in Venice was extremely important on a national level and highly enviable on a personal one.3 P. Rigopoulou, 'Nikos Engonopoulos' in D. Tsouchlou-A.Bacharian, Stage-Setting in Modern Greek Theatre [in Greek], Athens 1985, p. 141.4 Written in 1961 and reprinted in N. Engonopoulos, Works in Prose [in Greek], Ypsilon editions, Athens 1987, p. 30.5 See S. Boulakian, 'The Work of Nikos Engonopoulos' in Greek Painters - 20th Century[in Greek], Melissa editions, Athens 1974, p. 261.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

Pavlos (Pavlos Dionyssopoulos) (Greek, 1930-2019)Jeu de cartes signé et daté 'Pavlos/2004/PAVLOS' (au revers)papier d'affiches et jeu des cartes sur panneau131 x 103 x 11cm (51 9/16 x 40 9/16 x 4 5/16in).Réalisé en 2004.signed and dated (on the reverse) paper construction and playing cards on woodFootnotes:ExpositionsAthens, Mihalarias Art, Pavlos 2006, November 9 - December 2, 2006 (illustrated in the exhibition catalogue, p. 31).Athens, Art Athina International Contemporary Art Fair, May 13-16, 2010.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

A quantity of decorative contemporary ceramics to include an art potter jug with potters seal impressed mark; various Poole pottery items to include Poole map plate; a modern print of a still life of a chair; a Victorian vase; glass bowl; a pair of cream glazed pottery wall brackets; etc (qty)All in generally good condition. The Victorian vase with wear to the gilding.

* SARAH MCLAREN, A ROW OF HOUSES, FRANCE mixed media on paper, signed and dated 2000mounted, framed and under glassimage size 35cm x 49cm, overall size 53cm x 65cm Note: Sarah McLaren trained at the Edinburgh College of Art, where she won the Christmas Show prize in 1984. She has travelled and worked in France and Spain and has exhibited at the RSA, RSE and the SSA. In 1991 Sarah won the Royal Bank of Scotland Trophy, The Anne Redpath Prize (SAAC) and the Betty Davis Award (RSA). In 1992 she was featured in a London exhibition of leading contemporary Scottish artists and in recent years has exhibited extensively in Glasgow and Edinburgh. Following some time living and working in Shetland, Sarah now lives in France and continues to produce exhilarating and flamboyant artworks.

* HUGH MCINTYRE (SCOTTISH b. 1943), A MOUNTAIN STREAM oil on board, signed and dated '95framedimage size 57cm x 88cm, overall size 70cm x 102cm Note: Hugh McIntyre has been based in Dumfries & Galloway for many years and was involved with the management of the Gracefield Arts Centre during the early 1970s. He became a full-time painter in the mid 1970s and has exhibited his artwork, which focuses mainly on landscape painting, throughout the UK. He attended the Rhode Island School of Design, USA, and the Edinburgh College of Art. McIntyre`s work is included in the collections of H.R.H. The Prince of Wales (now HM King Charles III) and the Late Princess of Wales, The British Linen Bank Headquarters, Edinburgh, The Bank of Scotland, Galerie Chomarat, Lyon, Galerie Maison Jardin, Lyon, P.D.C, New York, Ashai Optical Co.Ltd, Tokyo, Brunel University, Hilton International, Albert Fisher Group PLC, Tommy Hilfiger and many other public and private collections. McInyre exhibits widely and has been represented by Contemporary Fine Art (Eton) since 1990.

* JAMES HARRIGAN (SCOTTISH b. 1937), CATTLE ON THE SHORE watercolour on paper, signed, titled label versomounted, framed and under glassimage size 48cm x 71cm, overall size 75cm x 95cmLabel verso: The Macaulay Gallery, Stenton.Note: James Harrigan is a graduate of Glasgow School of Art where he studied Painting and Printmaking between 1956 and 1961. He was born in Ayr in 1937 and has continued to live in Ayrshire all his life. He taught Art for many years and was an inspiring teacher with many of his pupils going on themselves to develop successful careers as artists. In recent years James has spent time in the West Indies and in Brazil but he never tires of painting the landscape and coastline around his Ayrshire home and elsewhere in Scotland. He is known mainly as a landscape artist but his landscapes are almost invariably informed by a human presence and day to day activities, a sense of life being lived. This may be actual figures or it may be a suggestion of human life through buildings, gardens, boats.... He is an expressive painter working mainly in oils, using the rich, luscious quality of the paint to great effect but he is also a gifted watercolourist. He exhibits widely and has work in many collections including those of the House of Lords, Glasgow University, P & O Cruises, Wigtownshire Education Trust and the Maclaurin Gallery. He is a past winner of the prestigious Laing Landscape Competition and the Scotsman Art Competition. In The Scottish Contemporary Art Auction of 10th November 2022, lot 52 "Girvan Harbour" (by James Harrigan) sold for £2200 (hammer) narrowly beating the previous auction record price for a work by James Harrigan. A recent watercolour by the artist to feature in our auctions was "Tweed Hillside" (identical dimensions to "Cattle on the Shore") which sold for £440 (hammer) - lot 23, 29th May 2022.

* JAMES ORR (SCOTTISH 1931 - 2019), SURF FUN, CALIFORNIA acrylic on board, signed, titled and dated 1997 label verso framed and under glassimage size 24cm x 30cm overall size 45cm x 50cm Label verso: Gallery 41, Edinburgh.Note: James Orr was a regular and successful contributor to The Scottish Contemporary Art Auctions. A modest man when it came to his own achievements, his work is held in the collection of HRH The Late Duke of Edinburgh and in many private collections across the world. He won several awards for his work, including the RGI’s Royal College of Physicians & Surgeons of Glasgow Award. His paintings have given and continue to give great pleasure to many people. Renowned for his kindness and generosity, he also nurtured many budding artists and gave his time generously through artist demonstrations for many art clubs across Scotland.

* JAMES ORR (SCOTTISH 1931 - 2019), AYRSHIRE BYWAY acrylic on board, signed, titled label verso framed and under glassimage size 29.5cm x 34.5cm overall size 44cm x 49cm Handwritten label verso.Note: James Orr was a regular and successful contributor to The Scottish Contemporary Art Auctions. A modest man when it came to his own achievements, his work is held in the collection of HRH The Late Duke of Edinburgh and in many private collections across the world. He won several awards for his work, including the RGI’s Royal College of Physicians & Surgeons of Glasgow Award. His paintings have given and continue to give great pleasure to many people. Renowned for his kindness and generosity, he also nurtured many budding artists and gave his time generously through artist demonstrations for many art clubs across Scotland.

* DRONMA (SCOTTISH b. 1947), BERWICK LAW FROM THE LEITHIES oil on canvas, signed, titled verso framed and under glassimage size 61cm x 61cm, overall size 72cm x 72cm Note: Dronma was born in Glasgow in 1947 and studied at Laurel Bank and then Glasgow School of Art, where she graduated in 1969. After her studies at Jordanhill College of Education, and a period of teaching she was appointed Art Director of Glasgow Arts Centre. Until April 2008 Drӧnma was a part time lecturer at Forth valley College. She now devotes her time fully to her painting, and a member of the Glasgow Society of Women Artists.(GSWA). Awarded Scottish Amicable Award 2007 at their 125th Anniversary Exhibition. Dronma's vibrant landscapes have gained her a fine reputation amongst discerning buyers of contemporary art, as a modern Scottish colourist. Her bold expressive style evokes the character inherent in Scotland's mountains and shores. Dronma has been a Tibetan Buddhist since 1976. Her landscapes may be wild and wind swept, but they also gleam with an inner light. Her work has been exhibited all over the United Kingdom, and in private collections world-wide.

* ROBERT KELSEY DA MUniv PAI FRSA (SCOTTISH b. 1949), CLOUD REFLECTIONS, BARRA oil on canvas, signed, titled versoframed and under glassimage size 51cm x 61cm, overall size 74cm x 84cm Artist's label verso.Note: Robert Kelsey was born in Glasgow and studied at the Glasgow School of Art (1966-1970) under David Donaldson, Alexander Goudie and James D. Robertson. Kelsey has earned a formidable reputation as one of Scotland's finest and most sought after contemporary artists. His numerous one man shows in London in particular enjoy huge success and his sell out exhibition at Thompson's Gallery (London) in 2004 was reported on BBC's "Breakfast" as "one of the biggest contemporary art exhibitions in London in recent years". The prestigious Thompson's Gallery described the event as "the most successful solo exhibition we have ever had". Robert has been a regular exhibitor for many years at The Royal Glasgow Institute, The Royal Institute of Oil Painters, Paisley Art Institute, The Royal Scottish Society of Painters in Watercolour and The Royal Scottish Academy. He has enjoyed success in New York , Budapest and Chicago and is widely exhibited throughout the UK. He has featured in many magazines including "Homes & Interiors" and "Scotland Magazine" and BBC News 24 has reported his achievements. The book "Robert Kelsey-the artist" was published in 2004. His style is distinctly "Contemporary Scottish Colourist" and although his work reveals his GSA training the strongest influences remain Peploe and Cadell. Robert writes : "I love the loneliness and serenity to be found at certain locations such as the beaches of the Outer Hebrides. I say "loneliness", which sounds like a bad thing, better to describe it as being at peace in serene places, where you can be alone with your thoughts, listen to the sea birds and the trickle of water". Robert's home and studio are in Paisley but his commercial success has allowed him to travel the world in search of the light and colour that are such strong features within his work. This broadening of horizons has been reflected in his "gallery prices" as his career and reputation continues to flourish. Kelsey collectors include : Sir Arnold Clark, The Duke of Bedford, Lord McFarlane of Bearsden, Cairn Energy PLC, Credit Lyonnais Bank, Taylor Woodrow, The Dunfermline Building Society, Highland Spring Water, Enterprise Oil, Paisley Art Gallery, Turnberry Hotel & Golf Club, Alliance & Leicester Building Society, Arisaig Partners (Asia) and The Fleming Collection.

* ROBERT KELSEY DA MUniv PAI FRSA (SCOTTISH b. 1949), THE PAPS OF JURA oil on canvas, signed, titled versoframed and under glass image size 51cm x 61cm, overall size 74cm x 84cm Artist's label verso.Note: Robert Kelsey was born in Glasgow and studied at the Glasgow School of Art (1966-1970) under David Donaldson, Alexander Goudie and James D. Robertson. Kelsey has earned a formidable reputation as one of Scotland's finest and most sought after contemporary artists. His numerous one man shows in London in particular enjoy huge success and his sell out exhibition at Thompson's Gallery (London) in 2004 was reported on BBC's "Breakfast" as "one of the biggest contemporary art exhibitions in London in recent years". The prestigious Thompson's Gallery described the event as "the most successful solo exhibition we have ever had". Robert has been a regular exhibitor for many years at The Royal Glasgow Institute, The Royal Institute of Oil Painters, Paisley Art Institute, The Royal Scottish Society of Painters in Watercolour and The Royal Scottish Academy. He has enjoyed success in New York , Budapest and Chicago and is widely exhibited throughout the UK. He has featured in many magazines including "Homes & Interiors" and "Scotland Magazine" and BBC News 24 has reported his achievements. The book "Robert Kelsey-the artist" was published in 2004. His style is distinctly "Contemporary Scottish Colourist" and although his work reveals his GSA training the strongest influences remain Peploe and Cadell. Robert writes : "I love the loneliness and serenity to be found at certain locations such as the beaches of the Outer Hebrides. I say "loneliness", which sounds like a bad thing, better to describe it as being at peace in serene places, where you can be alone with your thoughts, listen to the sea birds and the trickle of water". Robert's home and studio are in Paisley but his commercial success has allowed him to travel the world in search of the light and colour that are such strong features within his work. This broadening of horizons has been reflected in his "gallery prices" as his career and reputation continues to flourish. Kelsey collectors include : Sir Arnold Clark, The Duke of Bedford, Lord McFarlane of Bearsden, Cairn Energy PLC, Credit Lyonnais Bank, Taylor Woodrow, The Dunfermline Building Society, Highland Spring Water, Enterprise Oil, Paisley Art Gallery, Turnberry Hotel & Golf Club, Alliance & Leicester Building Society, Arisaig Partners (Asia) and The Fleming Collection.

* JOYCE W CAIRNS PPRSA DEd (hc) HRA (2018-2022) HRHA HRWA HRBA RSW MA (RCA) (SCOTTISH b. 1947), HOMESICK watercolour on paper, signed and dated 1975framed and under glassimage size 49cm x 69cm, overall size 59cm x 79cm Provenance: authenticated by the artist (02.05.23) and although untitled, Ms Cairns suggested "Homesick" as at the time (1975) she was in London and missing her homeland. This is a rare early work by one of Scotland's most significant and critically acclaimed artists of her generation.Note: In 2018 Joyce W Cairns was elected the first woman President of The Royal Scottish Academy in its 192 year history. Given the extraordinary talent of many Scottish women artists both past and present, this honour reflects the high esteem of the Royal Academicians who elected her and her status as one of the most important and respected artists of her time. Note 2: Joyce W Cairns was born and brought up in Edinburgh. She studied painting at Grays School of Art, Aberdeen from 1966 -71 and The Royal College of Art, London 1971 -74. She was awarded a Fellowship at Gloucester College of Art and Design 1974-75 returning to London where she did the Art Teacher’s Certificate Course at Goldsmiths College, University of London 1975-76. In 1976 she returned to Aberdeen where she taught Drawing and Painting at Grays School of Art until 2004 when she took early retirement to complete the vast body of work which culminated in ‘War Tourist’. It was exhibited for 3 months in 2006 at Aberdeen Art Gallery, attracting nearly 30,000 visitors. Her work is mainly autobiographical based on past memories intertwined with present experiences, woven around the backcloth of the once fishing village of Footdee at the mouth of Aberdeen harbour where she has lived for the past 33 years. ‘War Tourist’ was based on her Father’s war backed up by extensive research following in his footsteps through Europe and Tunisia. She now paints in Dundee working in a house and garden overlooking the Tay which will add a further dimension to her work but still retains a residence in Footdee. Cairns has won many awards and is featured in many publications and in the wider media. Cairns’ work has been exhibited in serious group exhibitions since 1970, as well as having numerous celebrated solo exhibitions in Scotland, London and Canada. Her work is held in numerous public collections including Aberdeen Art Gallery, The Scottish Arts Council, BBC Television, Edinburgh City Arts Centre, Fife Regional Council, Fleming’s Bank, Glasgow City Art Gallery & Museum, Glasgow Gallery of Modern Art, Grampian Television, Graves Art Gallery & Museum, Sheffield, Gray’s School of Art, Aberdeen, Lanarkshire County Council, Manchester City Art Gallery, McMaster Museum, Hamilton, Ontario, Mobil, Perth City Art Gallery & Museum, Shell UK, Tidaholm Government Office, Sweden, The Contemporary Arts Society, The Royal Scottish Academy, University of Aberdeen, University of Strathclyde, Unilever, Aberdeen Asset Management, The National Museums of Scotland, The Robert Gordon University, Aberdeen Asset Management,Asia, Singapore, The British Museum, The Victor Murphy Trust, Pier Arts Centre, Inverness Museum and Art Gallery, The Maritime Museum, Irvin, New Hall Art Collection, Cambridge, The National Galleries of Scotland. Further biographical information at: www.joycecairns.co.uk

* ROBERT KELSEY DA MUniv PAI FRSA (SCOTTISH b. 1949), THE SPANISH HOUSE, ANDALUCIA oil on board, signed, titled versoframed and under glassimage size 29cm x 29cm, overall size 50cm x 50cm Note: Robert Kelsey was born in Glasgow and studied at the Glasgow School of Art (1966-1970) under David Donaldson, Alexander Goudie and James D. Robertson. Kelsey has earned a formidable reputation as one of Scotland's finest and most sought after contemporary artists. His numerous one man shows in London in particular enjoy huge success and his sell out exhibition at Thompson's Gallery (London) in 2004 was reported on BBC's "Breakfast" as "one of the biggest contemporary art exhibitions in London in recent years". The prestigious Thompson's Gallery described the event as "the most successful solo exhibition we have ever had". Robert has been a regular exhibitor for many years at The Royal Glasgow Institute, The Royal Institute of Oil Painters, Paisley Art Institute, The Royal Scottish Society of Painters in Watercolour and The Royal Scottish Academy. He has enjoyed success in New York , Budapest and Chicago and is widely exhibited throughout the UK. He has featured in many magazines including "Homes & Interiors" and "Scotland Magazine" and BBC News 24 has reported his achievements. The book "Robert Kelsey-the artist" was published in 2004. His style is distinctly "Contemporary Scottish Colourist" and although his work reveals his GSA training the strongest influences remain Peploe and Cadell. Robert writes : "I love the loneliness and serenity to be found at certain locations such as the beaches of the Outer Hebrides. I say "loneliness", which sounds like a bad thing, better to describe it as being at peace in serene places, where you can be alone with your thoughts, listen to the sea birds and the trickle of water". Robert's home and studio are in Paisley but his commercial success has allowed him to travel the world in search of the light and colour that are such strong features within his work. This broadening of horizons has been reflected in his "gallery prices" as his career and reputation continues to flourish. Kelsey collectors include : Sir Arnold Clark, The Duke of Bedford, Lord McFarlane of Bearsden, Cairn Energy PLC, Credit Lyonnais Bank, Taylor Woodrow, The Dunfermline Building Society, Highland Spring Water, Enterprise Oil, Paisley Art Gallery, Turnberry Hotel & Golf Club, Alliance & Leicester Building Society, Arisaig Partners (Asia) and The Fleming Collection.

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), RESTLESS WAVE oil on canvas, signed framedimage size 90cm x 90cm, overall size 108cm x 108cmNote: The very obvious title of this fine work "Restless Wave" is also the title chosen by Helen Bellany for her fabulous book "The Restless Wave - My Two Lives with John Bellany" (published in 2018 by Sandstone Press Ltd). The book is essential reading for anyone with an interest in Bellany's work but it's equally a remarkable account of the struggles and successes of a closely knit family living with a genius who fought (and eventually won) a harrowing battle with alcoholism. Note 2: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months by both McTear's and others at ever more impressive prices. In The Scottish Contemporary Art Auction of 29th May 2022 "The Finnon Smoker" by Bellany sold for £80,000 (hammer) and in the same sale, "Bass Rock Fable" (a 76 x 61cm unframed oil) sold for £12,000 (hammer). In our 21st August 2022 auction, lot 137 "The Newspaper Hat" (a 61 x 51cm oil) sold for £9500 (hammer). "Like-for-like" auction prices for original paintings are usually difficullt to assess, but in The Scottish Contemporary Art Auction of April 2023, two Bellany paintings which had been acquired in our auctions in September and November 2014 were consigned for sale by the same owner. The original 2014 selling prices were £1800 and £4000 and the same paintings sold in April for £3800 and £7000 (all hammer prices). This equates to a growth in value of 86.2% in fewer than nine years.

* WILLIE RODGER RSA RGI (SCOTTISH 1930 - 2018), WEE SLEEP woodcut print on paper, signed, titled and numbered 53/100mounted, framed and under glassimage size 5.5cm x 7.5cm, overall size 33.5cm x 28.5cm Note: The Royal Scottish Academy website describes Willie Rodger as "one of the most significant artist-printmakers in recent Scottish art history". Born in Kirkintilloch in 1930, Rodger studied Graphics and Printmaking at Glasgow School of Art from 1948 to 1953. He received a rigorous education from a course that, at the time, only accepted the most skilled draughtsmen. By graduation Rodger had already sold two prints to the Victoria and Albert Museum, London, and went on to a career in advertising. However, he became disillusioned with the cut and thrust of the commercial world and an opportunity to change careers and return to Scotland came about with a teaching vacancy at Lenzie Academy, then as Principal Teacher of Art at Clydebank High School, a post he held until early retirement in 1987. He was elected to the Royal Scottish Academy in 1989 and awarded an honorary doctorate by the University of Stirling in 1999. In The Scottish Contemporary Art Auction of 28th February 2021 lot 562 "Reverie" by Willie Rodger established a new auction record for a print by the artist selling at £1200 (hammer).

* ETHEL WALKER (SCOTTISH b. 1941), BLACK HILL, LOCH AISLE gouache on paper, signed, titled and dated label versoframed and under glassimage size 25cm x 18cm, overall size 46cm x 38cm Handwritten artist's labels verso.Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer) and in our December 2021 auction "The Lace Cloth" (a slightly smaller oil on board than "Study in Blue") achieved £3000 (hammer).Condition is good overall.

* NAEL HANNA (IRAQI/SCOTTISH b. 1959), GLENCOE oil on board, signedframed and under glassimage size 51cm x 81cm, overall size 68cm x 100cmNote: Based in Angus, Scotland, Nael Hanna has long been regarded as one of the UK's most visionary landscape painters. His love of the Scottish north east coastline has provided the inspiration for much of his long career as a modern contemporary artist. He returns to the colours, textures and natural light that he encounters whilst out walking near his home in rural Angus, each time capturing something new, and detail previously unseen in his art. The wonders of the natural world and nature, are captured and form the essence of his painting. Nael first arrived in Dundee in 1983, the year in which he began his studies in drawing and painting at Duncan of Jordanson. In 1987, he won a scholarship to further his study at the acclaimed Hospitalfield Summer School, Arbroath, and it was during that time that he began to depict the dramatic coastline and imposing mountain ranges and spectacular waterfalls that he encountered in his travels throughout Scotland. Nael’s work has attained numerous awards and widespread acclaim in the UK and in many other countries including Malaysia, Egypt and the USA. As well as exhibitions at the RGI, RSA, SSA and the SSAC, Nael has exhibited in countless prominent galleries throughout the UK and his work is included within major public, corporate and private collections worldwide.

* WILLIAM CROSBIE RSA RGI (SCOTTISH 1915 - 1999), CAMBRIDGE FROM COTON ROAD oil on board, signed and dated '72, titled versoframedimage size 12.5cm x 30cm, overall size 23cm x 40cmLabels verso: Ewan Mundy Fine Art Ltd., Glasgow.Note: The Scottish Gallery (Edinburgh) staged their fifth "highly successful" William Crosbie solo show "The Devoted Creative" 1st - 28th April 2020. In The Scottish Contemporary Art Auction of 20th June 2021, lot 712 "Susanna and the Elders" (a 17 x 15cm oil on board by Crosbie) sold for £2200 (hammer).

* ETHEL WALKER (SCOTTISH b. 1941), BRIGHT SPRING FLOWERS oil on board, signedframed and under glassimage size 46cm x 50cm, overall size 67cm x 72cm Comment: probably a relatively early work by Ethel Walker and another exceptional example following several outstanding paintings by Walker to feature in our auctions over the last couple of years.Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer). In our December 2021 auction "The Lace Cloth" achieved £3000 (hammer) and "Study in Blue" sold for £2400 (hammer) in The Scottish Contemporary Art Auction of 8th December 2022 (lot 16).

Henry Winslow (1874-1953) Leda and the Swantempera on canvas laid to board52 x 77cmProvenance:Collection of the late Sir Georg and Lady Solti Exhibited:Bournemouth, The Russell Art Gallery, Exhibition of Contemporary Tempera, 22 January - 19 March 1949A reasonable amount of dust trapped beneath the glass, this could be easily remedied by taking the work out of the frame and cleaning the internal glass. The outer edges along the left and right-hand sides show some damage to the canvas, including some tears and minute losses. There are a number of small abrasions to the canvas, most notable the white blemish in the wing of the swan, to the left hand side there is a more subtle abrasion and likewise on the back and buttocks of leda there is a small abrasion with minute loss of media. Otherwise in nice, presentable condition.

Kadhim Hayder (Iraq, 1932-1985)Al Qamar oil on canvas, framedsigned 'K HAIDAR' and dated '1966' on the stretcher, executed in 1966104 x 134cm (40 15/16 x 52 3/4in).Footnotes:Al-QamarA monumental 1966 composition from Kadhim Hayder's Epic of the Martyr series formerly in the collection of the Iraqi Ambassador to Lebanon H.E Nathir Umari'The Hour has drawn near, and the moon was split in two.' Surah Al-Qamar'The horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom'- Kadhim Hayder'The exhibition of The Epic of the Martyr took place in circumstances that were politically and culturally complicated; it turned the idea of martyrdom into a modern symbol that cried out in tragedy apart from any religious interpretation.'- Dia al-AzzawiProvenance:Property from the collection of H.E Nathir Umari, Iraqi Ambassador to Lebanon (1963-1966), acquired directly from the artist, circa 1966, thence by descent Exhibited:Kadhim Hayder, Gallery One, Beirut, 1966 This monumental painting from Kadhim Hayder's Martyrs Epic series is a powerful depiction of the climax of the cycle, the moment of Imam Hussein's death. Painted in 1966, 'Al Qamar' (The Moon) is a poignant and emotionally charged work that showcases the artist's masterful use of religious allegory and cultural mythology.The painting comes to market with an impressive provenance, having belonged to Nathir Umari, a prominent Iraqi diplomat who served amongst other postings as ambassador to Lebanon, the United States, and France throughout the 1960's. Umari was also a senior representative for Iraq at the United Nations. The painting was acquired by Umari in Beirut during his ambassadorshipThe title of the painting, 'Al Qamar' (The Moon), has significant symbolic meaning in Islamic culture and literature. The moon is mentioned numerous times in the Quran, and is often used as a metaphor for the light of God, purity, and guidance. In this painting, the red moon serves as a symbol both of mourning and of the light that Imam Hussein brought to the world through his sacrifice.What makes this painting particularly special is that it was not originally part of the Martyrs Epic series, but was painted a year after the exhibition. It shows the artist's fondness for this particular scene, and his desire to explore it further. In this respect 'Al Qamar' shares a striking similarity ot the painting from the series that is now in the Barjeel Art Foundation, which adds to its significance and rarity.This remarkable painting is a testament to Kadhim Hayder's importance in the history of Iraqi art, and his enduring legacy as an artist who captured the essence of one of the most important events in Islamic history..Saleem Al Bahloly: The Epic of the Martyr:'Haidar began working on the series in 1963 shortly after returning from London where he had studied printmaking and stage-design at the Royal College of Art. On the one hand, the paintings were a continuation of the interests of artists in the 1950s: in the inspiration Haidar found in popular culture and in his adoption of certain pictorial devices from ancient Assyrian sculpture to modern art (associated with the Baghdad Group for Modern Art) as well as in his concern with political struggles for justice (associated with the Pioneers art group). On the other hand, however, Haidar opened a new horizon for the practice of art by structuring the paintings around an act of symbolism.The paintings are composed of horses and warriors, wielding spears and swords and bearing banners and shields, that are positioned on a flat, mythical landscape. This imagery was drawn from the annual taʿziya celebrations that mourn the martyrdom of al-Husayn and other members of the Prophet's family in a stand-off with the Umayyad army in 680 AD; in particular, the imagery is taken from the processions in which a pageant of costumed figures representing characters from the battle fought on the 'plain' west of the Euphrates parade through the street accompanying poets who narrate in a vernacular tradition of verse the injustice suffered by the Prophet's family.In the paintings, this imagery has been reconstructed according to a variety of devices inspired by a range of sources: the bodies of the horses and figures are turned toward the viewer, as if they are appearing on a stage or in an ancient frieze depicting a historic battle; a sense of performance is carried into the image by the intense expressivity of their gestures which seem to dissolve anatomical features and the outline of shapes in a fervour of emotion; the limbs of human and animal bodies alike are often multiplied (an influence of Assyrian sculptural reliefs that Haider almost certainly saw at the British Museum in London) and tapered (a form of modelling inspired by the sculpture of Henry Moore).The reconstructed imagery is arranged in the paintings not to narrate a historical event but to elaborate a concept of the martyr that emerged out of that event—a hero who by his death in a struggle for truth paradoxically triumphs. Haidar developed this concept of the martyr in painting by focusing on the symbolic relation between the fallen martyr and his horse. As he explained to the newspaper al-Jumhuriyya in 1965: 'the horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.' That symbolism is present in the mourning processions where al-Husayn is represented by a riderless white horse; but it has its roots in a legend that, when al-Husayn's horse saw his beheaded corpse, it circled around his body, rubbed its head in his blood, let out a ferocious whine and killed forty men.The paintings in The Epic of the Martyr were different sizes [they] reflect, as Dia al-ʿAzzawi has written, Haidar's desire to collapse the distinction between gallery and street, and between art and ritual, by reproducing the atmosphere of the folk celebration inside the museum. To that end, for the exhibition in 1965, Haidar composed a poem in which each line corresponded to a painting in the series, in this way reproducing the coupling of pageant and poetry in the mourning processions.This attempt to go beyond the conventional materials of painting, in order to use the artwork to stage an experience that is not only visual but also emotive, makes The Epic of the Martyr one of the earliest pieces of contemporary art in the Middle East.'Saleem Al-Bahloly received a PhD from the University of California, Berkeley, and has held fellowships at Johns Hopkins and the University of California, Santa Barbara. He is writing a book about an intellectual shift that occurred in Iraq during the 1960s in response to disillusionment with left-wing politics. The above text has been abridged.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

Dia Azzawi (Iraq, born 1939)Red Composition oil on canvas, framedsigned 'Dia Azzawi', and dated '1970' (lower left and on the verso), executed in 1970 125 x 125cm (49 3/16 x 49 3/16in).Footnotes:'Red Composition'A seminal 1970 masterpiece by Dia Azzawi and one of the first large scale works in his mature styleProvenance:Property from a private collection, Beirut'This is part of our 'identity problem': what to do with calligraphy? How do we use it to create something which is related to our history? I was very much influenced by a different part of Iraqi history, mainly by Sumerian art, and this combination with Arabic calligraphy, gave me the ability to create new kinds of abstract imagery'- Dia AzzawiBonhams are proud to present 'Red Composition' , a seminal 1970 masterpiece by the renowned Iraqi artist, Dia Azzawi, painted in the immediate aftermath of his establishment of the 'New Vision Group'. This large and important painting is a landmark work in Azzawi's illustrious career, it is one of the earliest works in the artists mature painterly style and signature palette as well as the first work where the artist introduces a blend of Arabic and Ancient Mesopotamian letterforms. Painted in 1970, 'Red Composition' represents a pivotal point in Azzawi's artistic journey. As he transitioned from the darker palette and more figurative works of the 1960s to a warmer, more vibrant approach, this painting served as a catalyst for his exploration of letterforms and abstract figural references.In the present work, Dia Al-Azzawi draws from ancient cuneiform, humanity's first script along with Egyptian hieroglyphs. This script features 'figurative' pictograms that symbolize objects and 'abstract' signs made up of lines in the shape of 'corners' or 'nails,' which transcribe a sound or syllable. Incisions, signs, pictograms, and symbols form the core vocabulary of Azzawi's formal language, which he liberates from their literal meanings to create a visual poetic equivalent. He deftly captures the sensitive resonance of Sumerian epic extracts within himself, expressing it through colour and semi figural outlines. Executed on a grand scale, 'Red Composition' demands the viewer's attention with its bold use of colour and dynamic composition. The piece's fiery red hues are balanced with black lines and forms that weave throughout the canvas, evoking a sense of movement and depth.It is no surprise that 'Red Composition' is recognized by the own artist an important piece in his oeuvre, representing a turning point in his artistic evolution. This painting truly embodies the essence of Azzawi's mature style.Azzawi started his artistic career in 1964, after graduating from the Institute of Fine Arts in Baghdad and completing a degree in archaeology from Baghdad University in 1962. His studies of ancient civilizations and Iraqi heritage had a profound impact on his art, and a key objective in the early formation of his artistic style was to link the visual culture of the past to the present.In 1969, Azzawi formed the New Vision Group (al-Ru'yya al-Jadidah), uniting fellow artists ideologically and culturally as opposed to stylistically. The group's manifesto, Towards a New Vision, highlighted an association between art and revolution, and sought to transcend the notion of a 'local style'—coined by the Baghdad Modern Art Group—by broadening the parameters of local culture to include the entire Arab world.With exhibitions of his work held worldwide, including a landmark retrospective in 2017 at Qatar's MATHAF, his art features in the collections of some of the world's most prestigious museums and institutions. He is also regarded, in the tumultuous post-conflict climate of 2000s Iraq, considered to be the ultimate authority on modernist and contemporary art from the region.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Charles Hossein Zenderoudi (Iran, born 1937)Untitled (Talismanic Charts) gouache on paper, framedsigned 'Zenderoudi' and dated '78' (lower right), executed in 197863.5 x 84cm (25 x 33 1/16in).Footnotes:Provenance:Property from a private collection, LondonAcquired directly from the Artist by the above'I use calligraphy as a pictorial means, and not solely as a traditional writing system. My goal is to reach a plastic interpretation of the written word. This is how I see the progress of contemporary art in the Islamic world.' We are proud to present two remarkable 1970's calligraphic works on paper by Charles Hossein Zenderoudi from his artistic prime. Inspired by ancient Iranian talismans and written offerings at shrines, these pieces are reminiscent of Sufi charts, numeral tables, and codes. The artist's calligraphy is a masterful display of his skill, capturing the essence of these ancient art forms while infusing them with his signature style.The vibrant colors used in the works are a hallmark of Zenderoudi's artistic prowess. His unique approach to color and form is showcased in every stroke of the pen, making these pieces truly remarkable.Zenderoudi's work has been exhibited in galleries and museums around the world, cementing his place as one of the most influential artists of his time. These works on paper are not only visually stunning but also offer a glimpse into the artist's cultural heritage and spiritual traditions.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

Fahr El-Nissa Zeid (Turkey, 1900-1991)Lavender oil on canvasexecuted circa 1950s72 x 58cm (28 3/8 x 22 13/16in).Footnotes:LavenderA rare and exquisite painting by Fahrelnissa Zeid from her kaleidoscopic periodProvenance:Property from the private collection, LondonProperty from the collection Fahr-El Nissa Zeid's personal assistant, Raymond Williams, EnglandGifted directly from the artist to the above owner, circa 1970s'This work is a rare specimen of Fahrelnissa Zeid's kaleidoscopic high period, a body of work that she widely exhibited in solo shows in private galleries in New York, London, Paris, and Zurich throughout the 1950s, as well as at the abstract art international exhibitions of the Salon des Réalités Nouvelles in Paris' - Adila Laidi-Hanieh'Overabundance.' by Adila Laïdi-Hanieh, PhD.Fahrelnissa Zeid deployed colour, line, the sublime, and the infinitesimal in a five-decade-long career producing an extraordinary and timeless body of work. After exploring expressionist figuration during the War in Istanbul, she settled into abstraction from 1948 to 1968, and developed, then grew out of several styles in sequence. The work on offer here belongs to her second abstract phase, of mainly monumental chromoluminarist compositions, into which she transitioned in the early 1950s after she gained in assurance with abstraction, creating her well-known kinetic vortexes. This is a rare specimen to come for sale for a few reasons: Most works in that unique style have already been acquired in the span of three decades by important institutional and private collections, and because of its relatively medium size. Chromatically this painting is also unique given its dominance by pink, fuchsia and purple, while Zeid usually favoured primary colours. Still, this work concentrates Fahrelnissa Zeid's high period style and gesture. The dynamic and kinetic swarming is reined in by an invisible base, and constituted by only four colours that jostle for space with white on the pictorial plane. Her energy allowed her to work rapidly and create complex abstractions that contemporary artists now execute via computer generated patterns projected onto canvases. Fahrelnissa Zeid created alone: First freely drawing a meandering pattern by charcoal on the canvas, then filling it with paint over hours or days of focused uninterrupted work. Her sharp rapid thrusting line turns then returns, criss-crosses, and swarms the canvas, projecting her inner visions and inner states. In the interstices of the lines are ellipses of depth and light that create movement and flight. Yet Fahrelnissa Zeid is not only a linear painter, and this small work affords its viewers the treat of glimpsing her characteristic impasto and brush strokes. This work is a rare specimen of Fahrelnissa Zeid's kaleidoscopic high period, a body of work that she widely exhibited in solo shows in private galleries in New York, London, Paris, and Zurich throughout the 1950s, as well as at the abstract art international exhibitions of the Salon des Réalités Nouvelles in Paris. This success led her to be invited by the ICA in 1954, to showcase the latest artistic developments of the Nouvelle Ecole de Paris art movement to London audiences, making her the first woman artist to exhibit solo at that prestigious modernist hub. What drove Fahrelnissa Zeid to work and paint prolifically? Art was for her a way out of her selfhood, like an 'overabundance' that 'starts where living does not suffice to express life'. She said that one does not paint to 'make art,' because 'there is no art, no works of art. There is the joy of living, the joy of creating, because one is not enough to oneself.'For further information on this lot please visit Bonhams.com

Adam Henein (Egypt, 1929-2020)Le Repos bronze with brown patinasigned 'A. HENEIN' (under left arm), the present work is an artist proof, from an edition of eight, executed in 197123 x 65 x 30cmFootnotes:Provenance:Property from a private collection, Gizainitially acquired directly from the Artist in 1972Illustrated:S. Wright, Adam Henein, Milan 2005 (illustrated, p. 61)Exhibition catalogue, ARTSPACE Grand Opening Group Exhibition, Artspace DIFC, Dubai, 2008 (another from the edition illustrated in colour, unpaged).S. Eigner, Art of the Middle East: Modern and Contemporary Art of the Arab World and Iran, London 2010 (another from the edition illustrated in colour, p. 289)Note:This work is accompanied by a certificate of authenticity issued by the Artist in 2020.This present sculpture by Adam Henein was executed in 1955 and reflects his sensitivity and artistic complexity even as a young man. During Henein's travels around the region of Luxor, Henein created this work, which combines elements of Pharaonic art with European Modernism. The sculpture depicts an Egyptian man resting in a traditional 'galabiya,' and its rough execution and sharp edges capture the fleeting motion of light, reminiscent of archaeological fragments from Egypt's rich cultural heritage.Henein's sculptures are deeply rooted in his heritage, as he juxtaposes the life of a sculptor with that of a peasant. The sculpture portrays a laid back labourer resting after a long day of work, while Henein himself continues to hammer away at the bronze to create the image of the relaxed worker. Despite giving the sculpture a modernist twist, Henein still manages to delve into Egypt's elaborate history. Through his use of simple, minimalistic lines, he captures a palpable mythic essence while retaining simplicity. Le repos is an exceptional early work by Henein, showcasing the artist's acclaimed career and holding great mystery in the absence of detail.'Le Repos' refers to a state of rest or relaxation; it is a term that has been used to describe many significant paintings throughout art history. There is no singular artwork or style that is definitively referred to as Le Repos, however, one notable Le Repos painting is by French Impressionist artist Pierre-Auguste Renoir. This painting, executed in 1870, depicts a young woman in a state of peaceful repose on a sofa with a book in her lap. This work is significant for its elegant portrayal of the reclining female form and how it beautifully captures a fleeting moment of everyday life. Renoir's soft, sensual brushstrokes and warm, earthy tones emphasize her beauty and femininity. This painting heavily influenced countless artists in the decades that followed, is considered one of Renoir's masterpieces and is housed in the Musée d'Orsay in Paris.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

Adam Henein (Egypt, 1929-2020)Donkey bronzesigned 'A.HENEIN' and numbered 'I. IIX', number 1 from an edition of 8, executed in 196479 x 116cm (31 1/8 x 45 11/16in).Footnotes:Adam Henein 'Donkey' The first appearance of an iconic 1960's 'Donkey' sculpture from the artistProvenance:Property from a distinguished private collection, BeirutAcquired directly from the artist by the present owner, circa early 2000sExhibited:Farouk Hosny and Adam Henein, Heirs to an Ancient Tradition, Metropolitan Museum of Art, 1999Institut Du Monde Arabe, Three Contemporary Sculptors, Paris, 1991 Egyptian Academy, Rome, 1980*others from the editionPublished:Mona Khazindar (ed.), Adam Henein, Turin, 2005Farouk Hosny and Adam Henein, Heirs to an Ancient Tradition, Metropolitan Museum of Art, 1999'See, your king comes to you, gentle and riding on a donkey, on a colt, the foal of a donkey'.- Zechariah 9:9'When he wanted an architect to build him a simple home, Henein paid for it with a sculpture of a donkey'- Mona KhazindarBonham's are proud to present one of the most emblematic and iconic Adam Henein sculptures ever to come to market. The first example of this subject matter ever to come to auction, 'Donkey' is a large, highly symbolic and deeply significant example of Henein's work. Henein grew up in a rural village in Egypt and had a strong connection with the landscape and animals of his homeland. He was fascinated by the donkey, which is a common and beloved animal in Egypt, and found it to be a symbol of resilience and endurance.For Henein, the donkey represented the dignity and beauty of the simple life and the connection between human beings and nature. He was drawn to the donkey's expressive face and its ability to convey a sense of emotion and character through its body language. In addition to his personal connection to the donkey, Henein was also influenced by the ancient Egyptian tradition of animal worship and the importance of animals in Egyptian mythology. Through his sculptures of donkeys, Henein aimed to capture the essence of this ancient tradition and convey the timeless beauty and majesty of these humble creatures.In ancient Egyptian culture, the donkey was an important animal for both practical and symbolic reasons. As a beast of burden, donkeys were used for carrying goods, such as grain, pottery, and other items, both within cities and for long-distance trade. They were also used for transportation of people, particularly the wealthy and powerful.The donkey's significance went beyond its practical use, however. It was also considered a symbol of Egypt's agricultural and economic system, which was heavily dependent on the cultivation of crops and the transportation of goods. Donkeys were often depicted in Egyptian art, appearing in tomb paintings, reliefs, and other artefacts. They were also used in religious ceremonies, particularly in the worship of the god Seth, who was associated with the desert and the donkey.In addition, donkeys had a certain cultural cachet in ancient Egyptian society. They were prized for their loyalty, endurance, and hardiness, and were often given as gifts to foreign dignitaries. Even today, the donkey remains a symbol of Egypt's rural and agricultural heritage and continues to be an important animal in many parts of the country.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

Hussein Madi (Lebanese, born 1938)Untitled acrylic on canvassigned 'MADI' and dated '76' lower left and on the verso, executed in 1976101 x 120cm (39 3/4 x 47 1/4in).Footnotes:A rare and important 1970's abstracted letterform composition by Hussein Madi Provenance:Property from a private collection, BeirutHussein Madi's stunning large-scale composition is a masterful exploration of the abstract potential of traditional Arabic letterforms. The painting, created in the 1970s, features angular depictions of the word 'Allah' rendered in bright, vibrant greens and reds. Madi's interpretation of the letterform is a radical departure from the traditional, ornate calligraphy that has been practiced for centuries, and instead reduces the letterform into abstract shapes and signs used purely for artistic value.The painting features the word 'Allah' adapted into a crisscross pattern drawn with thin lines, with the letters almost rendered illegible. However, legibility is not important in this work; instead, Madi's focus is on the architecture of the letterform and how it can be manipulated for artistic expression. The result is a mesmerizing and powerful work of art that challenges traditional ideas of representation and invites viewers to contemplate the interplay between form and meaning.Hussein Madi is a Lebanese artist born in 1938 who is known for his innovative and experimental approach to calligraphy. He received his education at the LEbanese Institute of Fine Arts and Rome and has exhibited his work extensively throughout the Middle East, Europe, and the United States. Madi's work often incorporates elements of geometric abstraction, and he has been praised for his ability to seamlessly merge traditional and contemporary artistic techniques.Madi's painting is a testament to his ability to push the boundaries of traditional modes of representation while still maintaining a deep respect for the art form's history and cultural significance.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

Azza Al Qubaisi (United Arab Emirates, born 1978)Metaphor 5 mild steelexecuted in 202137 x 25 x 25cmFootnotes:Azza Al Qubaisi is a well-known artist, designer, and entrepreneur who has gained recognition as both an accomplished sculptor and jewellery designer. Her work showcases her prolific creativity, with pieces ranging from jewelry to sculptures made from materials such as gold, silver, wood, rubber tires, palm trees, and oudh incense. Al Qubaisi is a strong advocate for sustainability and has dedicated her work to promote a sustainable future for her country. Her works often use simple materials that were part of Emirati families' daily lives in the pre-oil period. Her pieces reflect the natural landscape and cultural references of the region, incorporating shapes, patterns, and textures inspired by the desert and ancient traditional techniques.Al Qubaisi's journey as an artist is deeply rooted in her Emirati heritage. She was born in Abu Dhabi and educated in London, where she earned a BA in Silversmithing, Jewelry Design, and Allied Crafts from the London Guildhall, and an MA in Cultural and Creative Industries from HCT-CERT. Her work has been showcased in group and solo exhibitions both locally and internationally. Al Qubaisi represented the UAE in the 'A 1001 Steps Festival' in Helsinki, Finland, in 2004, and was the first artist to exhibit in DIFC in 2005. Her work has also been exhibited in 'Language of the Desert' in Abu Dhabi, 'Three Generations' by ADMAF, and the UAE National Day Exhibition at Expo Milan 2015, among others. Al Qubaisi has been featured in several publications, and her wearable art from Life series and Bareeq Al Oudh series are published in '500 Earrings: New Directions in Contemporary Jewelry: 2007' by Lark Books.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

Shakir Hassan Al Said (Iraq, 1925-2004)Female Portrait oil on board, framedsigned 'Shakir' and dated '1954' (upper left), executed in 195438 x 39.5cm (14 15/16 x 15 9/16in).Footnotes:Provenance:Property from the Artist's EstateExhibited:Baghdad, Institute of Fine Arts, Group Show, 19621951 marked the point when Iraq's two most prominent artists, Jewad Selim and his student Shakir Hassan Al-Said, formed the countries first bona fide modern art movement; The Baghdad Group of Modern Art, through its manifesto, membership, and numerous exhibitions would come to signify a 'golden age' in Iraqi modernism.Shakir Hassan Al-Said is often regarded as the theoretical dynamo of the movement; more vocal and prolific in his written output than Selim, Jabra Ibrahim Jabra comments that 'no Iraqi artist has written about art in general, and about the artists reflections on his own work in particular, as much as Shaker Hassan Al Said'.The Baghdad group was defined by an attempt to reconcile the grand visual legacy of the past within the contemporary cultural and nationalistic narrative of twentieth century Iraq. Mesopotamian iconography and Islamo-Arabic cultural motifs were combined with popular modern folk imagery; the high flown formal rigidity of ancient rock reliefs met the convoluted urban landscape of modern Baghdad, populated with the humorous and extravagant characters of daily life, all coming together to form a unique amalgamated aesthetic that reflected the evolving patchwork of Iraqi culture at the time..For further information on this lot please visit Bonhams.com

Ismael Fattah (Iraq, 1934-2004)Face oil on canvas, framedsigned 'Ismael Fattah' and dated '2000', executed in 2000100 x 80cm (39 3/8 x 31 1/2in).Footnotes:Provenance:Property from a private collection, LondonBonhams, A Century of Iraqi Art Part II and Modern and Contemporary Middle Eastern Art auction, 7 Oct 2015For further information on this lot please visit Bonhams.com

Philip Sheffield (20thC). Wisteria, artist signed limited edition, 14/100, John Jones Frames Limited label verso, purchased Christies Contemporary Art series, edition of 100, 41cm x 36cm.

Davidson, George, a Group of 5 Vintage Photogravures, Davidson, George, a group of 5 vintage photogravures, each signed in pencil by the photographer, all printed on Japanese paper, with original window-mounts, each signed by the author ‘G. Davison’ in pencil in lower right corner, to include; captioned on the mount ‘The Village under the south downs’ inscribed in pencil ‘With Mr & Mrs Davidsons’ Greetings, Christmas and New Year 1903/4 captioned on the mount ‘Molesey Lock’ inscribed in pencil ‘With Mr & Mrs Davidsons’ Christmas Greetings 1905 captioned on mount ‘Harlich Castle’ inscribed in pencil ‘With Mr & Mrs Davidsons’ Greetings, Christmas and New Year 1907/8 One indistinctly labeled to the bottom left ‘?? Yeomen ?? Berkshire’, missing window-mount And, another of a tree with no title All held in contemporary envelope addressed to Mr & Mrs. C. L. MayEast Molesey, envelope tatty images approximately 16cm x 11.5cm, sheet size 38 x 28cm George Davison (1855-1930) was a British photographer who played a significant role in promoting naturalism and pictorial photography during the late 19th and early 20th centuries. Davison's work was known for its soft-focus, dreamy quality, and he often used natural settings as his subjects. One of Davison's most notable contributions to photography was his use of the photogravure process, which allowed photographers to create high-quality prints with remarkable detail and tonality. Davison was a master of this technique, and his photogravures were highly sought after by collectors and enthusiasts alike. Davison was also a key figure in the formation of the Linked Ring, a group of photographers dedicated to advancing the art of photography and promoting it as a fine art form. Through his work and advocacy, Davison helped establish photography as a legitimate art form, and his legacy continues to influence photographers and artists today.

Mila Fürstová (Czech, born 1975): 'True Love I' Artwork From Coldplay's 'Ghost Stories' Album, 2014 , numbered A/P, hand-printed etching with ink and paint on heart-shaped paper, inscribed in ink For Marianne & Mike with love titled True Love and signed and dated 2014 by the artist, on raised mount, framed and glazed, artwork 46 x 40.5cm (18 x 16in). Footnotes: Provenance: Gifted to the vendor by the artist. Lyrically, 'True Love' talks about heartache and how the protagonist can't bear the pain of losing his lover. The song's lyrics were addressed to be about Chris Martin's divorce from his wife Gwyneth Paltrow, a recurrent theme on the whole album. Martin has claimed that 'True Love' is the band's favourite track it has ever written. Fürstová, whose work has been described as 'dazzling images [that] are both contemporary and personal, searching in the surreality of dreams, tales and fables that can map the framework of our consciousness', and has won numerous awards, including the Royal College of Art Society Award in 2001 and becoming the youngest academician at the Royal West of England Academy in 2009, was invited by Coldplay to etch artwork for their new album in January 2013. She described the collaboration between her and the band as 'a most inspiring journey and a truly humbling experience to cooperate with such talented people'. This lot is subject to the following lot symbols: AR AR Goods subject to Artists Resale Right Additional Premium. For further information on this lot please visit Bonhams.com