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Grayson Perry, CBE RA. King of Hearts. Digital Artwork Giclée Print on Hahnemühle Pearl Paper, 44.5 x 32 cm, canvas size 59.4 x 42 cm. Artists proof, signed."Grayson Perry is an English contemporary artist, writer and broadcaster. He is known for his ceramic vases, tapestries, and cross-dressing, as well as his observations of the contemporary arts scene, and for dissecting British ""prejudices, fashions and foibles"".Perry won the prestigious Turner Prize in 2003 for his innovative pictorial stories and his incisive satirical depictions of English cultural and social life, and has since gone on to mount various solo exhibitions worldwide, including at the Tate St Ives, Cornwall, and most recently at the National Museum in Oslo, Norway with his show Grayson Perry. Fitting In and Standing Out. which will run until March 2023. Perrys works revolve around themes such as identity, social classes, gender roles and consumer society. His art exposes and challenges societys norms, values and taboos, all of which are structures that influence how we see and express ourselves and how we are seen by others.Grayson has been involved with the TLC Deck of Cards since its inception when he designed one of the Joker cards of the first Deck. He then created the Queen of Diamonds for Volume 2 in 2020, and has continued with the aesthetic themes from previous designs with his King of Hearts for Volume 3. This relevant and timely piece, depicting a recently appointed king, features the classic ruff collar as seen in previous works, and makes use of the mirror style layout most commonly associated with traditional decks of cards. "

Grayson Perry, CBE RA. King of Hearts. Digital Artwork Giclée Print on Hahnemühle Pearl Paper, 44.5 x 32 cm, canvas size 59.4 x 42 cm. 1/1 signed."Grayson Perry is an English contemporary artist, writer and broadcaster. He is known for his ceramic vases, tapestries, and cross-dressing, as well as his observations of the contemporary arts scene, and for dissecting British ""prejudices, fashions and foibles"".Perry won the prestigious Turner Prize in 2003 for his innovative pictorial stories and his incisive satirical depictions of English cultural and social life, and has since gone on to mount various solo exhibitions worldwide, including at the Tate St Ives, Cornwall, and most recently at the National Museum in Oslo, Norway with his show Grayson Perry. Fitting In and Standing Out. which will run until March 2023. Perrys works revolve around themes such as identity, social classes, gender roles and consumer society. His art exposes and challenges societys norms, values and taboos, all of which are structures that influence how we see and express ourselves and how we are seen by others.Grayson has been involved with the TLC Deck of Cards since its inception when he designed one of the Joker cards of the first Deck. He then created the Queen of Diamonds for Volume 2 in 2020, and has continued with the aesthetic themes from previous designs with his King of Hearts for Volume 3. This relevant and timely piece, depicting a recently appointed king, features the classic ruff collar as seen in previous works, and makes use of the mirror style layout most commonly associated with traditional decks of cards. "

Katie Ponder. Three of Spades. Digital artwork print in paper. Signed and numbered 1/1. 29 x 20.5cm. "Katie Ponder has developed a unique style that is both fresh and contemporary but with references to art deco and with a touch of Gothic inspiration also. Ballet, tarot cards, mythology and patchwork quilts have all been key sources of inspiration behind Katies work. Katies work is developed digitally but to create a hand made quality she applies different textures from printing, collage and media experiments to create a rich and tactile look to her images. Recently Katie has enjoyed working with silkscreen printing and making limited edition prints. Katie attended Falmouth University where she received a 1st class with honours degree in illustration. On graduating from Falmouth Katie was the winner of the AOI Book Award for New Talent. In 2017 She was winner of the second prize for Folio Society Book Illustration Competition and winner of the House of Illustration Peoples Choice Award. Katie has also been the winner of the Glyndebourne Tour Art Competition. Katies list of clients include: Dorling Kindersley, Penguin, Simon and Schuster, Oh Comely Magazine, Glyndebourne, Canterbury Cathedral and her work has been exhibited at Somerset House. Most recently, Katie has revealed her work for the Royal Mail, having designed the prestigious 2022 Stamp Collection.

Robert Fitzmaurice. Nine of Spades. 'Dealer'. Print on paper, 41.8 x 29.7cm. Print edition 1/100. Signed. Robert Fitzmaurice lives and works in Reading, Berkshire. Originally from Coventry he studied Fine Art in Sunderland 1980-83 (BA) and Reading 1984-86 (MFA). Early exhibitions and awards include Whitworth Young Contemporaries, Tyne Tees Northern Open Purchase Prize 1983 and Artist of the Day, Angela Flowers Gallery, London, 1988. Later group exhibitions include International Print Center, New York; NN Contemporary, Northampton; Creekside Open and Hastings Open. His most recent solo exhibition was at Nuneaton Museum and Art Gallery in 2021. Awards in recent years include Arts Council National Lottery Project Grants, the Oppenheim-John Downes Memorial Trust and the Eaton Fund. Working with inherited memories and other people's narratives he deconstructs and reimagines frameworks to explore figurative conventions across culture. In recent work figures seem to emerge or retreat from their surroundings with their entrances and exits achieved through the intersection of strange morphologies that shift with every reading.

Jennie Jewitt-Harris. Joker. 'The Joker'. Oil on canvas board, 50 x 40cm. Signed on reverse. Jennie Jewitt-Harris gained her MA then PhD in Fine Art from Brighton University/UCA and her Medical degree at Kings London. Jennie has had two artworks selected for the Royal Academy Summer Exhibition, completed a residency at Watts Artists Village, and her works are in private collections nationwide. Her solo exhibitions include In Residence at Watts Contemporary Gallery, Fideles Oculi at C&C Gallery, London; Time and Vision at One Paved Court, London, Anything But the Eyes at James Hockey Gallery, Farnham then The Mirror Gallery at South Hill Park, Battle:Cry in Farnham and Bracknell, and The Butterfly Ball in Falmouth. She has exhibited in many group shows, including at the London Art Fair, Affordable Art Fair, the Cultural Olympiad in 2012, and as a duo with Aimee Jewitt-Harris at Blah Blah and Tandem in Falmouth. Jennie uses her knowledge of psychology and medicine to inform her practice which considers our relationship with time, connection with others and what makes us who we are, using a variety of media mainly collage and painting. She has appeared with her artworks on Great British Railway Journeys and has permanent photographic works on display at Guys Hospital and The Royal Free Hospital. Her artworks have been published by the British Medical Journal, The Psychologist and The Ophthalmologist magazines. She is the Founder of Transplant Links, a charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes helping many more patients become a possibility for the future.

Chris Gilvan. Joker. Oil on card. 18.6 x 15cm. The Baron Gilvan is a graduate from Central Saint Martins (BaHons first class), Academy Fine Art Cracow Poland ( Painting under Prof. Nowosielski) and Turps Art School (Studio Painting programme 2019). He was selected for Bloomberg New Contemporaries (2019), FDA Futures and Artist in Resident at Glyndebourne Opera House. He won the Royal Overseas league Travel scholarship where he painted in India and Nepal. On his return he was commissioned to design the BBC Proms logos for two seasons. He has exhibited widely and performed at the Towner Museum of Contemporary Art and Hastings Contemporary (previously Jerwood Gallery). The Baron is the governor of all of my works, the character through which it all must flow. A Foolish Romantic, landed up on the shores of Blighty clutching only his paintings and his hopes, The Baron is concerned with only the intensity of life itself, and the beauty of the ideal. He is raw, unflinching, and utterly sincere, a compact of all that is magnificent.

Andreas Schulze, Ohne TitelAcryl auf Nessel, 2-teilig 200 x 400 cm. Rückseitig auf der Nessel signiert und datiert 'A. Schulze 85'. - Mit Atelier- und leichten Altersspuren.ProvenienzGalerie Monika Sprüth, Köln; Privatsammlung, ItalienAusstellungenTrevi 1994/1995 (Flash Art Museum of Contemporary Art), verso una grande collezione internazionale n.1

Paul Thek, Ohne Titel (Selfportrait, Ponza, Oct. 1970)Aquarell und Bleistift auf Karton. 26,8 x 36,8 cm. Unter Glas gerahmt.ProvenienzSammlung Edwin Klein, Amsterdam; Privatsammlung, UngarnAusstellungenKarlsruhe 2008 (ZKM Zentrum für Kunst und Medientechnologie), Hamburg (Sammlung Falckenberg), Madrid 2009 (Museo Nacional Centro de Arte Reina Sofía), Paul Thek, In the Context of Today's Contemporary Art, Ausst.Kat., S.490 mit Farbabb.

Paul Thek, Ohne Titel (Cell)Acryl auf Leinwand auf Karton. 45,5 x 61 cm. Gerahmt.ProvenienzAlexander and Bonin, New York (mit rückseitigem Aufkleber); Galerie Mai 36, Zürich; Privatsammlung, UngarnAusstellungenKarlsruhe 2008 (ZKM Zentrum für Kunst und Medientechnologie), Hamburg (Sammlung Falckenberg), Madrid 2009 (Museo Nacional Centro de Arte Reina Sofía), Paul Thek, In the Context of Today's Contemporary Art, Ausst.Kat., S.573 mit Farbabb. (mit rückseitigem Aufkleber)

KISHI GANKU: A SUPERB AND VERY LARGE PAINTING OF A TIGERBy Kishi Ganku (1749-1839), signed Echizen no kami Ganku with two seals, Ganku and FuzenJapan, early 19th century, Edo period (1615-1868)Finely painted with ink and watercolors on silk depicting a ferocious roaring tiger, seated on its haunches as it turns to one side, showing its sharp teeth, its tail raised in the air, the striped fur neatly rendered with needle-like brushstrokes, signed upper left Echizen no kami GANKU [Ganku, honorary governor of Echizen] with two seals, Ganku and Fuzen, both of which are art names of Kishi Ganku.An unusually large and expressive painting by the great tiger painter Kishi Ganku (1749-1839), who was perhaps only rivaled by his contemporary Maruyama Okyo (1733-1795).SIZE 177.5 x 108 cm (total) and 142 x 87.2 cm (image only)Condition: Good condition with some wear, little creasing, minor soiling, few minuscule tears.Provenance: French private collection.With a silk brocade mounting and framed behind glass. The reverse with an old Japanese newspaper clipping, likely from a local newspaper published in Toyama Prefecture, describing Kishi Ganku as a painter famed for depicting the tiger, and a small label reading 'Kanda Chihoko', possibly from a previous owner.Kishi Ganku (1749-1839) was a leading Japanese painter of Kyoto and founder of the Kishi school of painting. He is famous for his paintings of tigers. Ganku was born in Kanazawa as Kishi Saeki, studied painting styles including those of Chinese painter Shen Nanpin and the Maruyama-Shijo school, and arrived in Kyoto around 1780. By the late 18th century, Ganku's paintings were appreciated by patrons that included the imperial family, leading to a position under Prince Arisugawa. His students included his son, Gantai (1782–1865), son-in-law Ganryou (1797–1852), adopted son Renzan (1804–59), Yokoyama Kazan (1784–1837), Shirai Kayou (fl. ca 1840–60), and Kawamura Bumpou (1779–1821). He was made honorary governor of Echizen (Echizen no kami) toward the end of his life.Museum comparison:Compare to a closely related scroll painting of a tiger by Kishi Ganku, measuring 106.7 x 41 cm, in the Metropolitan Museum of Art, New York, Accession no. 6.100.11.Auction comparison: Compare a related scroll painting of a tiger by Kishi Gantai, a son of Kishi Ganku, measuring 84 x 113.7 cm, at Bonhams, Japanese Works of Art, 19 March 2009, New York, lot 308 (sold for 15,860 USD).

YABU TSUNEO: A FINE AND RARE MINIATURE SATSUMA VASE DEPICTING HYAKKI YAGYO ('NIGHT PARADE OF ONE HUNDRED DEMONS')By Yabu Tsuneo (active after 1926), signed MeizanJapan, c. 1930The pear-shaped body supported on a slightly spreading foot and rising to a waisted neck and garlic-head mouth with short lipped rim, the neck flanked by two cloud-form handles, the exterior exquisitely enameled with a procession of oni and yokai, including a three-eyed bakemono with a small pet, an Okame-like demon riding a boar, and a toad holding a tall staff. The base with the finely gilt signature MEIZAN. HEIGHT 12 cmCondition: Good condition, little rubbing to gilt. One of the handles restored.Provenance: British private collection.Hyakki Yagyo ('Night Parade of One Hundred Demons'), also transliterated Hyakki Yako, is an idiom in Japanese folklore. Sometimes an orderly procession, other times a riot, it refers to a parade of thousands of supernatural creatures known as oni and yōkai that march through the streets of Japan at night. Kawanabe Kyosai (1831-1889), also known as 'The Demon of Painting' and a contemporary of Yabu Meizan, composed a book of paintings depicting a series of such demonic parades near the end of his life, which was first published after the artist's death in 1889. Meizan was clearly familiar with this work and decided to recreate it for one of his pieces, heightening Kyosai's designs with his painting and gilding techniques.Yabu Tsuneo was the son of Yabu Meizan (1853-1934). He worked in the style of his father after his retirement in 1926. Like his father, his designs were quirky and often inspired by the work of Kawanabe Kyosai (1831-1889).Auction comparison: Compare a related miniature Satsuma vase by Yabu Meizan, depicting a humorous procession of monkeys, 11.2 cm high, at Bonhams, Fine Japanese and Korean Art, 15 March 2017, New York, lot 6241 (sold for 12,500 USD).

SHOKAKEN: A LARGE AND EXCEPTIONAL BRONZE KORO (INCENSE BURNER) AND COVER WITH THE TWELVE ANIMALS OF THE ZODIAC (JUNISHI)By Oshima Yasutaro (Shokaken), signed Dai Nihon Kanda kawabe ju, Shokaken kore wo chu Japan, late 19th century, Meiji period (1868-1912) Finely cast, the compressed globular body supported on a tall, prominent foot and rising to a broad cylindrical neck with galleried rim, flanked by two handles in the form of baying kirin with exquisitely rendered curved horns, scrolling manes, and muscular bodies. The slightly domed cover is surmounted by two karako, one standing wearing a shishimai mask and the other seated beside a drum incised with a mitsudomo-e symbol and holding a stick, both showing cheerful expressions. The koro and cover are crisply cast with finely worked diapered patterns, the body is further cast in relief with the twelve animals of the zodiac, each dynamically rendered and neatly detailed to convey the mythical race that would determine their order in the zodiac. The foot is raised on five legs in the form of winged kirin with elongated bodies atop a circular base decorated with concentric diapered bands encircling a raised central medallion cast in relief with sparrows in flight amid swirling clouds. The underside of the foot is cast with the inscription and signature Dai-Nihon Kanda kawabe ju, SHOKAKEN kore wo chu ('This is cast by Shokaken, resident by the Kanda River, Great Japan'). HEIGHT 75 cm WEIGHT 19 kg Oshima Yasutaro (artist name: Shokaken) was born to a prominent family of metalworkers in 1849 and was the son of Oshima Takajiro. Together with his younger brother Oshima Joun (1858–1940), he successfully ran a studio called Sanseisha and produced bronzes of the finest quality. In Recollections of Oshima Joun, by Katori Hozuma published in 1941 by Tokyo Chukin-kai (Tokyo Cast Metalwork Association), he talked of his older brother who died young as being of the first rank of bronze metalwork artists in 1878, producing works of the very highest quality and commissioned for the world exhibitions. Shokaken indeed exhibited his works at numerous international expositions, including a metalwork incense burner at the Vienna World Exposition in 1873, which is now housed in the Austrian Museum of Applied Arts and Contemporary Art, Vienna (Illustrated in Arts of East and West from World Expositions 1855-1900: Paris, Vienna and Chicago (Commemorating the 2005 World Exposition, Aichi, Japan), (Osaka, 2004), p. 20, plate l-16).Condition: Very good condition with minor wear, minimal casting flaws, few minuscule nicks, occasional light surface scratches. Provenance: French private collection.Auction comparison: Compare a related bronze koro by Shokaken, 50 cm high, at Zacke, 3 December 2021, Vienna, lot 8 (sold for EUR 4,045).

(1896 Nantes - 1966 Paris) nachVier große Art Déco-Reliefs mit Orchestermusikern und TanzendenBronze, dunkel patiniert. Posthume, zeitgenössische Güsse, Ende 20. /Anfang 21. Jh.; Die Reliefs basieren auf den um 1927 geschaffenen, bekannten Martel-Werken "L'orchestre" und "La danse", die jeweils paarweise spiegelbildlich ausgeführt wurden. Die Zwillinge Jean und Joël Martel gehören zu den bedeutendsten französischen Bildhauern im 2. Viertel des 20. Jhs.; Sie schufen Skulpturen, Reliefs, Denkmäler und Brunnen im Stil des Art Déco oder des Kubismus; in den 1920er Jahren entwarfen sie auch Ausstattungen und Interieurs für Villen, teilw. in Zusammenarbeit mit Jean Priouvé und Charlotte Perriand. Sie teilten sich das gleiche Atelier und arbeiteten so eng zusammen, dass sie schließlich nur noch mit "Martel" signierten. Die Martel-Brüder nahmen an Pariser Ausstellungen im Salon des Indépendants, dem Salon d'Automne, dem Salon des Tuileries und der Exposition of Decorative Arts von 1925 teil. Jeweils ca. 122 cm x 60 cm.After Jan and Joël Martel (1896- 1966). Four dark patinated bronze reliefs. Posthumous, contemporary, late 20th or early 21st C. cast.

MARIE RAYMOND (1908-1988)Sans titre 1957 signé ; daté 1957 sur le châssishuile sur toile signed ; dated 1957 on the stretcheroil on canvas 46 x 60.7 cm. 18 1/8 x 23 7/8 in.Footnotes:ProvenancePascal de Sarthe Gallery, San Francisco Collection Harris et Myrna Stewart, San RafaelVente : Sotheby's, Paris, Modern and Contemporary Art, 13 décembre 2006, lot 109Acquis dans cette vente par le propriétaire actuel ExpositionsSan Francisco, Pascal de Sarthe Gallery, Marie Raymond 40 Years of Abstract painting, 1988Nice, Musée d'Art Moderne et Contemporain, Marie Raymond Retrospective 1937 -1987, 1993, p. 84, illustré en couleursThis 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

LUCIO FONTANA (1899-1968)Concetto Spaziale, [Teatrino] 1964-1966 signé et titré au reverspeinture à l'eau sur toile et bois laqué signed and titled on the reverse waterpaint on canvas and lacquered wood 89.1 x 102.3 cm.35 1/16 x 40 1/4 in. Réalisé en 1964-1966.Footnotes:ProvenanceGalleria Iolas, Milan Collection Moroni, MilanCentro Arte Internazionale, MilanGalleria Michelangelo, Bergame Acquis auprès de celle-ci par le propriétaire actuel ExpositionBergame, Galleria Michelangelo, Astratto e Informale, 1981, illustré sur la couverture en noir et blanc BibliographieEnrico Crispolti, Fontana, Catalogo generale, Vol. II, Milan 1986, p. 613, n° 65 TE 79, illustré en noir et blancEnrico Crispolti, Lucio Fontana. Catologo ragionato di sculture, dipinti, ambientazioni, Vol. II, Milan 2006, p. 799, n° 65 TE 79, illustré en noir et blancConservé dans la même collection familiale depuis plus de quarante ans et par conséquent n'ayant jamais été proposé aux enchères auparavant, Concetto Spaziale, [Teatrino], 1964 -1966, est un exemple remarquable des Teatrini (« Petits théâtres ») réalisés par Lucio Fontana au milieu des années 1960. Série créée entre 1964 et 1966, les Teatrini ont permis à Fontana d'explorer ses théories Spatialistes d'une nouvelle manière qu'il a définie comme « spatialisme réaliste ». Une partie intégrante du Teatrino est un cadre en bois laqué se découpant en formes organiques rappelant les arbres, les nuages et le paysage qui se soulèvent de la toile perforée d'une constellation de « buchi », emblématique. L'utilisation de plans décalés se traduit par une profondeur tangible et une perception de l'œuvre comme la scène de théâtre à laquelle le titre fait référence. L'œuvre se transforme, dépassant le médium artistique, ouvrant à la fois l'espace métaphysique et l'aspect sculptural de la peinture. Né en Argentine en 1899 avant de s'installer en Italie en 1905, Lucio Fontana a été profondément influencé par les avancées scientifiques de son époque ; c'était un artiste dont la philosophie personnelle dépassait les horizons de l'art contemporain. Pour Fontana, la peinture devait s'adapter aux nouvelles conditions d'exploration qu'il voyait dans l'accélération de la course à l'espace des années 1950 et 1960 : aller au-delà de la « surface » pour pénétrer dans une autre dimension. Survivant aux immenses turbulences de l'Europe de l'entre-deux-guerres, l'Œuvre de Fontana peut en outre être lu comme allant au-delà de la réalité – au-delà des horreurs et des histoires, événements et croyances partagées que la peinture avait si longtemps traditionnellement soutenus. Créés à une époque où l'artiste travaillait encore sur ses buchi (où il perce la surface) et ses tagli (où il l'entaille avec un couteau) et dans le sillage de sa célèbre série Fine di Dio ; les Teatrini, à l'instar l'œuvre que nous présentons, offrent un aperçu de l'intérêt continu de Fontana pour le ludique et le figuratif. Ils sont liés aux Ambienti, des installations performatives spécifiques aux sites qui sont des recherches dans l'espace réel où Fontana a manipulé la lumière et la perspective pour créer une expérience spatiale globale. Enfin, lesTeatrini serviront pour la scénographie d'un ballet à La Scala de Milan, que Fontana acheva en 1966.Les trous de l'œuvre que nous présentons forment un cercle sur un fond noir, rappelant une constellation dans le ciel nocturne ou une planète flottant dans l'étendue insondable de l'espace. Le processus de création du trou était tout aussi crucial et important - en perforant la toile, Fontana a pu s'affranchir des limites du châssis et de la toile et sculpter dans l'espace pur. « Je n'ai pas fait de trous pour détruire l'image. Au contraire, j'ai fait des trous pour trouver autre chose. » (L'artiste dans : T. Trini, « The last interview given by Fontana », W. Beeren & N. Serota (éd.), Lucio Fontana, Amsterdam & Londres 1988, p. 34). Les cadres laqués lisses des Teatrini peuvent être considérés comme un clin d'œil au pop art américain des années 1960, apportant aux œuvres une part de l'esthétique industrielle et consumériste idéalisée du Pop et séduisant le spectateur par leur beauté. Une fois captivé par le côté organique du cadre, l'œil est attiré par l'immensité des buchi, une sorte d'univers sans fin.Lucio Fontana est sans aucun doute l'un des artistes les plus importants et les plus influents du XXe siècle. Dans son travail, il a réussi à saisir, ou du moins à rendre visible l'espace infini situé juste au-delà de la portée de l'expérience humaine et de la technologie. Laissant un héritage qui a irréversiblement transformé les idées préconçues philosophiques et techniques de la peinture moderne, l'œuvre présentée est un exemple particulièrement élégant avec un monochrome noir « ton sur ton ». Le travail de Fontana est conservé dans des collections de musées du monde entier, notamment à la collection Tate, Londres, au musée Guggenheim, New York, au Museo Nacional de Bellas Artes, Argentine et à la Galleria Nazionale d'Arte Moderna e Contemporanea de Rome.Held in the same private family collection for over forty years and having never been offered at auction before, Concetto Spaziale, [Teatrino] from 1964-1966 is a sterling example of the Teatrini ('Little theatres') that captivated Lucio Fontana in the mid 1960s. Forming a series created between 1964 and 1966, the Teatrini allowed Fontana to explore his Spatialist theories in a new manner that he defined as 'Realistic Spatialism'. An integral part of the Teatrino is a lacquered wooden frame shaped into organic forms reminiscent of trees, clouds, and landscape that lifts itself off the canvas which in turn is punctured with a constellation of the artist's signature 'buchi'. The use of such staggered planes results in a tangible depth and perception of the work as the theatre stage referenced in the name. The work is transformed, going beyond the artistic medium, opening both the metaphysical space and the sculptural aspect of the painting. Born in Argentina in 1899 before moving to Italy in 1905, Lucio Fontana was deeply moved and inspired by the scientific breakthroughs of his day; he was an artist whose self-invented philosophy went beyond the horizons of contemporary art. For Fontana, painting had to adapt to the new conditions of exploration that he saw in the quickening Space Race of the 1950s and 1960s, namely: going beyond the 'surface' in order to break through to another dimension. Surviving the immense turbulence of Europe between two World Wars, Fontana's work can furthermore be read as going beyond reality – beyond the horrors and shared histories, events and beliefs that painting had for so long traditionally upheld. Created at a time where the artist was still working on his buchi (where he pierces the surface) and tagli (where he slashes it with a knife) and... 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

KEITH HARING (1958-1990)I can see the whole room ... and there's nobody in it 1988 signé, titré et daté NOV. 13 1988 au reversacrylique, gouache, encre et collage sur papier signed, titled and dated NOV. 13 1988 on the reverseacrylic, gouache, sumi ink and collage on paper75 x 99 cm.29 1/2 x 39 in.Footnotes:ProvenanceTony Shafrazi Gallery, New York Fisher Landau Center, New York Vente : Christie's, New York, Contemporary Art (Day Sale), 17 novembre 1999, lot 198 Acquis dans cette vente par le propriétaire actuelThis lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

HENRI MICHAUX (1899-1984)Sans titre (Dessin Mescalinien) 1962 monogrammé sanguine sur papier signed with the artist's monogram red chalk on paper 41.5 x 32 cm. 16 5/16 x 12 5/8 in. Réalisé en 1962.Footnotes:Cette œuvre sera incluse au catalogue raisonné en préparation par Micheline Phankim, Rainer Michael Mason et Franck Leibovici, sous le numéro hm4993.ProvenanceGalerie Daniel Cordier, Paris (n° inv. 416500/0100)Robert Fraser Gallery, Londres (acquis auprès de celle-ci en 1963)Collection Lady d'Avigdor-Goldsmid, Royaume-Uni Collection Particulière, Royaume-Uni (puis par descendance)Vente : Sotheby's, Londres, Contemporary Art - including Property from the Collection of Wolfgang Hahn, 25 octobre 2005, lot 212Collection particulière, FranceAcquis auprès de celle-ci par le propriétaire actuelExpositionAmsterdam, Stedelijk Museum, Rétrospective Henri Michaux, 7 février au 22 mars 1964BibliographieFranck Leibovici et Micheline Phankim, Henri Michaux : Voir (une enquête), Paris 2014, p. 358, n° 383, illustré en couleursThis 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

JEAN-PIERRE PINCEMIN (1944-2005)Sans titre 1968 signé et daté AVRIL 1968 au reversacrylique sur toiles libres assembléessigned and dated AVRIL 1968 on the reverseacrylic on unfixed assembled canvas137.7 x 138.3 cm. 54 3/16 x 54 7/16 in.Footnotes:ProvenanceCollection particulière, France (acquis auprès de l'artiste)Vente : Sotheby's, Paris, Contemporary Art Online, 12 juin 2019, lot 517Collection particulière, Etats-UnisVente : DuMouchelles, Detroit, Sunday Auction, 22 mars 2020, lot 2013 Acquis dans cette vente par le propriétaire actuelThis lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Norwich art of shooting.- Page (Thomas) The Use of shooting flying: familiarly explain'd by way of dialogue. Containing directions for the choice of guns for various occasions. An Account of divers Experiments, discovering the Execution of Barrels of different Lengths and Bores, first edition, title with woodcut typographic ornament, woodcut head-pieces and decorative border to first initial, final advertisement f. 'A catalogue of clocks, watches, guns and other machines, made and sold by T. Page, Norwich.', contemporary ink marginalia (cropped) and underlining, lower margin of title restored, trimmed, occasional spotting or light staining, lightly browned, later light blue wrappers, lightly stained and creased, [Schwerdt II, p.58; Chute Shooting Flying 493 'very rare'], 8vo, Norwich, Printed by J. Crouse, and sold by the author, T. Page, 1766.⁂ Rare first edition of the third book in English on shooting; the first of which in prose. The text takes the form of a dialogue between an experienced shooter 'Aimwell' and a young novice 'Friendly'. Includes technical information on the length and bore of gun barrels, sizes of shot and charges, and the distances and accuracy achieved with different combinations. Thomas Page was a Norwich maker of guns, watches and clocks, who also made and sold surgical appliances.

(Cookery), a collection of 25 mainly 19th and early 20th Century cookery and related books and booklets, plus a few earlier titles, including T. Williams: 'The Accomplished Housekeeper, and Universal Cook', London, J. Scatcherd, 1797, 1st edition, xvi,274[2]pp, 12 engraved plates of place settings/bill of fare as called for, but lacks large part of folding frontis, 12mo, contemporary calf, later rebacked; Vincent la Chapelle: 'The Modern Cook', London, for the author and sold by Nicolas Prevost, 1733, 1st edition in English, volume 1 (of 3 volumes) only, viii,[20],328pp, 2 folding plates of menus at end, contemporary calf worn. The first 'new' English cookery book to be published in the 18th century, which appeared in English while the author was in Chesterfield's employment. One of the great 18th century classics, having a strong influence on upper class food in England; William Kitchiner: 'The Cook's Oracle containing receipts for plain cookery on the most economical plan for private families, also the art of composing the most simple, and most highly finished broths, gravies, soups, sauces, store sauces, and flavoring essences...', L, A. Constable, [1822], 4th edition, 12mo, old half calf; [Maria Eliza Ketelby Rundell]: Modern Domestic Cookery', L, John Murray, 1853, engraved frontis + 1 engraved plate + ills. in text, 644pp + 32pp adverts at end, original cloth gilt (worn); Edward Spencer: 'Cakes & Ale', L, Grant Richards, 1897, 1st edition, 2pp ads at end, original pictorial cloth; George H. Ellwanger: 'The Pleasures of the Table', L, Heinemann, 1903, 1st UK edition, ills. throughout, rebound contemporary cloth gilt; Auguste Mario: 'Easy French Cookery', L, Cassell, 1910, 1st English language edition, 8 plates as called for, orig. pictorial cloth gilt (worn); A.B. Marshall: 'The Book of Ices', L, circa 1894, revised and enlarged edition, vii,[1],80pp, original cloth gilt, scarce; Adelaide Keen: 'With a Saucepan Over the Sea', Boston, Little, Brown & Co, 1902, 1st edition, original pictorial cloth gilt; Vera, Countess Serkoff: 'The Visits of Doris. Cookery Hints to a Young Housewife', L, A.E. Walter, [1920], 1st edition, original decorative wraps; Mrs Black: 'Household Cookery and Laundry Work', L, Collins, c.1890, 75th thou., orig. cloth; E & B May: 'May's Practical Methods. To Ensure Instant Relief and Permanent Cure of Diseases without Drugs, Minerals or Doctors' Fees', L, c.1897, 5th thou., [2],81,[10]pp, original cloth covered boards; Janet McKenzie Hill: 'Practical Cooking and Serving', L, Heinemann, 1903, 1st edition, colour frontis + numerous plates throughout, 10 pages of contemporary m/s receipts at front and end, original cloth gilt; plus 12 others similar (25)

G.H. Swanston: 'The Companion Atlas to The Gazetteer of the World, comprehending Forty-Eight beautifully Coloured Maps engraved in the first style of art according to the latest & most authentic information by G.H. Swanston', London, A. Fullarton, [1860], 48 double page engraved maps as called for, each contemporary hand coloured in outline, many show inset details including relative heights of mountains, river basins, railways around London etc, folio, original full morocco gilt (rubbed and worn), all edges gilt

A contemporary craftsman made knock down sofa in laminated birch, of Art Deco style with leather cushions and prominent maker's logo as a feature to the backrest. 155 x 68 x 92cm.

Hugh Mendes (British b. 1955)College Study, 1978 Oil on canvasSigned, titled and dated to the versoFramed48 x 63 cm (19 x 24.5)Hugh Mendes is a contemporary British painter. He was born in the British Military Hospital in Hostert, Germany. Mendes was graduated from Chelsea School of Art with a BA in painting in 1978, and from City and Guilds of London Art School with an MA in painting in 2001. Mendes paints obituaries taken from newspapers and he has had a solo exhibition at Fishmarket Gallery, Northampton. He was exhibited in "The Future Can Wait" in 2008. Mendes is represented by Gusford and had his first solo exhibition with them in March 2013.

Rich Simmons (British b. 1986)Hula Hoops To Hand Guns, 2013Mixed media and spray paint on boardAccompanied with certificate of authenticity200 x 122 cm (78.5 x 48 in)Rich Simmons is a Contemporary Urban Pop Artist who has exhibited all over the world. Simmons work explores the intersections of visual culture, spanning pop art, comic books, the Renaissance, contemporary fashion, sexuality and beyond. London-based Rich Simmons has a global reach and celebrity following, having exhibited in some of the world’s most prestigious galleries in London, New York, LA, Tampa, Miami, Montreal, Toronto, Seoul and Geneva. Simmons work has now made it into Museum collections with the Men Of Steel, Women Of Wonder exhibition debuting at the Crystal Bridges Museum of American Art in 2019. In 2018, a painting created for Gracious Hearts Charity for children with cerebral palsy sold for £52,000 at a Christie’s charity auction. 2022 saw the launch of Simmons NFT debut, with Reflections selling out the 3,333 mint in under an hour and going on to generate $1.8 million in sales on Opensea in the first month. The collection debuted in the top 10 Art NFTs on Opensea and earned finalist spots in the NFT NYC Awards as Best NFT Artist and Best Emerging NFT Artist.

Jim Starr (British b. 1976)Retropop Triptych, 2011Mixed media and screen print on woodSigned in black marker to the versoAccompanied with certificate of authenticity74 x 174 cm (29 x 68.5 in)Jim Starr has been screen-printing for 15 years and has exhibited in upwards of 70 group shows and 7 solo shows. His work has gone under the hammer alongside some of the world’s most celebrated contemporary artists at auctioneers Dreweatts’s Urban Art Sales (at Paintworks, Bristol, and Selfridges, London), and has been exhibited solo at London’s Dalston Superstore. He has also shown at The Pall Mall Deposit, London, The Coningsby Gallery, London and at Bristol’s 2 Degrees Gallery, the Wilder Street Gallery and King of Paint. Jim’s use of pop culture and pin-up imagery is guaranteed to inspire anyone who loves the louche and the lowbrow. His work fuels the spirit and strikes a chord in the soul, continuing to resonate long after the first glance. 

Gareth Fuller (British b. 1980)Bristol, 2014Archival inkjet print on 310gsm fine art paperSigned and numbered 101/250 in pencilFramed and glazed92 x 92 cm (36 x 36 in)Fuller (born 1980) is a British artist known for his intricate drawings and map art of cities and places that he explores. He drafts impressionistic "mind maps" of places where he has lived. Fuller is the pen name of Gareth Fuller of London, England, who was previously known as Gareth Wood. Fuller, who says he has always enjoyed exploring and getting lost, observes contemporary culture and investigates urban existence through his art, while telling stories, provoking conversation and "celebrating the identity of places in all their glory". Fuller became an Irish Citizen in 2018.

Lucas Price / Cyclops (British, b. 1975)Mentasm, 2008Screen print on woven paperSigned and numbered 12/45 in pencilFramed & glazedAccompanied with certificate of authenticity 51 x 36 cm (20 x 14 in)Contemporary artist Lucas Price, formerly known as Cyclops, blends the traditional and the modern, merging contemporary photo realism with antiquated styles and religious iconography. Price completed a Masters degree at the Royal College of Art, London. In 2008, he exhibited at the Tate Modern as part of their exhibition ‘Art on the Street’ and, in 2015, appeared in Bonhams’ contemporary auction. As well as working as a fine artist, Lucas Price founded the postmodernist menswear label ‘A.Four Labs’, with Tokyo-based designer Kazuki Kuraishi.

Hugh Mendes (British b. 1955) Obituaries Pope John Paul II, 2006 Oil on canvas Signed, titled and dated to the verso Comes with the original exhibition catalogue  35 x 45 cm (13.5 x 17.5 in) Hugh Mendes is a contemporary British painter. He was born in the British Military Hospital in Hostert, Germany. Mendes was graduated from Chelsea School of Art with a BA in painting in 1978, and from City and Guilds of London Art School with an MA in painting in 2001. Mendes paints obituaries taken from newspapers and he has had a solo exhibition at Fishmarket Gallery, Northampton. He was exhibited in "The Future Can Wait" in 2008. Mendes is represented by Gusford and had his first solo exhibition with them in March 2013. 

Ian Phenna (British b. 1967)Mirrored, 2011Oil and spray paint on canvasSigned, titled and dated to the verso91 x 123 cm (36 x 48 in)Ian Phenna is a portrait artist from Liverpool, England. After travelling and painting around the world, he has exhibited on streets and in galleries across the UK, Europe and Sydney and has work in private collections worldwide. Phenna's ability to migrate between different mediums is his real talent. With a love of street art gained from his early days, Ian has always had incredible skills with a brush or a spray can in his hand and originally started by daubing paint on walls. Known mostly for his portrait and figurative work, he brings significant elements of street style to his contemporary based approach. Ian has for years produced thoughtful and provocative work via a variety of mediums, he now creates paintings, drawings and mixed media artworks if not painting on the street.

Zdzisław Majrowski - Constantin Meyro (Polish b. 1952)Au Pair (The Housemaid), 2008Oil on canvasSigned to the bottom leftFramed165 x 109 cm (65 x 43 in)Zdzisław Majrowski - Constantin Meyro is an outstanding representative of Polish contemporary art. European painter of the middle generation. A brilliant continuator of Paul Cezanne (Russian constructivists and Franz Kokoschka). He is an artist whose work is a continuation of the works of masters such as Frans Hals, Diego Velasquez and Manet. Huge diligence and masterfully mastered workshop clearly define the artist's output. His uncompromising attitude and perfectionism are the main components of his unique painting.

James Cauty (British b. 1956) Suicide Bunny 2 Giclee print Unsigned, numbered 29/321 with stamp Framed and glazed 41 x 30 cm (16.5 x 12 in) Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recoded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare.

James Cauty (British b. 1956) 5-11 A / B / C & Final Edition, 2005-06 Four giclee prints Each signed and numbered 2/150 in black pen Accompanied with certificate of authenticity Each framed and glazed Each 64 x 59 cm (25 x 59 in) Comes with the original triptych of Hanged, Drawn & Quarter Pop edition prints, also signed and numbered 2/150. Each 33 x 31 cm (13 x 12.5 in) Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recoded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare.

Hugh Mendes (British b. 1955)Valtria College Study, 1978 Oil on canvasSigned, titled and dated to the versoFramed73 x 73 cm (28.5 x 28.5 in)Hugh Mendes is a contemporary British painter. He was born in the British Military Hospital in Hostert, Germany. Mendes was graduated from Chelsea School of Art with a BA in painting in 1978, and from City and Guilds of London Art School with an MA in painting in 2001. Mendes paints obituaries taken from newspapers and he has had a solo exhibition at Fishmarket Gallery, Northampton. He was exhibited in "The Future Can Wait" in 2008. Mendes is represented by Gusford and had his first solo exhibition with them in March 2013.

Adam Neate (British, b. 1977) The Queens Special, 2007 Giclee Print Signed, dated and numbered 59/75 in pencil 85 x 56 cm (33 x 22 in) Adam Neate is a British artist known for playing with perspective in his multi-dimensional collages. Working within a personal contemporary Cubist aesthetic he calls “dimensionalism,” Neate began his career by leaving his artworks on the street, yet now shows the paintings and assemblages in galleries. With notable influences from Francis Bacon and from Pablo Picasso, his practice combines street art techniques and materials with traditional methods of mark-making and construction. Born in Colchester, England, Neate studied graphic design while teaching himself how to paint and sculpt. His pieces were left first around the city of Ipswich, then London, where he moved in the late 1990s. Currently living and working in between Brighton, England and Sao Paulo, Brazil, Neate has expressed that “the whole point of being an artist is to be creative and to create, to invent new ways of seeing and showing the world.” He gave away works to friends, but built up an excess and left them wrapped in bin liners outside charity shops as a donation. When he discovered that they were not being sold, but thrown out with the rubbish, he started to leave them in the streets instead.  Over a five-year period, he left thousands of his works in London streets. He kept away from galleries, but was contacted by Elms Lesters Painting Rooms in London, who wanted to show his work. Neate took up the invitation, but decided to do different work from his street art and develop other techniques and styles. In August 2007, he had a solo show with them, which sold out within hours of opening. He is described as a pioneer of the new movement which shows street art in conventional art galleries.

Adam Neate (British, b. 1977) Come On, 2007 Giclee Print Signed, dated and numbered 59/75 in pencil 85 x 56 cm (33 x 22 in) Adam Neate is a British artist known for playing with perspective in his multi-dimensional collages. Working within a personal contemporary Cubist aesthetic he calls “dimensionalism,” Neate began his career by leaving his artworks on the street, yet now shows the paintings and assemblages in galleries. With notable influences from Francis Bacon and from Pablo Picasso, his practice combines street art techniques and materials with traditional methods of mark-making and construction. Born in Colchester, England, Neate studied graphic design while teaching himself how to paint and sculpt. His pieces were left first around the city of Ipswich, then London, where he moved in the late 1990s. Currently living and working in between Brighton, England and Sao Paulo, Brazil, Neate has expressed that “the whole point of being an artist is to be creative and to create, to invent new ways of seeing and showing the world.”  He gave away works to friends, but built up an excess and left them wrapped in bin liners outside charity shops as a donation. When he discovered that they were not being sold, but thrown out with the rubbish, he started to leave them in the streets instead.  Over a five-year period, he left thousands of his works in London streets. He kept away from galleries, but was contacted by Elms Lesters Painting Rooms in London, who wanted to show his work. Neate took up the invitation, but decided to do different work from his street art and develop other techniques and styles. In August 2007, he had a solo show with them, which sold out within hours of opening. He is described as a pioneer of the new movement which shows street art in conventional art galleries.

James Cauty (British b. 1956) Stop The War Giclee print Unsigned, numbered 3/30 and stamped 33 x 31 cm (13 x 12.5 in) Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recoded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare. 

James Cauty (British b. 1956) Dead Dad 1, 2007 Lithograph poster, part of the Operation Magic Kingdom series Unsigned, open edition 70 x 48 cm (27 x 19 in) Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recorded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare.

Robert Rauschenberg, "Radioactive ii" vintage, large size poster Museum of Contemporary Art Chicago. H.70 W.50cm.

JUAN BARJOLA (Torre de Miguel Sesmero, Badajoz, 1919 - Madrid, 2004).Untitled.Gouache on Ingres paper.It presents roughness in the paper and damages in the frame.Size: 65 x 50 cm; 87 x 72 cm (frame).Juan Barjola trained at the School of Arts and Crafts in Badajoz and at the San Fernando School of Fine Arts in Madrid. He made his solo debut in 1957, at the Abril gallery in Madrid, and from then on he held individual exhibitions all over Spain. In 1960, thanks to a grant from the Juan March Foundation, he travelled to Paris and Belgium. Three years later he was awarded the Eugenio d'Ors Medal by the critics, and exhibited at the Dirección General de Bellas Artes. He won the National Prize for Drawing at the National Exhibition of 1968, and in 1985 he was awarded the National Prize for Plastic Arts. In 2006, the IVAM in Valencia dedicated a retrospective exhibition to him. He is represented in the Museum that bears his name in Oviedo, the Reina Sofía Museum in Madrid, the Fine Arts Museums of Bilbao and Asturias, the IVAM in Valencia, the Solidarity Museum in Chile, the Camón Aznar Museum in Zaragoza and the Contemporary Art Museums of Vilafamés, Seville, Alicante, Toledo and Cáceres, among many others.

GEMMA ALPUENTE, (Algemesí, Valencia, 1993)."Cyclic fluidity", 2022.Acrylic paint, vinyl ink and aerosol on canvas.Signed on the back.Size: 193 x 140 x 8 cm.Easily assembled diptych with removable back reinforcements.The artist Gemma Alpuente, trained in Fine Arts and CRBBBCC by the Faculty of San Carlos (UPV), develops a very personal pop-street style, through which she projects works of bright colours accompanied by different planimetries and visual registers. He contemplates pictorial matter as the main motif of the work, starting from his own experimental process, where, through chemical procedures, it acquires volume and presence in three-dimensional space. In his work, the canvas becomes an anecdotal element and painting, which has always needed this support to coexist in space, plays with the laws of gravity in a compositional impossibility.Transcending the concept of painting through matter, strident contrasts of acid chromatisms, volumetry and kitsch-oniric aesthetics, the traditional is elevated to the most current contemporary pictorial synthesis.This particular piece, due to its magnificence, chromatisms and composition, envelops the spectator and opens the doors to a reflective, almost meditative space. When observing the work, we enter a temporal frame of a dreamlike landscape, where the frozen movement evoked by the direction of the brushstrokes and the compositional balance of the elements that make up the work of art, stop time in a pictorial instant.The trajectory and development of the artist Gemma Alpuente has led her to make the leap to the national and international market, being considered as a "red-chip" artist.

JOSEP GUINOVART BERTRAN (Barcelona, 1927 - 2007).Untitled, 1972.Metal and paint on wood.Signed and dated in the lower right corner.Size: 50 x 50 cm; 64 x 64 cm (frame).Josep Guinovart trained at the Escuela de Maestros Pintores, at the Escuela de Artes y Oficios and in the classes of the FAD. He had his first solo exhibition at the Syra galleries in Barcelona in 1948. He soon acquired solid prestige, collaborated with Dau al Set and took part in the October, Jazz and Eleven Salons. In the 1950s, thanks to a grant, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, were to be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Around 1957 he began an informalist and abstract tendency, with a strong material presence both through the incorporation of various elements and objects (burnt wood, boxes, discarded objects) and through the application of techniques such as collage and assemblage. From the 1960s onwards he moved away from the poetics of Informalism and began to produce works full of signs and gestures, which contain a strong expressive charge in the lines and colours. During the 1970s he systematically used materials such as sand, earth, clay, straw and fibre cement, and in the following decade he focused on experimenting with the three-dimensional projection of his works, which took the form of the creation of environments or spatial settings such as the one entitled Contorn-extorn (1978). Guinovart's artistic output is very varied: mural paintings, theatre sets and scenographies, such as the one made for Federico García Lorca's Blood Wedding, book illustrations, poster design, tapestries and sculptures. He took part in the Biennials of São Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his prizes include the City of Barcelona in 1981, the National Plastic Arts Prize in 1990 and the Generalitat's Plastic Arts Prize in 1990. In 1994 the Espai Guinovart, a private foundation with a permanent exhibition of the artist's work, was opened in Agramunt, Lérida. He is represented in the Museums of Contemporary Art in Barcelona, Madrid and Mexico City, the Museum of Open Air Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.

CRONICA TEAM (Valencia, 1964 - 1981)."The Family of Charles IV", 1967-69.Painting on papier-mâché, copy 19/50.The 50 versions are unique, as they present small variations in the pictorial application.Signed and numbered by hand.Measurements: 54.5 x 74 x 33 cm.The royal family has been represented by Equipo Crónica based on the painting of the same name by Goya ("The Family of Charles IV", 1800). The arrangement of the characters follows the same order, but the transfer of the painting into sculpture and the caricatural treatment through colour give them a parodic character. In fact, Equipo Crónica was inspired by the Fallas craftsmanship of the "ninot" and its critical connotations to create this piece. Along the same lines as the pictorial project "La recuperación" (1967-69), Solbes and Valdés allude with both series to the Franco regime's use of Golden Age painting and Goyaesque royal portraits. Each of the 50 papier-mâché multiples that make up "The Family of Charles IV" has a distinctive pictorial touch or treatment that makes them unique. They were made in the workshop of Vicente Luna, Valencia. They stand out for the neo-pop expression of the clothes and the surreal touches in the features.Equipo Crónica (Manolo Valdés and Rafael Solbes) moved away from the prevailing informalism to cultivate figurative painting, closely linked to pop-art. Fed up with introspection, these artists went out into the street and observed the world around them, a society of incipient industrialisation and tourists. Their themes critically analysed the political situation in Spain, as well as the history of art, drawing inspiration from classic works such as Picasso's "Guernica" and Velázquez's "Las Meninas". Their style was a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. In contrast to the grandiose and picturesque image of Spain that Franco's regime wanted to project abroad, Equipo Crónica focused on another, darker and more sombre image of the country, always resorting to irony. Starting from their own direct style, with clear images that everyone could read, they tried to "chronicle reality", a kind of social realism but using contemporary visual systems. The group produced paintings, sculptures and engravings, and tended to work in series, which made it possible to analyse the same subject with different variations. Equipo Crónica started from a very simple language, with monochrome and repeated images, very close to contemporary media, especially newspaper photographs. From there, after the turning point of "Latin Lover" in 1966, the members of the group gradually enriched their language to put it at the service of political satire. Demystifying and decontextualising the works of classical Spanish masters such as Velázquez, Goya and El Greco, they made their figures (the gentleman with his hand on his chest, the Duchess of Alba, etc.) appear as images in newspapers or advertisements, inaugurating buildings or among washing machines and pressure cookers. There are works by Equipo Crónica in the IVAM in Valencia, the Museo Reina Sofía in Madrid, the MACBA in Barcelona, the Fundación Juan March and the Museo Patio Herreriano in Valladolid, among others. In 2007 an exhibition dedicated to Equipo Crónica was organised at the Museo de Arte Abstracto in Cuenca.

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Femme attrapant un oiseau", 1977.Pencil on paper.Attached ADOM certificate.Work reproduced in the Catalogue raisonné of the artist, p. 108.Measurements: 20.5 x 33 cm; 49 x 61 cm (frame).Femme attrapant un oiseau, or woman catching a bird, was a theme that the artist explored on several occasions, as can be seen in the work entitled "Femme dans la nuit; Femme attrapant un oiseau", painted in 1973, which belongs to the collection of the Joan Miró Foundation in Mallorca, and which was donated by the artist in 1981. In this particular case, the artist presents a rapid, sober stroke in colour, in which he creates a dreamy universe around the idea of woman. The multiplicity of organic lines define an image that can be admired from different perspectives, which in turn generate multiple discourses or evocations, where the body is suggested without becoming completely tactile.Joan Miró trained in Barcelona, between the Escola de la Lonja and the Galí Academy. As early as 1918 he held his first exhibition at the Galerías Dalmau in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, his style matures; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective to him which was to be his definitive international consecration. During the 1950s he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

EDGAR PLANS (Madrid, 1977)."Art wall", 2008.Oil, pastel and pencil on canvas.Signed and dated in the lower left corner.Purchased at the Nomada Gallery in Gijón.Size: 120 x 120 cm.Edgar Plans' painting is defined by its almost childlike freshness, and in fact it is children, together with stuffed or cartoon animals, who populate his scenes. In them, fantasy coexists with everyday reality. In the present canvas, we see a girl drawing a figure with chalk on a huge wall that serves as a blackboard, full of graffiti supposedly accumulated over time. What this scene suggests to us is the conversion of the wall into a window thanks to the fertile imagination of childhood. This is a painter who enjoys great acclaim at international events and in the art market, being one of the most sought-after young artists. According to the artist's own words: "Even as a very young child I have engraved in my memory the cocking of the keys of my father's typewriter (Juan José Plans, 1943-2014). In his studio he had a low table with four seats, and around it, while he was writing, I remember drawing with my brothers". His academic training began at the age of 15 when he started studying at the studio of the artist José María Ramos. Two years later, Plans opened his own studio, which had in turn been the studio of the artist Nicanor Piñole. Throughout his career he has participated in numerous group and solo exhibitions, including Art Notes 019, Ainori Gallery, Lisbon, Wall Art Notes, Galería Miquel Alzueta, Barcelona, ArtWynwood. Casa Cuadrada Gallery, Art Paris Art Fair. Miquel Alzueta Gallery, Art New York. Cuadrada Gallery, Busan, Korea. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Kiaf Art Fair. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Art Taipei, Ting Ting art Space, London Art Fair. Miquel Alzueta Gallery, Juxtapoz magazine selection, Tales of art Gallery, Imola, Italy, Kiaf Art Fair. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Art Miami. Miquel Alzueta Gallery. Currently his work can be found in numerous collections of great artistic relevance of particular character, and in relevant institutions such as; the Museum of Contemporary Art of Havana, Cuba, the Museum of Fine Arts of Asturias, the Pinacoteca Eduardo Úrculo, the Illuro Foundation, Masters of Contemporary Art, the Laboral, Centre of Contemporary Art, the La Caixa Foundation, the Cristina Peterson Foundation, the Masaveu Foundation, and the Government of the Principality of Asturias, among many others.

RAFA MACARRÓN (Madrid, 1981).Untitled, c. 2014.Papier-mâché and paint. Unique piece.Enclosed certificate issued by the author.Size: 65 x 21 x 15 cm; 17 x 122 x 27 cm (base).In this sculpture Macarrón refers in a personal way to his dog, capturing its essence from its naïve idiosyncrasy. In this synthetic image of stylised forms and intense colour, the artist resorts to lines inspired in a harmonious way by nature, thus extolling forms with which he creates a new concept based on an imaginary world of vitality and joy. The representation of his dog as the protagonist of his work is not isolated, as in the exhibition Quince held at the Cac in Malaga in 2021, there were several sculptures featuring a dog, as well as a large bronze sculpture entitled "Perro I", which can be found on the Estepona promenade. However, in this particular case the sculpture stands out from the others, due to the technique used and the intense colouring which gives it great expressiveness.Rafa Macarrón is one of the young Spanish artists with the greatest international projection at present. His painting brings into play wide, neutral spaces, with intense, vivid colours, through which unstable characters with fragile limbs and enormous heads walk. In this way, he creates scenes which do not dispense with the figurative world, but which immerse the spectator in a dreamlike environment, full of lyricism. The artist acknowledges that he is influenced by artists such as Dubuffet, Fraile, Matta and Quirós, as well as by comic strips and Spanish painting of the 1950s and 1960s. His exhibition career began in 2006, with a solo show at the Sala Príncipe Sport in Madrid, entitled Trabubus. Since then he has participated in numerous solo and group exhibitions in national and international centres. Since 2008 he has also participated, with notable success, in numerous international art fairs, such as Art Madrid, Art Valencia, Scope Basel, Young Art Taipei, ARCO Madrid, Art Miami - Aqua, Art Lima, Context New York, Berliner Liste, and others... He has received several awards, such as the BMW Painting Prize in 2010 or the Best Artist Arco Award in 2013. His work is held in important collections and museums, such as the Hudson Valley Center for Contemporary Art in New York, the BMW Foundation in Spain, the Vivanco Foundation in La Rioja, and the Pilar Citoler Collection.

To be sold without reserve Property of a gentleman Yunkers, Adja (1900-1983) Landscape (1960) Pastel on paper on board Signed and dated, lower right: "Yunkers 60" Inscribed extensively by the artist, verso The work of Adja Yunkers is held in many of the world's most important permanent collections, including: Bibliothèque Nationale, Paris Boca Raton Museum of Art, Florida Brooklyn Museum, New York City Cleveland Museum of Art, Ohio Corcoran Gallery, Washington, D.C. Currier Museum of Art, Manchester, New Hampshire Fine Arts Museums of San Francisco, California Guggenheim Museum, New York[4] Hamburg Kunsthalle, Germany Hirshhorn Museum and Sculpture Garden, Washington, D.C. Honolulu Museum of Art, Hawaii Indianapolis Museum of Art, Indiana Museo Pedro Coronel, Zacatecas, México Museum of Fine Arts, Boston, Massachusetts Museum of Modern Art, New York City[5] National Gallery of Art, Washington, D.C. Rijksmuseum, Amsterdam Seattle Art Museum[6] Smart Museum of Art, University of Chicago, Illinois Smithsonian American Art Museum, Washington, D.C.[7] Stockholm National Gallery, Sweden Toledo Museum of Art, Ohio[8] University of South Florida Contemporary Art Museum Utah Museum of Fine Arts, University of Utah, Salt Lake City Victoria and Albert Museum, London Whitney Museum of American Art, New York[9] Museo de la Solidaridad Salvador Allende, Chile Dimensions: (Frame) 41 in. (H) x 27.75 in. (W)

Property of a Distinguished Gentleman of Title Sir Jacob Epstein (1880-1959) Bust of Joseph Conrad Signed 'Epstein' (on the back) Bronze with a green and brown patina Conceived in 1924 This work is cast 5 from an edition of 6 Provenance:  William B. Leeds, Virgin Islands. Anonymous sale; Sotheby's, New York, 5 April 1967, lot 69. B. Gerald Cantor, Beverly Hills. Leona L. Palmer, Beverly Hills. Anonymous sale; Sotheby's, London, 11 December 2006, lot 30. Christie's London, November 21, 2019 [Lot 00281] Modern | British & Irish Art. Where acquired by the present owner.  Literature: A. Rutherston, Contemporary British Artists: Jacob Epstein, London, 1925, p. 6, pl. 35, another cast illustrated. E. Silber, The Sculpture of Epstein, Oxford, 1986, p. 156, no. 148, pl. 15, another cast illustrated. R. Cork, Jacob Epstein, London, 1999, p. 46, no. 38, another cast illustrated. Dimensions: 22.5 in. (W, excluding base.)

Rodin, Auguste (1840-1917) Bronze portrait bust of Victor Hugo Buste de Victor Hugo, dit 'à l'Illustre Maître' An early twentieth century bronze model of a bust of Victor Hugo entitled 'Bust to the illustrious Master' by Auguste Rodin (French, 1840-1917).  This bronze was produced using the lost wax process at the Montagutelli Foundry, Paris, circa 1912. Prior to casting is was signed in the wax 'A. Rodin'. It has a dark brown patina with golden undertones. Provenance: Estrada Collection, Buenos AiresExhibition:The Paris Salon of 1884.Palais des Beaux Arts, Brussels, 1930 (variant).'Rodin et le Ecrivains de son temps', Musee Rodin, Paris, 23 June-18 October,  1976 (variant).'Victor Hugo', Kunsthaus, Zurich, 4 June - 23 August 1987, cat. no. 70 (variant).'Rodin: 150th Anniversary of his Birth', Museum of art, Miyagi; Museum of Contemporary Art, Sapporo; Museum of Modern Art, Ibaragi; cat. no. S-45, 25 August - 9 December, 1990 (variant).'Auguste Rodin (1840-1917) Meishuguan, Beijing; Exhibition Center, Shanghai; Museum of Fine Art, Hong Kong; Fine Arts Museum, Tapei; 1993 (variant).'Rodin', Municipal Museum of Art, Reykavik, no. 61, 23 October - 12 December 1993 (variant).'Rodin et la Belgique', Palais des Beaux Arts, Charleroi, 7 September - 14 December, 1997.'Victor Hugo vu par Rodin', Musee des Beaux Arts et d'Archeologie, Besancon, no. 25, 4 October 2002 - 27 January 2003 (variant).'D'Ombre et de Marbre. Hugo face a Rodin', Maison de Victor Hugo, Paris, 17 October 2003 - 1 February 2004 (variant).'Rodin y la revolucion de la escultura. De Camille Claudel a Giacometti', Caixaforum, Barcelona, cat. no. 8, 29 October 2004 - 27 February 2005 (variant).‘Rodin et son Contemporains’, July 6th to September 9th 2017, McArthurGlen Provence, Miramas (this actual cast).‘Monumental Inspiration - Rodin and Beyond’, October 2nd to November 17th 2017, Sladmore Gallery, London, illustrated cat. no. 1 (this actual cast).Fiddian Green, Rodin and the Elgin Marbles - Classical Inspiration, April 25th to May 18th 2018, Sladmore Gallery, London (this actual cast).Dimensions: 23 in. (H) x 11. in (W) Literature: 'The Bronzes of Rodin. Catalogue of works in the Musée Rodin', by Antoinette Le Normand-Romain, Paris, 2007, page 432-433.'Rodin the Shape of Genius', by Ruth Butler, 1993, pages 172-178.'Rodin's Art. The Rodin Collection Iris and B. Gerald Cantor Center for Visual Arts Stanford University, Albert E. Elsen, with Rosalyn Frankel Jamison, 2003, pages 293 - 296.Dimensions: (With base) 23 in. (H) x 10 in. (W) (Without base) 17 in. (H) x 10 in. (W)

Misheck Masamvu (Zimbabwé, né en 1980)Disputed Seats2008signé et daté 'M Masamvu 08' en bas à droitehuile sur toile signed and dated 'M Masamvu 08' lower rightoil on canvas 115 x 95 cm. 45 1/4 x 37 3/8 in.Footnotes:Cette oeuvre est accompagnée d'un certificat d'authenticité. This work is accompanied by a certificate of authenticity.ProvenanceInflux Contemporary GalleryCollection privée, Pays-BasExpositionPortugal, Lisbon, Influx Contemporary Art, Disputed Seats, 2009.For further information on this lot please visit Bonhams.com

Yannick Ackah (Côte d'Ivoire, né en 1992)Héritage2022signé et daté 'Yannick.A 22' en bas à droite technique mixte sur toilesigned and dated 'Yannick.A 22' lower right mixed technic on canvas 160 x 200 cm.63 x 78 3/4 in.Footnotes:ProvenanceGalerie Melbye-KonanPrivate Collection GermanyBibliographieYannick Ackah, Monographie, 2022, Melbye-Konan Publications, Pages: 80Yannick Ackah est un artiste contemporain reconnu, et actuellement l'un des jeunes artistes les plus suivis du continent. Ses œuvres, faisant ouvertement référence aux esthétiques africanisées de Picasso et de Basquiat, ont été récemment présentées lors de la foire d'art berlinoise Positions et à l'occasion de sa première exposition solo en septembre dernier à Hambourg, Allemagne.À première vue, ses œuvres suggèrent un enracinement profond dans les cultures visuelles et les imaginaires africains. Les formes humanoïdes suspendues dans la toile semblent vouloir orienter la contemplation vers des vérités ancestrales, dont la temporalité et l'individualité sont absentes.Ackah lui-même décrit sa relation avec celles-ci comme un mystère :'Ce que je vois dans les sculptures africaines, c'est la beauté, un défi, une histoire complète, un grand mystère que j'essaie de résoudre à travers mon travail avec des lignes, des coups de pinceau et aussi avec la couleur.' (Ackah, 2021)Divers matériaux tels que du papier, des articles de journaux et de magazines ou du tissu, qu'il assemble dans ses œuvres comme dans un collage, créent la structure typique de la surface de ses toiles. Ils contribuent à la tridimensionnalité et à la profondeur de ses œuvres, y intégrant des références à la culture pop, qu'il associe de manière ludique à des motifs traditionnels.Si vous vous laissez embarquer dans le récit fantasmagorique de ses peintures, vous percevrez une confrontation constante entre les thématiques omniscientes et universelles que sont la vie et de la mort, le jour et la nuit, le jeu rêveur et les abysses mentales. Autant de bases de réflexion constituant les fondations de 'la poésie d'une existence', comme le dit lui-même le jeune artiste. En 2020, Yannick Ackah termine ses études d'art à l'I.N.S.A.A.C (Institut National Supérieur des Arts et de l'Action Culturelle) à Abidjan (Côte d'Ivoire). Depuis, il a exposé à l'international et ses œuvres font partie de prestigieuses collections privées en France, en Allemagne, en Suisse, en Espagne, au Japon et aux États-Unis.Yannick Ackah is a recognized contemporary artist, and currently one of the most sought-after newcomer artists from Africa. His works have echoes of Picasso and Basquiat and were also immediately sold out at the Berlin Art Fair Positions and at his first Solo Show last September in Germany. At first glance, the works of this artist suggests his deep rootedness in the visual cultures of Africa. The engaging images seem to want to carry you away, in search of individual truth, but also the collective truth of a culture. For his compositions, Ackah draws inspiration from African sculptures and masks. The stylistic artistic reference to Picasso and his work is deliberately chosen, whereby Picasso's source of inspiration also leads back to African culture. Ackah himself describes his relationship to it as a mystery: 'What I see in African sculptures is beauty, a challenge, a complete story, a great mystery that I try to solve through my work with lines, brushstrokes and also with colour.' (Ackah, 2021) Various materials such as paper, newspaper and magazine articles or fabric, which he assembles in his works as in a collage, create the typical surface structure. They contribute to the three-dimensionality and depth of his works and add a dimension of everyday life and pop culture, which the artist playfully combines with traditional motifs.If you allow yourself to embark on this journey, you will often recognize a play of opposites: The dialectic of life and death, mental abysses and dreamy playfulness, day and night, in short 'the poetry of an existence', as the young artist himself states.But his own identity and the society in which he lives also play an undeniable role for Ackah. Socio-political themes such as racism and the deep wounds of colonialism as well as to the cultural appropriation can also be found in the works. In 2020 Yannick Ackah completed his art studies at I.N.S.A.A.C (Institut National Supérieur des Arts et de l'Action Culturelle) in Abidjan (Ivory Coast). Since then, he exhibited internationally and his works are part of prestigious private collections in France, Germany, Switzerland, Spain, Japon and the United States.For further information on this lot please visit Bonhams.com

Ernesto Shikhani (Mozambique, 1934-2010)The Last Supper1977 signé et daté 'Shikhani, 1977' en bas à droitehuile sur toilesigned and dated 'Shikhani, 1977' lower rightoil on canvas100 x 200 cm.39 3/8 x 78 3/4 in.Footnotes:ProvenanceHotel Pinhal Ofir - Esposende, Portugal (don de l'artiste)Collection privée, PortugalPuis par descendance au propriétaire actuelErnesto Shikhani est né en 1934 dans la région de Muvesha au Mozambique. Dès le début de son apprentissage artistique il se consacre à la sculpture, guidé par le maître portugais Lobo Fernandes alors enseignant au Núcleo de Arte, à Maputo. Son travail est empreint d'un mélange audacieux, à mi-chemin entre les pratiques artistiques traditionnelles mozambicaines et les propositions plastiques contemporaines de l'époque. Cette toile est réalisée en 1977, trois ans après la signature du traité d'indépendance du Mozambique. Accord précédé d'une lutte pour la liberté qui entraina dix années de guerre civile avec le Portugal, laissant derrière elle un pays profondément marqué par la violence. Ernesto Shikhani, comme d'autres artistes mozambicains témoins de l'injustice sociale des anciennes colonies portugaises, met son art au service d'un nationalisme mozambicain naissant et assumé. Beaucoup d'entre eux seront cependant censurés par la Police de renseignement portugaise (PIDE) sous l'égide d'un gouvernement encore en proie aux maximes religieuses et racistes de l'époque. Cette œuvre représente une des plus célèbres scènes bibliques, la Cène, illustrant Jésus entouré de ses apôtres. À la seule différence que les personnages sont ici de couleur noire, une attaque évidente à la mentalité suprémaciste blanche qui imprégnait alors les mœurs coloniales portugaises au Mozambique.Lors d'un séjour au Portugal à l'été 1977, il fait cadeau de cette toile à l'hôtel de Pinhal Ofir – Esposende, où il réside. L'Hôtel confie alors la toile à une société d'encadrement, appartenant à la famille de l'actuel propriétaire. Dans le contrat, chose assez classique à l'époque, est mentionné que si l'œuvre n'est pas récupérée au bout d'un an elle deviendrait la propriété de l'encadreur.L'Hôtel Pinhal Ofir n'alla jamais chercher l'œuvre, jugée trop polémique par le gouvernement portugais.When commencing his artistic training in Mozambique, Ernesto Shikhani first dedicated himself to sculpture, guided by the Portuguese master Lobo Fernandes who was then a teacher at the Núcleo de Arte school of Maputo. From 1970, he expanded his practice to also focus on painting. Shikhani's work is marked by a bold hybridity – he fuses traditional Mozambican artistic practices with contemporary approaches to artmaking. The present work was created in 1977, three years after Mozambique secured independence from Portuguese colonial rule. This liberation was preceded by a struggle for freedom that had resulted in a decade-long civil war, leaving behind a country deeply marked by violence.Ernesto Shikhani, like other Mozambican artists who witnessed the social injustices of the former Portuguese colonial rule, put his art to the service of a nascent nationalism. Many of his works were censored by the Portuguese Intelligence Police (PIDE) who worked under the aegis of a government still caught in the grip of the religious and racist maxims prevalent in this period. The work represents one of the best-known biblical scenes, The Last Supper, and portrays Jesus and his apostles gathered around a table. The only difference in Shikhani's work is that the characters are portrayed as black, a provocation to the white supremacist mentality that impregnated the lingering colonial ideologies prevalent in Mozambique at the time. During his visit to Portugal in the summer of 1977, Shikhani donated the present work to the Hotel de Pinhal Ofir-Esposende, where he stayed. The hotel entrusted the painting to a framing company belonging to the family of the current owner. In the framing contract it was written that if the work was not recovered within a year, it would become the property of the framer – a stipulation common at the time. The Hotel Pinhal Ofir-Esposende never sent for the work, which was considered too controversial by the Portuguese government who had threatened to close the establishment if they decided to exhibit the painting.For further information on this lot please visit Bonhams.com

Wosene Worke Kosrof ((Ethiopie/Amérique, né en 1950)Masinco Bar1995signé et daté 'Wosene: 95' en bas à droite; signé et daté au revers acrylique sur toile signed and dated 'Wosene: 95' lower right; signed and dated on the reverseacrylic on canvas120 x 105 cm.47 1/4 x 41 5/16 in.Footnotes:ProvenanceCollection privée, Pays-BasBibliographieElizabeth W. Giorgis, Modernist Art in Ethiopia, New African Histories, (Athens, Ohio: Ohio University Press, 2019), pp. 161-170.Elizabeth Harney, Ethiopian Passages, Contemporary Art from the Diaspora, (London: Philp Wilson Publishers, 2003), pp. 46-47, 84.Ndubuisi Ezeluomba, African Artists, from 1882 to Now, (London: Phaidon Press, 2021), p. 181.Peintre profondément moderniste, Kosrof débute sa carrière artistique après avoir obtenu son baccalauréat à l'École des beaux-arts d'Addis-Abeba en 1972. Élève d'Alexander (Skunder) Boghossian et de Gebre Kristos à cette époque, les qualités formelles des compositions abstraites dérivées de l'écriture et des symboles amhariques sont flagrantes.Cette œuvre porte l'essence du style de Kosrof, démontrant une fois de plus son aptitude à expérimenter et à emboîter les formes de façon intuitive et spontanée. Kosrof compare l'esthétique de sa peinture au processus rythmique de création de la musique jazz, qui influence fortement son œuvre. De la même manière que le jazz improvisé démonte et réarrange les rythmes traditionnels de la musique, Kosrof déconstruit et réassemble les lettres calligraphiques de l'écriture amharique, les allongeant, les abstrayant et les déformant pour produire son propre langage visuel et sa propre poésie.Sans même esquisser son œuvre sur la toile avant de la peindre, Kosrof laisse une improvisation visuelle se déployer et commander son œuvre.'Je crée une surface visible et interactive - comme des icônes visuelles accessibles à tous. Mes tableaux invitent les spectateurs à dialoguer avec eux, à les projeter dans leur mémoire et leurs souvenirs personnels.'As a profound modernist painter, Kosrof began his artistic career after receiving his BFA from the School of Fine Arts Addis Ababa in 1972. As a student of Alexander (Skunder) Boghossian and Gebre Kristos during this time, the formal qualities of abstract compositions derived from Amharic script and symbols are evident in Kosrof's work. This work encapsulates the essence of Kosrof's style, displaying his intuitive experimentation and interplay between accident and intention. Using this juxtaposition within his creative process, Kosrof likens the aesthetic of his painting to the rhythmic process of creating jazz music, that of which heavily influences his oeuvre. In the same way improvised jazz dismantles and re-arranges traditional rhythms of music, Kosrof deconstructs and reassembles the calligraphic letters from the Amharic script, elongating, abstracting, and distorting letters to produce his own visual language and poetry. Without sketching his work on canvas prior to painting, Kosrof allows a visual improvisation to unfold and command his work. Here, the artist takes ownership of this new language he has created and adds new meaning while simultaneously acknowledging his and his work's cultural identity.'I create a visible, interactive surface – like visual icons that are accessible to everyone. My paintings invite viewers to dialogue with them, to take them into their memory.'For further information on this lot please visit Bonhams.com

William Kentridge (Afrique du Sud, né en 1955)Sans titre (dessin du film Felix in Exile)1994signé et daté 'Kentridge 94' en bas à droitefusain et pastel sur papier signed and dated 'Kentridge 94' lower rightcharcoal and pastel on paper46 x 63 cm.18 1/8 x 24 13/16 in.Footnotes:ProvenanceAcquis directement auprès de l'artisteCollection privée, FranceBibliographieStaci Boris, The Process of Change: Landscape, Memory, Animation, and Felix in Exile, William Kentridge, (Chicago and New York: Museum of Contemporary Art, Chicago and the New Museum of Contemporary Art, New York, 2001), p. 32.Carolyn Christov-Bakargiev, William Kentridge, (Brussels: Societe des Expositions du Palais des Beaux-Arts de Bruxelles/Vereniging voor Tentoonstellingen van het Paleis voor Schone Kunsten Brussel, 1998), p. 61-64.Matthew Kentridge, The Soho Chronicles, 10 Films by William Kentridge, (London, New York & Calcutta: Seagull Books, 2015), p. 238-239 L'œuvre Sans titre est tirée de Felix in Exile, un film de Kentridge réalisé entre septembre 1993 et mars 1994. Le mois suivant l'achèvement du film, l'Afrique du Sud organise les premières élections démocratiques de l'histoire du pays. Si certains y voient une libération politique, la violence et les effusions de sang qui ébranlent la ville de Johannesburg pendant la période précédant ces élections sont inédites. Felix in Exile invoque le sacrifice, le chagrin et le souvenir de l'autodestruction du peuple, à la fois au regard des événements qui conduiront à l'élection et en référence à l'histoire personnelle de Kentridge.Nandi, protagoniste du film, est visible à l'écran dès le début du court métrage, observant la terre, reportant dans son dessin l'horrible champ de cadavres en sang qui se dissolvent dans le paysage. L'œuvre ici présentée est visible dans le film de 7:08 à 7:09 minutes, lorsque Nandi gît morte après avoir été tuée par un sniper. La ligne rouge bordant la figure, à la manière si caractéristique de Kentridge, fut ajoutée par la suite. Le processus artistique de William Kentridge, qui consiste à retravailler et à modifier un dessin unique à de nombreuses reprises afin d'illustrer les mouvements animés du film, abouti à cet unique dessin, capturant le tragique de l'entièreté de la scène. 'La technique que j'utilise consiste à avoir une feuille de papier collée au mur du studio et, à mi-chemin dans la pièce, mon appareil photo, généralement une vieille Bolex. Un dessin est gribouillé sur le papier, je me dirige vers la caméra, je tourne une ou deux images, je reviens vers le papier, je modifie le dessin (de façon marginale), je reviens vers la caméra, je reviens vers le papier, vers la caméra, et ainsi de suite. Ainsi, chaque séquence, par opposition à chaque image du film, est un dessin unique. En tout, il peut y avoir vingt dessins pour un film plutôt que les milliers auxquels on s'attend. Cela ressemble plus à la réalisation d'un dessin qu'à celle d'un film (bien qu'il s'agisse d'un dessin gris, abîmé et frotté)'.(Conférence, 1993, publiée dans Cycnos : Image et Langage, Problèmes, Approches, Méthodes, Nice, vol. 11 no.1, 1994, pp. 163-168. Republié dans C. Christov-Bakargiev, William Kentridge, William Kentridge, Société des Expositions du Palais de Beaux-Arts, Bruxelles 1998, pgs.61-64)Influencée par la photographie graphique de l'époque couverte par les médias et la photographie d'enquête policière, cette esquisse incarne la nature froide, presque médicale, de ces photographies. Le cadrage de la figure réduit Nandi à une enquête objectivée, à étudier avec recul, dépourvue d'émotion humaine et volontairement privée de la compassion du spectateur.This is a drawing from Felix in Exile, a film by Kentridge created between September 1993 and March 1994. The following month after this film was completed, South Africa held the first democratic election in the country's history. Whilst this would have been viewed by some as political liberation, the reality of the city of Johannesburg was riddled with violence and bloodshed in the journey up to this election. Felix in Exile examines the sacrifice, grief and memorial encapsulating the destruction of the people at the hands of others both in the events leading to the election and historically throughout Kentridge's life. Nandi, a protagonist of the film, can be seen from the beginning of the film observing the land, witnessing bleeding corpses dissolving into the landscape of which she is drawing. The present lot can be seen in the film from 7:08 to 7:09 when Nandi lays dead after being killed by a sniper. Not present in this scene of Nandi's dead body is the addition of the red line bordering the figure which we see here in the drawing today. Kentridge's process of re-working and altering a singular drawing numerous times to display animated movement in the film has resulted in this conclusive drawing. 'The technique I use is to have a sheet of paper stuck up on the studio wall and, half-way across the room, my camera, usually an old Bolex. A drawing is tarted on the paper, I walk across to the camera, shoot one or two frames, walk back to the paper, change the drawing (marginally), walk back to the camera, walk back to the paper, to the camera, and so on. So that each sequence as opposed to each frame of the film is a single drawing. In all there may be twenty drawings to a film rather than the thousands one expects. It is more like making a drawing than making a film (albeit a gray, battered and rubbed about drawing).'(Lecture, 1993, published in Cycnos: Image et Langage, Problemes, Approches, Méthodes, Nice, vol. 11 no.1, 1994, pp. 163-168. Republished in C. Christov-Bakargiev, William Kentridge, William Kentridge, Societe des Expositions du Palais de Beaux-Arts, Bruxelles 1998, pgs.61-64)For this piece, while the red line suggests that the piece has been re-worked since its inclusion in Felix in Exile, it's addition also summarises the themes that are explored within the wider film. Influenced by the graphic photography of the time covered by the media and police investigation photography, this sketch embodies the cold forensic nature of these photographs. Framing the figure in this way shifts the humanitarian view of the corpse, reducing Nandi to an objectified investigation to be studied, devoid of human emotion.For further information on this lot please visit Bonhams.com

Gerald Chukwuma (Nigéria, né en 1973)Big Fish2006signé 'GDY' au centretechnique mixte sur panneaux (20 pièces)signed 'GDY' on the centermixed media on wood panels (20 pieces)117 x 175.5 cm. 46 x 69 in.Footnotes:ProvenanceVente: ArtHouse Contemporary Ltd, Lagos, Modern and Contemporary art, 29 novembre 2021, lot 11Collection privée, ItalieFor further information on this lot please visit Bonhams.com

Alexander 'Skunder' Boghossian (Ethiopie, 1937-2003)The Devil and the Crescent1970signé et daté 'Skunder 70' en bas à droite; titré au revershuile sur panneau signed and dated 'Skunder 70' lower right; titled on the reverseoil on panel47 x 41 cm. 18 3/4 x 16 1/4 in.Footnotes:ProvenanceAcquis auprès de l'artiste en 1971The Art Lending Service of the Museum of Modern Art, New York, de avril 1971 à mai 1972Collection privée, Etats-UnisVente: Bonhams, Londres, Africa Now, 20 mai 2015, lot 22Collection privée, FranceExpositionNew York, African-American Institute, African Art Today: Four Major Artists, du 14 mai au 31 aout 1974, no. 701-717.Skunder Boghossian grandit en Éthiopie, mais passe la majeure partie de sa carrière à Washington DC, aux États-Unis. Après avoir suivi une formation artistique en Europe, Skunder retourne en Éthiopie entre 1966 et 1969, période durant laquelle il travaille aux côtés du célèbre artiste contemporain (et autre 'pionnier' de l'art éthiopien) Gebre Kristos Desta, en tant que professeur à la prestigieuse école des beaux-arts d'Addis-Abeba. De nombreuses œuvres réalisées à cette époque ont contribué à ce que l'on appelle « la Renaissance du printemps d'Addis », une incroyable période de créativité et de fécondité pour l'art éthiopien, grâce à l'introduction de nouvelles influences et aux apports de ceux qui avaient étudié à l'étranger. Au cours de ces années, l'œuvre de Skunder s'est avérée incroyablement populaire et a été exposée dans trois studios à Addis-Abeba.De nombreux élèves de Skunder ont ensuite suivi ses traces, soit en émigrant aux États-Unis pour continuer de suivre son enseignement, soit en s'inspirant de ses expérimentations artistiques pour devenir les figures de proue d'un nouveau modèle d'art éthiopien contemporain. Cette aura auprès de la jeune génération d'artistes lui valut le titre de 'père des arts éthiopiens'. La renaissance du printemps d'Addis sera malheureusement cruellement réprimée en Éthiopie à l'époque du Derg, tandis que des artistes comme Skunder - qui choisirent d'émigrer – purent exprimer leur désillusion et leur déception à distance. Skunder est le premier artiste éthiopien à voir ses œuvres exposées au Musée d'Art Moderne et au Smithsonian.The Devil and The Crescent (Le Diable et le Croissant de lune) est datée 1970, trois ans après qu'il reçut le Prix des Beaux-Arts de l'Empereur Hailé Sélassié I et le Prix allemand des peintres africains contemporains, à Munich. Les motifs complexes et les couleurs tranchées représentent parfaitement l'influence croissante au début des années soixante-dix des motifs ouest-africains et coptes dans ses œuvres, ainsi que des recherches artistiques menées par les avant-gardistes internationaux Paul Klee, Max Ernst et de l'artiste cubain Wilfredo Lam.Skunder Boghossian was brought up in Ethiopia, but lived in Washington DC, USA for the majority of his working life. Following a European art education, Skunder returned to Ethiopia between 1966 and 1969, during which time he worked alongside renowned contemporary artist (and fellow 'father' of Ethiopian art) Gebre Kristos Desta, instructing at the prestigious Addis Ababa School of Fine Arts. Many works executed at this time contributed to what has been called the 'Addis Spring Renaissance', an incredible period of creativity and fecundity for Ethiopian art responding to the introduction of new influences and inspiration from those who had studied abroad. During these years, Skunder's work proved incredibly popular and was exhibited in as many as three studios in Addis Ababa at any one time.Many of Skunder's students would go on to follow in his footsteps either by emigrating to the USA and continuing as his pupils, or by taking inspiration from his innovations to become the leading figures in a new mode of contemporary Ethiopian art. This has earned him the title 'father of Ethiopian arts'. Unfortunately, the 'Addis Spring Renaissance' would be cruelly repressed in Ethiopia during the era of the Derg, whilst artists such as Skunder - who chose to emigrate - were free to express their disillusionment but only from a distance. Skunder was the first Ethiopian artist to have works exhibited in the Musée d'Art Moderne and the Smithsonian.The intricate patterning and delicately intertwined figuring of The Devil and the Crescent gives the impression of an incredibly organic work, foreshadowing Boghossian's works of the 1970s, which demonstrate the growing influence of West African and Coptic motifs in his works as well as the international influences of Paul Klee, Max Ernst and the Cuban artist Wilfredo Lam.For further information on this lot please visit Bonhams.com

An exceptional Dutch stipple-engraved light baluster goblet by 'Alius', circa 1760-80The generous round funnel bowl finely decorated with a chinoiserie scene depicting an elderly Chinese gentleman seated on a stool before a tree, playing a Chinese lute or pipa with both hands, the hairs of his beard and moustache picked out with fine lines in diamond-point, accompanied by a boy playing a Bianzhong comprising a set of musical bells suspended from an arch, the tall multi-knopped stem with an upper beaded dumbbell above an inverted baluster containing an elongated tear extending into the basal knop, over a conical foot, 22cm highFootnotes:ProvenanceJ van Buren Collection, Scheurleer, The Hague, 11 December 1808, lot 98, purchased by Hultman for 15 guildersBoom Collection, BredaJoseph Gregory Littledale Collection, WeybridgeAnthony Waugh Collection, Wolverhampton, Sotheby's, 28 April 1980, lot 209With Ward Lloyd, LondonMühleib Collection, Bonhams, 2 May 2013, lot 58With Kunsthandel Jacques Fijnaut, 13 March 2018Stephen Pohlmann CollectionLiteratureD H de Castro, 'Een en ander over glasgravure', Oud-Holland 1(4) (1883), p.285, pl.1883 Wilfred Buckley, D Wolff and the Glasses that he Engraved (1935), p.30Hugh Tait, ''Wolff' glasses in an English private collection', Connoisseur 168 (1968), p.105, figs.5 and 6George Turnbull and Anthony Herron, The Price Guide to English 18th Century Drinking Glasses (1970), p.78, Group 4, no.4/13Frank Davis, 'Talking About Salerooms', Country Life, Vol.168 (August 1980), p.687F G A M Smit, Uniquely Dutch Eighteenth-Century Stipple-Engravings on Glass (1993), p.106, no.Ch.18Stephen Pohlmann, 'An Eclectic Collector', Glass Matters, no.14 (June 2022), p.22, fig.5Exhibited300 Years of British Glass 1675-1975, Wolverhampton Art Gallery and Museum, 14 June 1975, no.208Kunsthandel Jacques Fijnaut BV, TEFAF Maastricht, 10-19 March 2017, catalogue p.240Although he never signed any of his engravings, 'Alius' was one of the most important Dutch master glass engravers of the 18th century. The incredible lightness of touch which he so breathtakingly achieved on this goblet demonstrates the remarkable degree to which this engraver mastered the stipple technique. It is perhaps no surprise that for many years this piece was considered to be the work of his contemporary, David Wolff.In his 1935 monograph on Wolff, Wilfred Buckley identified a group of glasses which he considered to be of higher quality both technically and artistically, with finer stippling and better draughtsmanship, than examples signed by Wolff himself, see p.26 and 'Group C'. These were subsequently attributed to 'Alius' in Frans Smit's 1993 catalogue. Whilst there are close similarities between the designs chosen by both engravers and they may have worked in association with one another, 'Alius' is the only Dutch engraver known to have stippled chinoiseries on glass and he attained a level of skill which undoubtedly surpassed that of Wolff.Only six other glasses stippled with chinoiseries by 'Alius' are recorded including the present lot, all of which incorporate the full-length figure of a Chinese gentleman. Two of these are similarly decorated with musical scenes in which an elderly seated man plays a Chinese lute or pipa. This includes a light baluster goblet of similar form to the present lot in the Brunnier Art Museum (Smit no.Eb.28) and a facet stem goblet in the Metropolitan Museum of Art (Smit no.Ch.19). Another goblet of similar size and form to the present lot but decorated with a different chinoiserie scene (Smit no.Ch.20) is illustrated by Hubert Vreeken, Glas in Het Amsterdams Historisch Museum (1998), p.258, no.293. The remaining two chinoiserie decorated goblets recorded include an opaque twist example in the Rijksmuseum (Smit no.Ch.17) illustrated by Pieter C Ritsema van Eck, Glass in the Rijksmuseum, Vol.2 (1995), p.432, no.548 and a further facet stem example in the Manoir de Saussey (Smit no.Ci.28).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

Sir Antony Gormley OBE RA, British b.1950- Domain Field, 2003; offset lithographic poster in colours on thin wove, signed in black ink, produced to accompany the Domain Field installation at BALTIC Centre for Contemporary Art, Gateshead, sheet: 34.6 x 59.5 cm, (unframed) (ARR)Please refer to department for condition report

Peter Doig, Scottish, b. 1959- Untitled (Canoe) from Grasshopper Series; etching on wove, numbered 25/35 and signed in pencil, 45 x 55.5 cm, (framed) (ARR) Provenance: With the Contemporary Art Society Market (according to a label on the reverse) Please refer to department for condition report

John Piper CH, British 1903-1992, Dinton Folly (Levinson 367), 1983; screenprint in colours on wove, signed and numbered 88/100 in pencil, printed at Kelpra Studio, published by Christie’s Contemporary Art, image: 49 x 69.7 cm, (unframed) (ARR) Please refer to department for condition report

IKEMURA, LEIKOTsu, Mie-Ken/JapanTitel: Ohne Titel. Datierung: 1980. Technik: Öl auf Nessel. Maße: 180 x 152cm. Rahmen/Sockel: Kastenrahmen. Das Werk ist auf der offiziellen Internetseite der Künstlerin aufgeführt und hier mit der Werknummer M-80 10 bezeichnet (www.leiko.info).Provenienz: - Hessisches Landesmuseum, Darmstadt (ehemalige Dauerleihgabe)- Privatsammlung Bayern Ausstellungen: - Hessisches Landesmuseum, Darmstadt, 1985/86Literatur: - Verein der Freunde und Förderer des Hessischen Landesmuseums in Darmstadt (Hrsg.): Tiefe Blicke. Kunst der achtziger Jahre aus der Bundesrepublik Deutschland, der DDR, Österreich und der Schweiz, Köln 1985- Heibonsha (Hrsg.): Leiko Ikemura, Tokyo 2019, S. 59- Liebs, Holger (Hrsg.): Leiko Ikemura. Paintings, Berlin 2019, S. 14- Großformatiges Frühwerk mit einer für die Phase charakteristischen expressiven Strichführung- Ikemura zählt in den 1980er Jahren zu dem erweiterten Kreis der "Neuen Wilden" und stellt mit den Protagonisten der Künstlergruppe mehrfach aus- Werke der Künstlerin sind in zahlreichen bedeutenden öffentlichen Sammlungen vertreten, darunter Kunstmuseum Basel, Centre Georges Pompidou, Paris, und National Museum of Contemporary Art, Osaka/JapanDie deutsch-japanische Künstlerin Leiko Ikemura präsentiert in ihren Gemälden, Zeichnungen, Aquarellen und Grafiken zauberhafte Hybridwesen. Diese bevölkern die sphärischen Landschaften der Künstlerin, die einer "inneren Landschaft" entsprechen, und sie manifestieren sich auch in ihren Skulpturen.Im Frühwerk thematisiert Ikemura meist den Kampf der Geschlechter. Später beschäftigt sie sich mit der Darstellung von Mädchen oder "girls", wie sie selbst diese Figuren nennt. Es sind Heranwachsende, noch halb Kind, doch schon auf der Schwelle zum Erwachsenwerden. Gerade diese Übergangsphase interessiert die Künstlerin und sie findet dafür eine einzigartige, ausdrucksstarke Bildsprache, die sie weltweit berühmt macht.Das hier vorgestellte Werk aus dem Jahr 1980 zeigt sich noch nicht so transluzide wie die späteren Arbeiten, doch es präfiguriert aufs Schönste die für die Künstlerin charakteristischen Elemente. In einer grandios absurden Szenerie sitzt eine Art Leguan auf dem Kopf einer Frauenbüste. Die spitze Form des Tierschwanzes wiederholt sich in einer Flosse, die wie ein Tiefenruder die puppenhafte Büste durch die Lüfte zu führen scheint. Der Blick der Frau ist leer und leicht verwundert, wer sich ihr auf der Reise hinzugesellt hat. Das seltsame Gespann treibt in einem bewegten, der Zeit enthobenem weiß-grauem Raum, der sie scheinbar zwischen Himmel und Erde, zwischen Vergangenheit und Zukunft schweben lässt. Das Rosérot der Flosse wird kontrastiert von der grünen Haut des Reptils, und doch scheinen die beiden Körper eins geworden zu sein. Metaphorisch versinnbildlichen sie die Vermischung von Mensch und Natur sowie von Bewusstsein und Unterbewusstsein, welche eine wichtige Rolle im Werk der Künstlerin einnehmen. Es könnte auch für die Verschmelzung der Kulturen stehen, wie der deutschen mit der japanischen, die Leiko Ikemura in sich vereint.Mit wenigen Versatzstücken, einem Haiku - der wunderbaren japanischen Poesie in Kurzform - gleich, erschafft die Künstlerin einen fantastischen Kosmos, in der sich die verschiedensten Geschichten sowie das Philosophieren über den Menschen und die Welt entspinnen können. Erläuterungen zum Katalog