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Click here to subscribeSir 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
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
HERNÁNDEZ, DIANGO1970 Sancti Spiritus/KubaTitel: Ohne Titel (Vogel). Datierung: 2013. Technik: Grafit auf schwarz grundiertem Holz. Mit Metallleiste eingefasst. Maße: 100 x 80cm. Bezeichnung: Signiert und datiert verso mittig: Diango 2013. Rahmen/Sockel: Kastenrahmen. Provenienz:- Privatsammlung Nordrhein-WestfalenAusstellungen: - Marlborough Contemporary, London Der Künstler Diango Hernández ist in vielen bedeutenden Sammlungen vertreten, unter anderem in:- The Museum of Modern Art, New York- Pérez Kunst Museum, Miami- Museum of Fine Art Houston, Houston/TX, USA- MART Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Italien- Kunstmuseum Liechtenstein, Vaduz- Ludwig Museum, Köln- Art collection of the county North Rhine-Westphalia, Düsseldorf. Erläuterungen zum Katalog
HERNÁNDEZ, DIANGO1970 Sancti Spiritus/KubaTitel: Ohne Titel (Hase). Datierung: 2013. Technik: Grafit auf schwarz grundiertem Holz. Mit Metallleiste eingefasst. Maße: 100 x 80cm. Bezeichnung: Signiert und datiert verso mittig: Diango 2013. Rahmen/Sockel: Kastenrahmen. Provenienz:- Privatsammlung Nordrhein-WestfalenAusstellungen:- Marlborough Contemporary, LondonDer Künstler Diango Hernández ist in vielen bedeutenden Sammlungen vertreten, unter anderem in:- The Museum of Modern Art, New York- Pérez Kunst Museum, Miami- Museum of Fine Art Houston, Houston/TX, USA- MART Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Italien- Kunstmuseum Liechtenstein, Vaduz- Ludwig Museum, Köln- Art collection of the county North Rhine-Westphalia, Düsseldorf. Erläuterungen zum Katalog
JULIEN, ISAAC1960 LondonTitel: Baltimore. Datierung: 2003. Technik: 3-Kanal-Videoprojektion von drei parallel laufenden Filmen. Zeit: 11:36 min. Auf SUB-MASTER Digital Betacam und drei DVD-R. Exemplar: Ex. 4/6. Zu der Videoinstallation liegt ein vom Künstler unterschriebenes Zertifikat vom 21. Juli 2004 vor. Zudem wird sie durch umfassende Installationsanweisungen begleitet.Provenienz: - Victoria Miro Gallery, London- Sammlung Prof. Dr. Thomas Olbricht, EssenDie Arbeit "Baltimore" thematisiert die Kinematisierung der Videokunst. Das Walter Art Museum, das Contemporary Museum und das Great Blacks in Wax Museum werden zu den zentralen Orten und Thema von Juliens Werk, ähnlich früherer Arbeiten wie "Vagabondia" und "Three", in denen ebenfalls Museen zum Handlungsort werden. Durch die präzise gewählten Drehorte rückt Julien so auch die im Oeuvre des Künstlers häufig anzutreffenden Themenschwerpunkte Rassismus und Gender in den Fokus seiner Beobachtungen. Julien verbindet diese Orte in einer Art Hommage an die Filme des Schauspielers und Regisseurs Melvin Van Peeble, mit dem "Blaxploitation-Kino", das mit seiner "tough talking, hard-living"-Mentalität als Symbol für "black empowerment" steht. Die Videoinstallation ist nicht nur ironisch und weist Bezüge zur Strömung der Funk-Musik auf, sie vereint ebenso Nostalgie und Futurismus und schwankt zwischen rauen und feinen Elementen. Durch diese übergreifende Umsetzung der Arbeit entzieht sich Juliens Werk der einfachen Kategorisierung.Erläuterungen zum Katalog
Paul Zwietnig-Rotterdam (born 1939),’’nobody knows at what point in life a night bow appears’’, black ink on paper, signed and dated 2015, on the reverse description by the artist, 43,5 x 35,5 cm, Dedication from the Artist to Casper David Friedrich (1774-1840)On February 28, 1982, at the invitation of the Boston Art Society, I gave a lecture on the elements of abstract formalism in contemporary art, using as the central image, radiating the rays of the sublime, the 1810 Night Arch by C.D. Friedrich, who I claimed is a clear pictorial invention, a formal invention that exists only in the imagination and has little or nothing in common with the real of the physical phenomenal world, like the spirals in Van Gogh's sky or the red ones Trees by Mondrian etc. come from the focus on the immediacy of the pictorial object. It is amazing how directly and without hesitation Friedrich holds the edges of the picture together with the white sheet. The image hangs on the white line like a wire. All the contents of the presentation relate to the immediacy of the surface. In addition to the visual parameters that I highlighted in my lecture, it probably always came back to the fact that Friedrich invented the Nachtbogen to keep the picture in a high degree of abstraction, that painting is an art of stillness and invention is that new forms and formal contexts are involved in the development of the world. Immediately after the lecture, which ended at about 10:00 p.m., Rebecca and I got in the car and three hours later we reached our home in North Blenheim. The house stands on a wide plateau on a hill with a deep view of the valley. Left and right the hilly mountain ranges of the Adorandecks. No light far and wide, only stars, moon and everything white covered with snow. We get out of the car and stretch our feet with a few steps up the hill. And as we turn around: a great white streak rises in the firmament, a white arc appears across the valley, stretching from mountain to mountain, just as Frederick depicted in his picture. The white nightbow was there for at least a minute. We didn't know what to say - I secretly said thank you Friedrich - knowing that we received a message from the afterlife. In 1982 I made a nightbow drawing that is now in the Leopold Collection, and oddly enough it was only a year ago that I became interested in the subject again. Although repetitions in art get on my nerves, I have made 5 nightbow drawings so far because "no one knows when a nightbow will appear" and it is interesting that the drawings are different and only have in common the white line that runs above the formal one composition rises. I only told one or two friends about the nightbow event, told it two years ago to the physicist whose name is Humuk and worked for the Atomic Energy Commission, has a PhD from MIT, gave me physics classes. He understood. that the question is not how the white nightbow came about through the moon, but the question why it appeared at the very moment when I was still living in my nightbow lecture and needed the real nightbow in the middle of the snowy landscape. It now only has to be decided, said the physicist, whether this nightbow appeared in my brain or actually in the firmament. But because Rebecca admired the brilliance of the white line in the starry sky and how fantastic it is to be personally connected to the universe, I can humbly report about the nightbow. It was a wonderful event, it was a fantastic gift.
GERALD BENNEY: a rare pair of silver-gilt and enamelled pitchersLondon 1973, the bases with master enamellers mark AAE in an oval punch, for Alan Alfred Evans, stamped GERALD BENNEY LONDON,Translucent red enamelled hinged domed covers over a fine textured ground, with bodies with bark effect textured sides of broad baluster form, with cream enamelled loop handles, each with an engraved crest to the front with the head of St John the Baptist couped distilling drops of blood within a strap and buckle, initialled by the hinge mount script 'M L', height 25.5cm, weight total 89oz. (2)Footnotes:ProvenanceSold Bonhams 12th October 2004, lot 128.Gerald Benney decided that his home at Beenham House in Berkshire was the place to develop the use of enamels. The first steps were to travel to Zurich to find an enameller who worked for Burch Korrodi. By chance he came across the Norwegian Berger Bergensen who had worked for the House of Bolin as well as Burch. Bergensen was persuaded to come to Beenham House and taught the Benney workforce all he knew about enamelling. Alan Evans and Robert Winter became notable master enamellers for Benney.It took several years to master the craft. He refined and mastered this art, enamelling larger surface areas than Fabergé.ADRIAN GERALD SALLIS BENNEY CBE RDI (1930 – 2008)Gerald Benney was one of the most outstanding goldsmiths of the 20th century, with works being continuously produced for over fifty years, from private commissions to mass production.Born in Hull, Yorkshire in 1930. His mother Aileen was a talented silversmith and his father, Ernest, was Principal of Brighton College of Art. It was at Brighton College of Art between 1946-1948 that he trained as a silversmith under Dunstan Pruden. After two years national service with the Royal Army Service Corps he went to the Royal College of Art under Professor Robert Goodden. In his first year he was awarded a Prince of Wales scholarship.As well as designs in silver, in his early years Benney also used other material to design a range of products including clocks, lamps and prams.Benney found his first workshop at Suffolk House, Whitfield Place, off the Tottenham Court Road in London during his last term at the RCA. It was at the RCA that Benney met fellow silversmiths David Mellor and Robert Welch; between them they were to revolutionise post war silver design. At this time he also met the jeweller, John Donald.Early in his career Benney discovered, by accident, the distinctive surface texturing of silver that was to become his signature. He inadvertently used a hammer with a damaged head while producing a cup, and liked the effect. This surface texturing soon became known as 'Benney Bark Finish'. The finish was widely imitated and dominated contemporary silver design for almost two decades. Its success was, not only, for its new contemporary look but also for the practical reasons, that it almost eliminated tarnish and fingerprints.In 1963, Benney moved to Beenham House near Reading. It was here that he decided to develop the use of enamels. Starting in 1968 he revived the almost-lost art of enamelling, he went on to be one of the world's foremost modern enamellers. In 1969, he moved his London studio to Falcon Wharf, Bankside where he eventually employed 22 people.In 1973 Benney moved his workshop to warehouses in Bear Lane, Southwark. Also in this year Goldsmith's Hall held a major retrospective of his work.In 1974 he received his first Royal Warrant granted by The Queen, followed by another in 1975 by HRH The Duke of Edinburgh and HM Queen Elizabeth The Queen Mother. In 1980 a fourth Royal Warrant was granted from HRH The Prince of Wales. Becoming the first craftsman to hold four Royal Warrants simultaneously.Benney's work can be seen in many collections worldwide, including those of the Victoria and Albert Museum and The Goldsmiths' Company.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
[JONES BRIAN]: (1942-1969) English musician and singer, the founder, guitarist and original leader of the Rolling Stones. A flamboyant plain white shirt owned and worn by Brian Jones, c.1968, featuring a granddad collar, elaborate decorative lace panel to the front, collar and cuffs and with a zip fastening to the back, two black buttons to the collar and a further four to each cuff, the inside featuring the designer's label of Deborah Clare. An unusual and desirable piece of rock memorabilia. Some light age wear and a few minor faults, about VG Provenance: The present shirt was previously sold by Christie's in their sale of Pop Culture: Rock and Pop Memorabilia on 15th November 2011 (Lot 149). Their catalogue entry stated that the 'shirt was given by Brian Jones to his friend and associate Tony Sanchez, who in turn gave it to…[Christie's]…vendor as a gift for co-writing his biography in 1977' Tony Sanchez (d.2000) British photographer of Spanish ancestry, also known as 'Spanish Tony'. Sanchez worked as an assistant to Rolling Stones guitarist Keith Richards for eight years and was also one of the band's two official photographers for 'The Stones in the Park' free outdoor festival held in London's Hyde Park on 5th July 1969. Deborah & Clare were bespoke shirtmakers located in Beauchamp Place, London, from 1965-75 and examples of their work can be found in the Victoria and Albert Museum. The firm was established by the designers Deborah Wood and Clare Bewicke and their shop, which opened in 1967, soon became known for contemporary design within the classic art of shirt making, attracting a global clientele of all persuasion and developing into one of the trendiest venues in London.
‘I am delaying the execution of this project again this year. I am not satisfied with the result obtained’ CEZANNE PAUL: (1839-1906) French Artist & Post-Impressionist Painter. An excellent content and rare A.L.S., Paul Cezanne, two pages, 8vo, Aix-en Provence, 2nd of April 1902, to Monsieur Vollard, in French. Cezanne explains to his artistic agent the reasons why he has not finished a work and his unsatisfaction, stating, `Je me vois dans l´obligation de remettre l´expédition de la toile de vos roses à une époque ultérieure, quoique j´eusse beaucoup souhaité envoyer au salon 1902! Je retarde cette année encore l´exécution de ce projet. Je ne suis pas satisfait du résultat obtenu´ ("I find myself having to postpone the shipment of the canvas of your roses to a later date, although I had very much wanted to send tit to the 1902 exhibition! I am delaying the execution of this project again this year. I am not satisfied with the result obtained") Cézanne further refers to his studies on painting, a concept he would repeat several times during his late life, and mentions also the new workshop built, saying `D´autre part je ne renonce pas à continuer mon étude, qui m´aura obligé à des efforts qui, j´aime à le croire, ne seront pas steriles. J´ai fait construire un atelier sur un petit terrain que j´ai acquis à cette intention. Je poursuis donc mes recherches, et vous ferez part du résultat acquis, sitôt qu´un peu de satisfaction m´aura été donné par l´étude´ ("On the other hand, I do not give up on continuing my study, which will have forced me to make efforts which, I like to believe, will not be sterile. I had a workshop built on a small piece of land that I acquired for this purpose. I am therefore continuing my research, and you will share the result obtained, as soon as a little satisfaction has been given to me by the study") Paper with a crown drawing watermark. With blank integral leaf. Small overall minor creasing with a tear to the fold edge. G Ambroise Vollard (1866-1939) French art Dealer. One of the most important dealers of his time in French contemporary art. He supported many painters such as Cézanne, Renoir, Gauguin, etc…
‘Vollard is here, I will make a portrait of him’RENOIR PIERRE-AUGUSTE: (1841-1919) French Impressionist Artist. A fine and good association A.L.S., `Renoir´, two pages, written to the first and third page, small 8vo, Cagne, 8th January 1908, to Claude Monet, in French. Renoir writes to his long life friend Monet `Mon cher ami…´ ("My deaf friend…"), and first asks about his correspondent´s health `Tu me diras si tu as toujours mal à l´estomac, c´est une maladie qui rend triste, il faut vite guérir´ ("Tell me if you still have a stomach ache, it's a disease that makes you sad, you have to heal quickly") Renoir further refers to Vollard, their art collector supporter, stating `Vollard est ici, je le portraiterai´ ("Vollard is here, I will make a portrait of him") Further again Renoir thanks Monet and his daughters for the letters they often send him, and before concluding makes a sharp critic of a colleague´s exhibition, stating `Une pièce que je n´irai certainement pas voir c´est celle de Geoffroy à l´Odéon…´ ("A painting that I will certainly not go to see is the one of Geoffoy at the Odeon") To a post-scriptum Renoir referring to the new year 1908, states `Ce 8 me fait bien vieillir´ ("This 8 makes me feel older") VG Claude Monet (1840-1926) French Impressionist Painter.Ambroise Vollard (1866-1939) French art Dealer. One of the most important dealers of his time in French contemporary art. He supported many painters such as Cézanne, Renoir, Gauguin, etc… Jean Geoffroy (1853-1924) French Painter and Illustrator, best known for his scenes with children.
After Felix Kelly (1914-1994) Lithograph "Drifter and Steamers', signed and dated lower right, framed and glazed. From The School Prints series, approx. 75cm x 50cm. From the Goldmark Gallery. School Series - Set of 24 lithographs, produced in the 1940's to introduce contemporary art to young children
After John Tunnard (1900-1971) Lithograph 'Holiday', signed and dated lower right corner, framed and glazed. From The School Prints series, approx. 75cm x 50cm. From the Goldmark Gallery. School Series - Set of 24 lithographs, produced in the 1940's to introduce contemporary art to young children Condition ReportOverall good condition, possibly some light fading/discolouration. General wear and tear.
4th-3rd century B.C. A tinned bronze Pontic helmet of Chalcidian type with the dome divided into two by a carinated ridge, the lower edge with cut-outs for ears and eyes with flared edges, short lanceolate nose-guard; fitted with removable cheek-pieces, each with a perforation for the chinstrap, short angular neck guard; accompanied by a custom-made display stand. See Ohly, D., Die Ägineten, Die Ostgiebelgruppe, Munich, 1976; Pflug, H., 'Chalkidische Helme' in: Antike Helme, RGZM Monographien 14, Mainz, 1988, pp.137-150; Chernenko, E.V., The Scythians 700-300 BC, Hong Kong, 1998; see similar helmets in Hixenbaugh, R., Ancient Greek Helmets, a complete guide and catalogue, New York, 2019, nos.X254-280. 945 grams, 30.5 cm high (2.16 kg total, 42.5cm high including stand) (12 in. (16 3/4 in.)). Private collection of Comte de Bressac, France. Sold in London after 1918. English private collection until the 1960s. Later in a London, UK, private collection. Accompanied by an academic report by military specialist Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11532-195912. The Chalcidian type of ancient Greek helmets was essentially a lighter and less restrictive form of the Corinthian helmet. Later Chalcidian helmets had hinged cheek pieces that were anatomically formed to fit closely to the face. Representations of these helmets with articulated and raised cheek-pieces (type V) appear on the Attic vase paintings since the early 5th century B.C., although the first four typologies still show fixed elements for the face protection like in their Corinthian prototypes. Contemporary to these representations are the sculptures in the temple of Aphaia in Aegina, where these helmets are widely represented and where we can see first examples of such helmets with a short nose-guard (Hixenbaugh, 2019, p.209, fig.108). [A video of this lot is available to view on Timeline Auctions Website.]
Circa 140 A.D. A high-quality emerald (green beryl) intaglio portrait of Marcus Aurelius as a young man, in profile left; the military cloak (paludamentum) in connection with the extreme youth of the subject suggesting that the portrait is not a private one, but must be of an imperial prince; the style of the carving and hairstyle of the subject clearly belong in the Antonine era; the material too suggests an imperial subject: the stone, hard, brittle and very difficult to carve, was highly prestigious in such large sizes; Roman examples of such portraits in emerald or aquamarine are very rare and usually represent members of the imperial family; the cabochon set into a contemporary gold finger ring comprising a flat-section hoop with granules to the shoulders and an ellipsoid bezel. Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 367, for ring type; also for ring/bezel shape Koch coll. no.349 (2nd-3rd century); and for the bezel see Marshall, F. H., Catalogue of the Finger Rings, Greek, Etruscan, and Roman, in the British Museum, 1907, 87, no.509. 5.92 grams, 26.22 mm overall, 17.48 mm internal diameter (approximate size British N, USA 6 1/2, Europe 13.72, Japan 13) (1 in.). Acquired 1970-1990. Ex property of a deceased lady. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.114493-195583. Dr Ittai Gradel writes: 'The portrait in all likelihood represents Marcus Aurelius as a young prince and heir to the imperial throne, c. AD 140. The only possible alternative would appear to be his son Commodus as a youth, c. 175 AD. Like young Marcus, Commodus’ youth portrait is well known from coins (and sculpture). Young Commodus’ hair is rather less curly, however, his neck thinner and his whole appearance rather more delicate and effete than the youth portraits of his father, which seem to fit the gem image better; further, the split in the hair fringe on the forehead seems a deliberate attempt to reproduce he characteristic hair parting in the same location in young Marcus’ main (only) sculptural portrait type. Though a close call, Marcus rather than Commodus should therefore be the subject here.' [A video of this lot is available to view on Timeline Auctions Website.]
Spiele, Sport und Freizeit Privates Skizzenbuch mit Sport-, Jagd- und Ballszenen, Uniformen, Theaterkostümen und Mode. Österreich, Tschechien und Böhmen um 1856-1860. Hübsche Sammlung privat zusammengestellter Szenen von der Jagd, Theater, Kostüm- und anderen Bällen, Uniformdarstellungen, Sport wie Fechten, Tennis und Ringstechen, Picknick und andere Familienunternehmungen. Wohl von einer Zeichnerin aus gehobenen bürgerlichen oder adligen Verhältnissen mit recht sicherer Hand angefertigt. Teils datiert und mit Bildtiteln versehen, die private Anspielungen auf die dargestellten Familienmitglieder enthalten, aus humorvollen Kommentaren oder Ausrufen nach Art der englischen Sportdrucke des 19. Jhs. bestehen oder die dargestellten Uniformen und Mode etc. bezeichnen; die Ballszenen mit Namen der Dargestellten (meist Adlige aus dem osteuropäischen Raum). Die Zeichnungen auf Aquarellpapier im Format 6-14 : 6-21,5 cm. EINBAND: Blind- und schwarzgeprägter Maroquinband der Zeit. 33 : 27,5 cm. - ILLUSTRATION: Mit 114 montierten Aquarellzeichnungen. - KOLLATION: 38 nn. Bll. Private album from 19th century Austria, Czechia and Bohemia with a collection of 114 mounted watercolors, probably by a young woman, skilfully executed. Sizes of drawings 6-14 : 6-21,5 cm, partly dated 1856-1860 and with handwritten captions. Depticting contemporary female fashion and ball dresses, uniforms, sport and hunting scenes, theatre scenes and costumes, family scenes. Contemp. morocco (edges slightly rubbed). 38 leaves. Dieses Objekt wird differenzbesteuert angeboten.
Heinz Mack (1931 Lollar) (F)'September', Farbserigrafie auf Velin, 125 cm x 95 cm Blattmaß, 107 cm × 78 cm Plattenmaß, signiert, 90 datiert, 35/75 nummeriert, montiert, an den Rändern minimal aufgeworfen, Provenienz: ARTAX Kunsthandel, Düsseldorf (verso Galerieetikett)."Ich liebe die Farbe als Medium, in dem das Licht zum Ausdruck kommt. Wie schön ist es, dass wir in einer farbigen Welt leben. Wäre die Welt grau, wäre ich wohl nie Künstler geworden." - Heinz Mack.Die zentrale Frage der ZERO-Gruppe, die aus Heinz Mack, Otto Piene und Günther Uecker bestand, ist die der Kunst selbst. Ist Kunst nur zur Abbildung gedacht? Eben diese Frage gilt es zu überwinden! Die genannten Künstler haben damit revolutionäre Arbeit geleistet, die bis heute in der zeitgenössischen Kunst nachhallt. Mack folgt dabei dem Prinzip "ein Element zu nehmen und dieses dann in eine Struktur aus Rhythmus und Wiederholung zu bringen. Diese Wiederholungen haben alle eine eigene Sensibilität und Bedeutung für die gesamte Struktur des Werks." Die Naturgesetze folgen ähnlichen Prinzipien, denn auch der Tag-Nacht-Rhythmus oder die Jahreszeiten kehren immer wieder. Nach ihnen richtet sich das Leben. Heinz Mack beschäftigt sehr, wie Kunst und Natur miteinander in direkter Verbindung stehen. Als Künstler strebt er die Überwindung der traditionellen Malerei an, indem er die Intensität des Lichts und die des Raums erarbeiten möchte. Er schafft es gerade diese entstehende Energie auf einen bestimmten Platz zu konzentrieren und zum Beispiel ein Farbfeld in ein Spannungsfeld zu verwandeln. Die Darstellung des Herbstes mit seiner farbintensiven Natur ist ein beliebtes Sujet. Mack übersetzt den Herbst in eine Farbchromatik, sodass sie vor farbprächtiger Energie zu vibrieren beginnt. 1990 wurde "September", ein senkrecht aufgebauter Farbverlauf, aus Orange-, Grün- und Gelbtönen als Farbserigrafie angefertigt. Von sattem Grün bis leuchtendem Citrusgelb, über ein intensives Orange entfacht Mack eine faszinierende Farbskala vor schwarzem Grund.Heinz Mack (1931 Lollar) (F)'September', colour serigraph on velin paper, 125 cm x 95 cm sheet dimension, 107 cm × 78 cm plate dimension, signed, dated 90, numbered 35/75, mounted, minimally raised at the edges, Provenance: ARTAX Kunsthandel, Düsseldorf (gallery label verso).''I love colour as a medium in which light is expressed. How beautiful it is that we live in a colourful world. If the world were grey, I don't think I would ever have become an artist.'' - Heinz MackThe central question of the ZERO group, which consisted of Heinz Mack, Otto Piene and Günther Uecker, is the question of art itself. Is art only meant to be depicted? It is precisely this question that must be overcome! The aforementioned artists have done revolutionary work that continues to reverberate in contemporary art to this day. Mack follows the principle of ''taking one element and then putting it into a structure of rhythm and repetition. These repetitions all have their own sensibility and significance to the overall structure of the work.'' The laws of nature follow similar principles, for the day-night rhythm or the seasons of the year. Life is guided by them. Heinz Mack is very concerned to how art and nature are directly connected. As an artist, he strives to overcome traditional painting by working out the intensity of light and space. He manages to concentrate precisely this emerging energy in a specific place and, for example, to transform a colour field into a field of tension. The depiction of autumn with its colour-intensive nature is a popular subject. Mack translates autumn into a chromaticity of colour so that it begins to vibrate with colourful energy. In 1990, ''September'', a vertically constructed colour gradient, was made from orange, green and yellow tones as a colour serigraph. From rich green to bright citrus yellow, via an intense orange, Mack unleashes a fascinating range of colours against a black background.
Andy Warhol (1928 Pittsburgh - 1987 New York)'Campbell's soup can on shopping bag', Farbserigrafie auf Papiertasche, 42 cm x 24 cm Plattenmaß, 61 cm x 43,5 cm Tütenmaß, im Druck Institute of Contemporary Art, Boston October 1966 ortsbezeichnet und datiert, schwache oberflächliche Bereibungen, im unteren Bereich durchgehender horizontaler Falz, partiell leicht knickfaltig, montiert, Literatur: Wvz. Feldman/Schellmann 4 AAndy Warhol (1928 Pittsburgh - 1987 New York)'Campbell's soup can on shopping bag', colour serigraph on paperbag, 42 cm x 24 cm plate dimension, 61 cm x 43,5 cm paperbag dimension, in print Institute of Contemporary Art, Boston October 1966, place-inscribed and dated, faint superficial rubbing, horizontal fold running through the lower part, partly slightly creased, mounted, literature: Wvz. Feldman/Schellmann 4 A
Paul Kenton. Limited edition giclee print on aluminium of London city scape with the Thames and Shard (Renzo Piano, b1937) in the foreground and The Gherkin (Norman Foster, b1935) in the background by contemporary British artist Paul Kenton, hand signed and numbered 90/150 by the artist and publisher with certificate of authenticity from Washington Green Fine Art. 147cm x 70cm total size
George Lilanga (Tanzanian 1934-2005). Large African oil on board entitled “Mimi Ni Doctor Wa Zamani Nimena Meno Yako Yote Ni Mabovo” by George Lilanga (Tanzanian 1934-2005) who was one of the Makonde people and their bright whimsical influence can be see through out Lilanga’s works. He is internationally recognized as being one of the leaders in Africa’s contemporary art scene and his works are held in both international and private collections across the globe. 61 x 61cm
George Lilanga (Tanzanian 1934-2005). Large African oil on board entitled “Ukimaliza Kunywa Hayo Maziwa Utapatp Nafuu” by George Lilanga (Tanzanian 1934-2005) who was one of the Makonde people and their bright whimsical influence can be see through out Lilanga’s works. He is internationally recognized as being one of the leaders in Africa’s contemporary art scene and his works are held in both international and private collections across the globe. 61 x 61cm
AFTER LUCY PITTAWAY (CONTEMPORARY), 'YORKSHIRE HERITAGE' limited edition print 37/595, signed, titled and numbered in pencil, with certificate of authentification verso signed and dated 9/6/18, framed. 25.3cm by 60.4cm, frame 55.7cm by 89.8cmTour de Yorkshire Art - picture of Stage 2 of the 2018 Tour de Yorkshire
ISABEL VILLAR ORTIZ DE URBINA (Salamanca, 1934).Untitled.Lithograph on paper. Copy 102/125.Provenance: Private Collection of Luis García Berlanga.Signed and justified in pencil.Size: 24 x 33,5 cm; 27 x 38 cm (frame).A painter, sculptor and engraver, Isabel Villar began her training at the San Eloy School of Fine Arts, and later moved to Madrid to continue it at the San Fernando School (1952). In the capital she joined the group La Cepa, and in 1957 she made her name in a group exhibition held at the Casa de Salamanca in Madrid. The following year he made his individual debut in the Sala Miranda in his native city, where he returned after finishing his studies, joining the Koiné and Tormes groups. After a stay in Santander he returned to Madrid for good, and there he took part in important group exhibitions until 1971, when he presented himself individually for the first time in that city. His work is currently represented in the MNCA Reina Sofía, the Museums of Contemporary Art of Elche, Toledo, Seville, Villafamés and Santa Cruz de Tenerife, the National Library of Madrid, the Testimoni collection of La Caixa, the Vatican Museum and many other collections, both public and private.
CIRILO MARTÍNEZ NOVILLO (Madrid, 1921 - 2008)."Landscape", 1979.Oil on canvas.Signed in the lower right corner. Signed with initials and dated on the back.Size: 46 x 55 cm; 69 x 77 cm (frame).Cirilo Martínez Novillo is one of the most outstanding representatives of the so-called School of Madrid, city where he begins his training in the School of Arts and Crafts. During the Civil War he entered the Escuela Superior de Pintura and attended the studio of Daniel Vázquez Díaz, who became his teacher and supported him throughout his career. In his studio Martínez Novillo met some of the painters linked to the Madrid School: Álvaro Delgado, Gregorio del Olmo, García Ochoa and San José. In 1946 he presented his work for the first time as part of a group exhibition held at the Bucholz gallery in Madrid. The following year he held his first individual exhibition at the same gallery. In 1948 he held an exhibition in the prints room of the Museum of Modern Art in Madrid, the critics began to echo his work and he was selected to take part in the exhibition "Arte Español", held in Buenos Aires and organised by the Ministry of Education. From then on he exhibited in various Spanish cities and in France, and took part in group exhibitions such as the Venice Biennial (1950) and the Salón de los Once (1951). Between 1952 and 1953 he travelled to Paris on three occasions thanks to various grants. His period of maturity began with a new visit to Paris at the beginning of the sixties, after which he travelled to Switzerland, Germany, Holland and Belgium, winning several medals at the National Exhibitions of Fine Arts, as well as the Painting Prize at the Hispano-American Biennial in Cuba. Although he did not belong to the Second Vallecas School, Martínez Novillo's painting is aesthetically close to that of the group. His production is mainly centred on landscape painting and still lifes, although at first he also devoted himself to the figure. The painter produced his landscapes through direct contemplation of nature, not by copying it, as he then made a selection of what interested him in his studio. Cirilo Martínez Novillo is represented in the Reina Sofía Museum, the Mapfre, AENA, Gaya Nuño and Santander Central Hispano Foundations, the Municipal Museum of Contemporary Art in Madrid, the Bilbao and Oviedo Fine Arts Museums, the Argentaria, Caja España and Telefónica collections and the Valdepeñas Museum.
EDOUARD HALOUZE (France, 1895-1958)."Parisian Characters", ca. 1920.Watercolour and gouache on paper.Signed in the lower right corner.Work published in the Gazette du Bon Ton.Size: 25.5 x 20.5 cm; 38 x 33 cm (frame).Edouard Halouze uses in this composition a plastic art of clear modernist roots, based on fluid lines and nuanced colours, a completely personal style at the level of the great artists of the Paris of the moment. Halouze presents us with an elegant couple, caught in a moment of leisure, possibly on their way out of the theatre, judging by their elegant clothes. The male figure wears a long morning coat and top hat, has a neat, upturned moustache and holds a walking stick in his right hand; the girl wears a long dress to match her hat, high and with a mottled veil decorated with a large bow. The two are walking towards the carriage waiting in front of them, while a small poodle prances through the streets of early 20th-century Paris. The modernist school focused its attention on the contemporary urban world rather than on the literary symbol. What stands out in this work is the impression of transience; in the modern, industrial, urban world in which nothing remains, in which society is constantly changing.
VICENTE PALMAROLI GONZÁLEZ (Zarzalejo, Madrid, 1834 - Madrid, 1896)."Portrait of a young man.Oil on canvas. Re-coloured.It has craquelure on the pictorial surface.Provenance: Private Collection of Luis García Berlanga.Signed in the lower left area.Measurements: 46 x 36 cm; 64 x 54,5 cm (frame).Portrait of a lady which seems to have been conceived as a sketch or study, as the author only presents the face of the young woman in a detailed way, while the bust area is slightly intuited through several touches of colour which make up the volume. The work follows the precepts established by the portrait genre throughout the history of art: the neutral background that monumentalises the figure, and the position in the foreground, avoiding strict frontality.Palmaroli was a vigorous portraitist who knew how to delve into the psychology of the sitter and recreate the minute details of the clothing. With a virtuoso brushstroke, he expressed the plasticity of the clothes and the brilliance of the adolescent flesh tones in a veristic language. The son of an Italian lithographer, Palmaroli entered the School of Fine Arts at the San Fernando Academy in Madrid in 1848. A few years later, in 1853, he succeeded his father in the post of lithographer at the Museo del Prado, created especially for him by the king consort Francisco de Asís with the support of José de Madrazo. In 1857 this post enabled him to go to Italy to further his training, accompanied by Eduardo Rosales and Luis Álvarez Catalá. On his return he submitted two paintings executed during his trip to the National Exhibition of Fine Arts of 1862, which were awarded second and first medals. From his earliest works, Palmaroli began to move away from the official aesthetics of his time, evolving towards much more intimate, refined plastic works inspired by contemporary and even everyday motifs. He returned to Italy in 1863 and stayed there for three years, during which time he painted "The Sermon in the Sistine Chapel" (Caja Duero, Salamanca), a work of enormous success which won him the first medal at the National Exhibition of 1866 and very good reviews in Paris. During this period of splendour and pictorial maturity he also painted numerous portraits, including that of the Infanta Isabel de Borbón (Royal Palace, Madrid). Once he settled in Madrid again, in 1871 he obtained his third first-class medal at the National Academy, and the following year he was appointed a member of the San Fernando Academy. In 1873 Palmaroli settled in Paris, where he worked extensively as a painter of tableautins for ten years, at the end of which he was called to Rome as director of the Accademia di Roma. In the Italian capital he continued with the same genre of anecdotal inspiration until 1894, when he was appointed director of the Museo del Prado, a post he held until 1896. Towards the end of his life, his painting cautiously approached symbolism in such significant works as his Martyrdom of Saint Christina (Prado, on deposit in Jaen). Palmaroli was also the teacher of prominent painters such as Carlota Rosales, daughter of Eduardo Rosales, Casimiro Sainz, Eduardo León Garrido and Domingo Muñoz Cuesta, among others. Vicente Palmaroli is currently represented in the Prado Museum, the Malaga Municipal Museum, the museums of Jaén, L'Empordà, Granada and La Coruña, the Ministry of Public Works and the Royal Theatre in Madrid, the Royal Academy of San Fernando and the Romantic Museum in Madrid, among others.
JUAN RIBERA BERENGUER, (Valencia, 1935 - Valencia, 2016)."Virgencita", 1965.Mixed media on canvas.Provenance: Private Collection of Luis García Berlanga.Signed, dated and titled on the back.Size: 35 x 26,5 cm; 36,5 x 28 cm (frame).Trained at the Escuela Superior de Bellas Artes de Valencia, Juan Ribera was a founding member of artistic groups such as Parpalló, Arte Actual and Movimiento Artístico del Mediterráneo. He has been part of the Valencian and Madrid artistic avant-garde, participating in the exhibitions of the Juan Mordó gallery. He had solo exhibitions at the Dirección General de Bellas Artes in Madrid (1969) and the Museo de la Ciudad de Valencia (1998), among other centres, and participated in important group exhibitions such as those held at the Museum of Modern Art in Paris (1963), "Pintores figurativos de la España actual" (1964), which toured the United States, and the IVAM in Valencia. Throughout his career he has received pensions from the Diputación and the Valencia City Council, the Casa Velázquez in Madrid and the March Foundation, and has been awarded the Valencia Prize at the Fine Arts Exhibition in Barcelona (1960), the Diputación de Valencia at the National Exhibition in Madrid (1968), the gold medal at the Salón de Marzo in Valencia (1977) and the Archival Prize for artistic merit (1995), among others. Ribera is represented in the San Pío V Museum in Valencia, the Museum of Contemporary Art in Vilafamés, the Municipal Museum and the Círculo de Bellas Artes in Madrid, the Springfield Museum (Massachusetts), the Cathedral, the Diputación, the Ateneo and the City Museum of Valencia, etc.
Alecos Fassianos (Greek, 1935-2022)Les poissons de la nuit signé en grec et daté '1986' (en bas à droite)acrylique sur papier contrecollé sur toile115 x 93cm (45 1/4 x 36 5/8in).signed in Greek and dated (lower right) acrylic on paper laid on canvasFootnotes:ProvenanceD. Pierides collection, Athens. Private collection, Athens.ExpositionsAthens, Pierides Museum, Fassianos, the Painter, the Engraver, 1991, no. 8, p. 12 (catalogued, p. 12, and illustrated im the exhibition catalogue, p. 23).Metsovo / Athens / Nicosia, Cyprus, Averoff Art Gallery / Pierides Art Gallery – Pierides Foundation / Municipal Art Centre of Nicosia, Ichthys, Spiritual and Artistic Symbol in Greek Tradition, October 28 1995 - January 31, 1996 / March 11 – May 26, 1996 / June 14 July 28, 1996 (illustrated in the exhibition catalogue, p. 151). Thessaloniki, Municipal Art Gallery, Alecos Fassianos, Unknown Works from S. G. Zachariades Collection, February 25 - April 26, 2009 (illustrated in the exhibition catalogue, pp. 66 [detail], 67).Rhodes, Municipality of Rhodes Modern Greek Art Museum, Fassianos, 45 Years of Creation, S. G. Zachariades Collection, July 30 - November 13, 2009 (illustrated in the exhibition catalogue, pp. 82 [detail], 83).LittératureY. Kolokotronis, Still Life in Modern Greek Art from the 19th Century to the Present Day, Athens 1992, p. 22 (mentioned), p. 181 (illustrated).Epiphania, Kinisis Business Administration Bulletin - Pierides Art Gallery, Athens 1992, p. 52 (illustrated).C. Christou, Greek Art, 20th Century Painting, Ekdotike Athenon editions, Athens 1996, no. 135, p. 251 (discussed), p. 165 (illustrated).C. Christou, Greek Painting in the Twentieth Century, Association for the Dissemination of Beneficial Books edition, vol. 2, Athens 2001, p. 96 (illustrated). Municipality of Rhodes Modern Greek Art Museum, Fassianos, 45 Years of Creation, Educational Program, Rhodes 2009 (illustrated).Contemporary Greek Art institute Digital Platform, dp.iset.gr, Alecos Fassianos Works, p. 3 (illustrated).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
George Rorris (Greek, born 1963)Autoportrait à l'atelier signé en grec et daté '91-92' (au centre à droite)huile sur toile162 x 130cm (63 3/4 x 51 3/16in).Peint en 1991-92.signed in Greek and dated (middle right)oil on canvasFootnotes:ProvenanceV. Frissiras collection, Athens.Sotheby's London, May 12, 2005, lot 78.Private collection, Athens.ExpositionAthens, Galerie Medoussa - Galerie Medoussa+1, George Rorris, March 4 - April 3, 1993 (illustrated in the exhibition catalogue).LittératureThe Vlassis Frissiras Collection of Contemporary Greek Artists, Athens 1993, no. 134, pp. 275, 279, 283 (catalogued), p. 263 (illustrated).Lexi magazine, no. 126, March-April 1993, p. 176, detail (illustrated). Contemporary Greek Art institute Digital Platform, dp.iset.gr, Giorgos Rorris Works, p. 1 (illustrated).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
Anna Maria Tsakali (Greek, born 1959)Six heures du matin signé en grec et daté '95' (en bas à gauche)huile sur toile173 x 99cm (68 1/8 x 39in).Peint en 1995.signed in Greek and dated (lower left) oil on canvasFootnotes:ExpositionAthens, Titanium Gallery, Anna-Maria Tsakali, Peinture 1991-1995., January 29 - February 17, 1996 (illustrated in the exhibition catalogue).LittératureContemporary Greek Art institute Digital Platform, dp.iset.gr, Anna-Maria Tsakali Works, p. 3 (illustrated). For further information on this lot please visit Bonhams.com
Alecos Fassianos (Greek, 1935-2022)Amis avec des foulards italiens signé en grec (en haut à droite)huile sur toile35.5 x 44.5cm (14 x 17 1/2in).Peint en 1986.signed in Greek (upper right) oil on canvasFootnotes:ExpositionsThessaloniki, Macedonian Museum of Contemporary Art, A. Fassianos, Paintings 1953-1993, September 1993, no. 95 (listed, p. 197, and illustrated in the exhibition catalogue, p. 131).Rhodes, Municipality of Rhodes Modern Greek Art Museum, Fassianos, 45 Years of Creation, S. G. Zachariades Collection, July 30 - November 13, 2009 (illustrated in the exhibition catalogue, pp. 48-49).LittératureL. Mendoni, Alecos Fassianos, Antiquities of Kea, Vourkariani Keas edition, 1988, p. 65 (illustrated).Municipality of Rhodes Modern Greek Art Museum, Fassianos, 45 Years of Creation, Educational Program, Rhodes 2009, p. 14 (illustrated).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
Alecos Fassianos (Greek, 1935-2022)La photo oubliée signé 'A. Fassianos' (en haut à gauche); signé, titré et daté 'A. Fassianos/La photo oubliée 1975' (au revers)huile sur toile174 x 229.5cm (68 1/2 x 90 3/8in). signed (upper left); signed, titled and dated (on the reverse)oil on canvasFootnotes:ExpositionIolas Gallery, Paris.LittératureS. Lydakis, Dictionary of Greek Painters and Engravers - The Greek Painters, vol. 4, Melissa editions, Athens 1976, p. 455, no.5 (illustrated).Sima magazine, no. 21, January-February 1978, p. 32 (illustrated).Fassianos, Kedros editions, Athens 1980, pp. 105 (listed), p. 98 (shown in a photograph of the Iolas Gallery in Paris), p. 92-93 (illustrated).P. Cabanne, D.T. Analis, Fassianos, Éditions de la Differénce, Paris 2003, pp. 88-89 (illustrated).E. Hamalidi ed., Contemporary Greek Artists, Melissa Publishing House, Athens 2004, p. 65 (illustrated).An emblematic Fassianos from his so called 'painterly' period of the mid-1970s1, this striking canvas shows the artist at his mature best, painting with an extraordinary combination of control and freedom. Vibrant, brilliantly coloured and dynamically balanced, it amply demonstrates the qualities that established his international standing as a master of contemporary figuration.As noted by Jean-Marie Drot, former Director of the French Academy in Rome, Fassianos sets out to transform the most elemental aspects of everyday life, the most familiar figures into divinities, retracing, in reverse, the ancient tradition that allowed the great Olympian gods to assume the guise of mortals and mingle with them, talk to them and even seduce them without scaring them.'2 'We are the same with the ancients' says the artist 'because we bathe in the same waters, we see the same hills, the same light that has always been there. This is Greekness.'3.By rejecting the illusionistic representation of space, insisting on flat areas of undifferentiated colour and adhering to the flatness of the canvas, Fassianos is reckoned as worthily carrying on the artistic legacy of Theofilos's naivete and the stylistic principles of the legendary 1930s generation. 1 'After 1973-74, Fassianos's 'painterly' works, i.e., those in which colour is the dominant element, are either flat or with some depth, depending on the light source. When the light comes from behind the object, its outline is sharper and it looks flatter.' E. Agathonikou in Fassianos, 45 Years of Creation, S. G. Zachariades Collection, exhibition catalogue, Municipality of Rhodes Modern Greek Art Museum, 2009, p. 24. 2 See Alecos Fassianos, Athlos, Mythos, Eros [in Greek], Kastaniotis editions, Athens 2004, p. 82. 3 As quoted in B. Kalamaras, 'Bicycling Forever' [in Greek], Eleftherotypia daily, April 21, 2004.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
Konstantinos (Dikos) Vyzantios (Greece 1924-2007)Solaire signé 'Byzantios' (en bas à droite); signé et daté 'Byzantios/67' (au revers)huile sur toile130 x 97cm (51 3/16 x 38 3/16in).Peint en 1967.signed (lower right); signed and dated (on the reverse)oil on canvasFootnotes:ExpositionHora Andros, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, Dico Byzantios, Abstraction + Figuration, June 30 - September 22, 2019 (illustrated on the exhibition poster).LittératureDico Byzantios, Museum of Contemporary Art - Basil and Elise Goulandris Foundation edition, Andros / Athens 2012, no. 77 (illustrated).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
Panayiotis Tetsis (Greek, 1925-2016)Nature morte avec orchidées signé en grec (en bas à droite)huile sur toile150 x 155cm (59 1/16 x 61in).signed in Greek (lower right) oil on canvasFootnotes:ProvenanceAcquired directly from the artist by the present owner. Nourished by the Greek light, Tetsis's famed tables captivate the viewer with a festive ritual of blazing colour and, at the same time, a deep feeling of calm and reverie. Without sacrificing visual reality, the artist boldly treats colour as a structural element in building up form and deals with light as being assimilated into his painted surfaces. 'Tetsis muses over colour, loses himself in its depths, and seeks to reach beneath the skin of the world of appearances, beyond colour, chroma, a word which derives from the ancient Greek chros meaning skin. A sense of unity and balance, a discreet, subtle classicism lies beneath the romanticism of colour. His eye, well-trained and scholarly, yet innocent and lyrical, contemplates the world through a strong and resolute will for life.'11 H. Kambouridis, 'A Gymnasium for the Gaze' in P. Tetsis, Thalassa, exhibition catalogue, Basil & Elise Goulandris Foundation Museum of Contemporary Art, Andros, 2006, p. 66.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
Yiannis Tsarouchis (Greek, 1910-1989)Épicerie à Mytiline signé en grec et daté '65' (en bas à droite)huile sur toile89 x 42cm (35 1/16 x 16 9/16in).Peint en 1965.signed in Greek and dated (lower right)oil on canvasFootnotes:ProvennacePrivate collection, London.LittératureYannis Tsarouchis (1910-1989) Painting, Yannis Tsarouchis Foundation, Athens 1990, no. 316 (illustrated).Yannis Tsarouchis (1910-1989), Eleftherotypia editions, Athens 2009, pp. 118-119 (illustrated).Yannis Tsarouchis Foundation card collection, Athens (illustrated).Yannis Tsarouchis, Dancing in Real Life, Wrightwood 659 Gallery, Chicago 2021, (catalogued, p.228 and illustrated, p. 219).Resonating with echoes of Byzantine art and Pompeian frescoes1, this scrupulous observation of familiar contemporary life is a statement of the artist's resolve in exploring the inner world of Greekness. As noted by poet A. Embeirikos, 'when looking at Tsarouchis's work, one has the immediate impression of looking at Greek painting par excellence, more so than in the work of any other Greek painter, with the exception of Theofilos.'2The linear arrangement of figures in the foreground, set against a flat monochromatic backdrop interrupted by pronounced vertical elements, is a typical Hellenistic-Roman layout found in Villa dei Misteri in southern Italy as well as in the Aldobrandini Wedding fresco from the 1st century BC. Moreover, this kind of paratactic design, also evident in Byzantine church decoration and shadow-puppet folklore, is reminiscent of Theofilos's compositions where all scenes seem to exist on one uniform level or plane. In both artists everything is clearly expressed and all visual phenomena are thrust forward to the narrative surface where they receive even illumination in a continuous present.3 Imbued with a stage designer's perception of space, the humble facade of the grocery store is further invested with an aura of classical order, conveying a sense of monumentality and timeless serenity. Its pronounced and rhythmical verticality, purity of form, and juxtaposition of light and dark areas, which was repeated by the artist in his famous pair of Neon coffeehouse paintings, creates a tranquil world of purity, austere beauty, and harmony of form that borders on abstraction. 1 See Y. Tsarouchis's brief assessment of his 1962-1966 period in Yannis Tsarouchis Retrospective 1928-1981 [in Greek], exhibition catalogue, Macedonian Museum of Contemporary Art - Archaeological Museum of Thessaloniki, Thessaloniki 1981.2 A. Embeirikos, 'The Triumph of Sensuous Painting' [in Greek], Zygos magazine, no. 72-75, November 1961 - February 1962, pp. 11-12. See also 'Yannis Tsarouchis', Greek Heritage quarterly, vol. 1, no. 2, Spring 1964, pp. 92-93. 3 In the early 1960s, Tsarouchis paid frequent and lengthy visits to the island of Mytilene, overseeing the construction of the Theofilos Museum in Petra—a testament to his lifelong admiration of the great folk-art painter. See Yannis Tsarouchis Painting, Comments, Yannis Tsarouchis Foundation, Athens 1990, p. ix, no. 285.This 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
Chryssa (Vardea) (Greek, 1933-2013)New York Cityscape signé et daté 'Chryssa 1974' (sur étiquette du plexiglas en bas à droite)néons, plexiglas92 x 70 x 25cm (36 1/4 x 27 9/16 x 9 13/16in).signed and dated (on plexiglass label lower right)neon sculpture, plexiglassFootnotes:ExpositionAthens, Stavros Mihalarias Art, Chryssa '60-'90, May-July 1990, no. 51 (illustrated in the exhibition catalogue).Chryssa's work from the early 1970s ranks among her most extraordinary, producing majestic forms and oscillating patterns that capture the brilliance and throbbing energy of the modern metropolis.Mounted in a dark Plexiglas box, the curving neon tubes and the electrical connections and other visible interior parts enhance each other's impact, acting together to reveal the artistic process. Moreover, the timed lapses of light add a new dimension to the game of illusionism, compelling the viewer to experience the work as both presence and absence. The end result is a work of intelligibility and coherence that conveys a classical sense of structure and proportion. As noted by art critic S. Hunter, Chryssa's work 'reveals the surprising contemporary outlines of a new classicism, in which we recognise familiar attributes of clarity, order and intellectual control.'1 1 S. Hunter, Chryssa, Abrams editions, New York, 1974, p. 19.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
Costas Tsoclis (Greek, born 1930)Souvent la mer ressemble à l'acier signé et daté 'C. Tsoclis 83' (en bas à droite)huile et fer sur toile145 x 190cm (57 1/16 x 74 13/16in).Réalisé en 1983.signed and dated (lower right) oil and iron on canvasFootnotes:ExpositionsAthens, Dimitris Z. Pierides Art Gallery - Galerie 3, Tsoclis 1983-1966, October 10 - November 21,1983 (illustrated in the exhibition catalogue).Athens, Hotel Athenaum Intercontinental, Art Fair '84, June 1 - June 17, 1984 (illustrated in the exhibition catalogue).Patras, 3rd International Patras Festival, Barry Raisin Storehouse, C. Tsoclis, The Sea as I Remember it, 1979-1988, June 13 - October 10, 1988 (illustrated in the exhibition catalogue).LittératureZygos magazine, no. 60, July-August 1983, p. 32 (illustrated).Eikastika magazine, no. 22, October 1983, p. 5 (mentioned), p. 11 (illustrated).Prosanatolismoi magazine, no. 74, April-May 1984, p. 46 (discussed).Tsoclis, a Retrospective, exhibition catalogue, National Museum of Contemporary Art, Athens 2001, p. 282 (mentioned).E. Trichon-Milsani, The Seas of Costas Tsoclis, A.A. Livanis editions, Athens 2001, p. 52 (illustrated).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
Alecos Fassianos (Greek, 1935-2022)Le Cavalier blanc signé et titré en grec (en haut à gauche)acrylique sur papier marouflé sur toile207 x 150cm (81 1/2 x 59 1/16in).Peint en 1983.signed and titled in Greek (upper left) acrylic on card laid on canvasFootnotes:ExpositionsThessaloniki, Macedonian Museum of Contemporary Art, A. Fassianos, Paintings 1953-1993, September 1993, no. 115 (listed, p. 198, and illustrated in the exhibition catalogue, p. 153).Athens, National Gallery - Alexandros Soutzos Museum, Fassianos, Mythologies of Everyday Life, retrospective exhibition, November 24, 2004 - February 28, 2005, no. 120 (illustrated in the exhibition catalogue, p. 150).LittératureA. Fassianos, card booklet, Macedonian Museum of Contemporary Art, Thessaloniki, 1993 (illustrated).Erourem magazine, no. 4., March 1996, p. 107 (illustrated).Captured in sharp profile and set against a solid background that accentuates his heroic scale, Fassianos's horseback rider is remoulded into an archetypal figure echoing the timeless symbolism of ancient Greek vase iconography. 'As in ancient pottery, his figures are captured in an eternal contre-jour which renders them both precise and timeless. These figures inhabit a land which might well be Greece, a totally luminous and airy land, an Aeolian land. The wind which tosses the hair of Fassianos's figures is the same wind which pervades Homer's epics and fills Odysseus's sails on his way to meet the Sirens.'1According to Koichi Tanikawa, one of Japan's most vibrant artists, Fassianos's appeal lies in the fact that his work makes one imagine a life with warm, southern sunshine and carefree, leisurely pleasure. And these are the effects also found in Picasso at Antibes, Bonnard at Le Cannet, and Dufy in Nice.'21 J. Lacarriere, A Shadow Play in Fassianos - Mythologies of Everyday Life, exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 2004, p. 24.2 K. Tanikawa, 'A Grecian Smile' in Fassianos Drawings, Adam editions, Athens 1994, p. 24.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
Constantin Xenakis (French, born 1931)Telecommunication HHF / Commandements HHG signé 'Constantin Xenakis' (en haut à gauche)acrylique et technique mixte sur toile100 x 65cm (39 3/8 x 25 9/16in).Peint en 1991.signed (upper left) acrylic and mixed media on canvasFootnotes:ExpositionThessaloniki, State Museum of Contemporary Art, Costakis Collection, Constantin Xenakis, Works 1980-2001, October-November 2003 (illustrated in the exhibition catalogue, pp. 31, 96).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
Michalis Manousakis (Greek, born 1953)Le Bateau signé en grec (au revers)acrylique et technique mixte sur bois100 x 140cm (39 3/8 x 55 1/8in).Peint en 1996.signed in Greek (on the reverse) acrylic and mixed media on woodFootnotes:ExpositionAthens, Zoumboulakis Galleries, M. Manoussakis, Parallel Worlds, February 1998 (illustrated in the exhibition catalogue). LittératureContemporary Greek Art institute Digital Platform, dp.iset.gr, Michalis Manousakis Works, p. 3 (illustrated).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A 19th-century, folk art maritime pine trunk, painted with a clipper under sail flanked by the VR monogram and bearing the owners name 'A.Finch', dated 1860. Fitted a pair of iron folding bale handles. 86 cm wide x 52 cm deep x 42 cm highPrivate estateThe top has some cracks but is held together by the hinges and side moulding. The paint is generally in good order with the odd knock and bump Note: I first of all thought it was a relatively modern paint job but the surface has age, I don’t think the date of 1860 that is painted on the box is contemporary with the paint job but the surface certainly looks like its been around since the early 20th century, however, this could be 50/60/70 years rather than 100 years plus, suffice to say it is not freshly painted. JRL 24/10/22
Kadhim Hayder (Iraq, 1932-1985)A Love Deeper than All Love (Wa hawa aemaq min kuli hawa) , from the Epic of the Martyr Series oil on canvas, framedsigned 'K.HADAR' and dated '1963' (lower left), executed in 1963100 x 70cm (39 3/8 x 27 9/16in).Footnotes:'A LOVE DEEPER THAN ALL LOVE'A RARE AND MAGNIFICENT PAINTING FROM KADHIM HAYDER'S MARTYRS EPIC, FROM THE COLLECTION OF PROFESSOR ABDUL AZIZ HAMEED, FORMER PRESIDENT OF THE IRAQI STATE BOARD OF ANTIQUITIES 'The horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom'- Kadhim Hayder'The exhibition of The Epic of the Martyr took place in circumstances that were politically and culturally complicated; it turned the idea of martyrdom into a modern symbol that cried out in tragedy apart from any religious interpretation.'- Dia al-AzzawiProvenance:Property from the collection of Dr Abdul Aziz Hameed, Canada, former Professor at the Institute of Fine Arts, Baghdad (1960's), and former President of the Iraqi State Board of Antiquities and Heritage (2004-2010),Acquired directly by the above from the artist in 1965Exhibited:The Marty's Epic, Kadhim Hayder, Baghdad National Museum, 1965 (the present work is composition No.6 from the cycle)The Marty's Epic, Kadhim Hayder, Sursock Museum, Beirut 1965Published:Review of the Epic of the Martyr, Al Thawra Al Arabiyya, Anwar Al-Ghasani, May 7th 1965, illustratedKul Al-Funoon, May 26th 1965, illustratedAl-Balad, April 28th 1965, illustratedOne of the artists most touching and tender compositions, 'A Love Deeper than All Love' is a seminal painting by Iraq's most enigmatic modern artist, Kadhim Hayder. Part of Hayder's major body of work focusing on the Battle of Karbala and death of Imam Hussein known as the 'Marty's Epic', the present painting was exhibited at the artists landmark shows in the National Museum of Modern Art in Baghdad and Beirut in 1965 as well as being one of the most heavily featured works from the cycle, appearing in no less than three major press reviews at the time Being offered in the market for the first time, the work comes from the prestigious private collection of one of Hayder's oldest friends; Professor Abdul Aziz Hameed. The two became acquainted during their studies at SOAS in the 1950's, subsequently becoming colleagues at the Baghdad Faculty of fine Arts in the 1960's, Hameed then went on to become President of the Iraqi State Board of Antiquities and Heritage, the painting has been in his collection for over half a century. Extremely rare and possibly unique within the Martyr's Cycle, Hayder's composition in 'A Love Deeper than All Love', focuses on a romantic and deeply personal subject matter rather than the bloody battle of Karbala itself or the martyrdom of its protagonist, Imam Hussein. In the present work, Hussein is depicted as an anthropomorphised horse together with this Persian wife Shahbanu as the two are rendered standing affectionately side by side, in perhaps what is Hayder's most intimate take on the fabled story. Legend states that Shahbanu was present during the battle of Karbala, but includes a miraculous aspect to the story. It states that prior to his death, Husayn gave Shahrbanu his horse and bid her to escape back to her homeland in Persia. She was closely pursued by Yazid's soldiers and as she approached the mountains surrounding Rey, she tried to call out to God in desperation. However, in her exhaustion she misspoke and rather than saying 'Yallahu!' (Oh God!), she said 'Ya kuh!' (Oh mountain!). The mountain then miraculously opened and she rode into it, leaving behind only a piece of her veil which had gotten caught as the chasm closed behind her. This became an object of veneration, with the area becoming a shrine as well as a popular pilgrimage siteSaleem Al Bahloly: The Epic of the Martyr: 'Haidar began working on the series in 1963 shortly after returning from London where he had studied printmaking and stage-design at the Royal College of Art. On the one hand, the paintings were a continuation of the interests of artists in the 1950s: in the inspiration Haidar found in popular culture and in his adoption of certain pictorial devices from ancient Assyrian sculpture to modern art (associated with the Baghdad Group for Modern Art) as well as in his concern with political struggles for justice (associated with the Pioneers art group). On the other hand, however, Haidar opened a new horizon for the practice of art by structuring the paintings around an act of symbolism.The paintings are composed of horses and warriors, wielding spears and swords and bearing banners and shields, that are positioned on a flat, mythical landscape. This imagery was drawn from the annual taʿziya celebrations that mourn the martyrdom of al-Husayn and other members of the Prophet's family in a stand-off with the Umayyad army in 680 AD; in particular, the imagery is taken from the processions in which a pageant of costumed figures representing characters from the battle fought on the 'plain' west of the Euphrates parade through the street accompanying poets who narrate in a vernacular tradition of verse the injustice suffered by the Prophet's family.In the paintings, this imagery has been reconstructed according to a variety of devices inspired by a range of sources: the bodies of the horses and figures are turned toward the viewer, as if they are appearing on a stage or in an ancient frieze depicting a historic battle; a sense of performance is carried into the image by the intense expressivity of their gestures which seem to dissolve anatomical features and the outline of shapes in a fervour of emotion; the limbs of human and animal bodies alike are often multiplied (an influence of Assyrian sculptural reliefs that Haider almost certainly saw at the British Museum in London) and tapered (a form of modelling inspired by the sculpture of Henry Moore).The reconstructed imagery is arranged in the paintings not to narrate a historical event but to elaborate a concept of the martyr that emerged out of that event—a hero who by his death in a struggle for truth paradoxically triumphs. Haidar developed this concept of the martyr in painting by focusing on the symbolic relation between the fallen martyr and his horse. As he explained to the newspaper al-Jumhuriyya in 1965: 'the horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.' That symbolism is present in the mourning processions where al-Husayn is represented by a riderless white horse; but it has its roots in a legend that, when al-Husayn's horse saw his beheaded corpse, it circled around his body, rubbed its head in his blood, let out a ferocious whine and killed forty men.The paintings in The Epic of the Martyr were different sizes [they] reflect, as Dia al-ʿAzzawi has written, Haidar's desire to collapse the distinction between gallery and street, and between art and ritual, by reproducing the atmosphere of the folk celebration inside the museum. To that end, for the exhibition in 1965, Haidar composed a poem in which each line corresponded to a painting in the series, in this way reproducing the coupling of pageant and poetry in the mourning processions.This attempt to go beyond the conventional materials of painting, in order to use the artwork to stage an experience that is not only visual but also emotive, makes The Epic of the Martyr one of the earliest pieces of contemporary art in the Middle East.'Saleem Al-Bahloly received a PhD from the University of Californi... 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
Jewad Selim (Iraq, 1919-1961)The Wedding Chest oil on canvas, framedexecuted circa 195352 x 42cm (20 1/2 x 16 9/16in).Footnotes:The Wedding ChestA rare and magnificent 1953 oil on canvas by Jewad Selim, and the last mature painting by the artist to be offered at auction from the collection of Nizar and Ellen JawdatProvenance:Property from the collection of the renowned architects Nizar Jawdat (1920-2017) and Ellen Jawdat (1921-2020), acquired directly from the artist,thence by descent to the present ownersBonham's are most privileged to present a rare and sought-after work from the father of Iraqi Modernism, Jewad Selim.Jewad Selim painted The Wedding Chest in 1953 during his most creatively fertile period as a painter. Compositionally, The Wedding Chest is perhaps the archetypal Jewad Selim; painted at the zenith of his career, the work flawlessly expresses the aesthetic and conceptual agenda of the 'Baghdad Group of Modern Art' which Jewad himself co-founded. The Baghdad group was defined by an attempt to reconcile the grand visual legacy of the past within the contemporary cultural and nationalistic narrative of 20th century Iraq.The present painting is an exemplary composition typical of Selim's canon of works immortalizing scenes of daily life in Baghdad. The work depicts a woman carrying aloft a wedding or 'dowry' chest. In accordance with the age-old custom for women to bring with them into marriage not only money, but also linen, personal clothes and jewellery, the dowry chest would contain familial gifts passed to a newly formed household for the new bride; the dowry, often set a course for a marriage, and in many cases affected its success. Traditionally in Iraq, the goods constituting the dowry were packed into a chest, often made of wood and typically decorated as richly as means would allow. Interestingly, read in light of Jewad Selim's acute sense of social awareness, and works such as Women Waiting (1943) which lament the diminished social status of women, 'The Wedding Chest' can be seen as a critical commentary on the negative impact the dowry has traditionally had on female livelihood. Seen by many cultural critics, and from some Islamic sources too, as a burdensome practice which places a price on a woman's marriageability, Jewad sees the wedding chest as the physical manifestation of a potentially oppressive practice, and perhaps the confident carrying aloft which his figure demonstrates is her conquest or victory against burden of this often-controversial tradition. The subject matter of this work was clearly important to Selim, who painted a second composition with the same theme which he included in his well-known touring exhibition in United States. Mixing traditional Iraqi and Islamic motifs with a modernist visual language, Selim weaves a form of 'folk modernism' which is both vernacular and universal. Focusing on the florid landscape of downtown Baghdad, Selim's composition is populated with the humorous and extravagant characters encountered in everyday life. Light hearted and boisterous, the ' Woman Carrying a Wedding Chest ' is in part a stylistically sophisticated example of a burgeoning modernist movement in Iraq and in part a playful take on life in streets of Baghdad.There are seldom few instances of Jewad Selim oil paintings from the Baghdad Modern Art Group period (1951-61) ever appearing at auction, and of the limited output Jewad produced in these years, the vast majority of works are in permanent or institutional collections, underscoring the extreme rarity of the work being presented.'...A new trend in painting will solve the identity crisis in our contemporary awakening, by following the footsteps of the thirteenth century Iraqi masters. The new generation of artists finds the beginning of a guiding light in the early legacy of their forefathers' – Jewad SelimJewad Selim (1919-61)It is impossible to understand the modern art movement in Iraq without taking into account the works of this pioneer sculptor and painter, who was undoubtedly the most influential artist in Iraq's modern art movement. To him, art was a tool to reassert national self-esteem and help build a distinctive Iraqi identity. He tried to formulate an intellectual definition for contemporary Iraqi art. In charting his country's contemporary social and political realities, he was committed to combining the indigenous historical and folkloric art forms, with contemporary Western trends.Born in Ankara, Turkey in 1919 to Iraqi parents who moved to Baghdad in 1921, Jewad Selim came from a strongly artistic family: his father was an accomplished amateur painter, whose work was influenced by the European old masters, and his brother Nizar and sister Neziha were also accomplished painters, becoming well-known in their own right.Jewad was sent to Europe on government scholarships to further his art education, first to Paris (1938-39) and then to Rome (1939-40). The effects of World War II resulted in Jewad cutting short his studies and returning to Baghdad, where he began part-time work at the Directorate of Antiquities, where he developed an appreciation and understanding of ancient art of his country, and he also taught at the Institute of Fine Arts and founded the sculpture department.In 1946, he was sent to the Slade School of Art, London. At the Slade, Jewad met his future wife and fellow art student, Lorna. Jewad returned to Baghdad in 1949 to become Head of the Department of Sculpture at the Institute of Fine Arts, where he taught his students to draw on the heritage of their country to create a distinctive Iraqi style and artistic identity, which would become the ethos of an influential art movement just a few years later. In 1950 Lorna joined Jewad in Baghdad, where they were married.In 1951, Jewad Selim formed The Baghdad Modern Art Group.. Modern Iraqi art began with the first exhibition of the Baghdad group where they announced the birth of a new school of art that would 'serve local and international culture'.After painting his most mature works in the 1950s, the artist gave up painting and focussed on sculpture, the culmination of which was his Monument for Freedom in Tehrir Square in Baghdad of 1960-61. This was the largest monument built in Iraq in 2500 years '. The time frame presented by the President was unrealistic and the project did not run smoothly. Immense pressure was put on Jewad to finish his work and he suffered a heart-attack. He died one week later on 23rd January 1961 at the age of just forty-one, leaving a wife and two young daughters.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Dia Azzawi (Iraq, born 1939)Woven Letters wool carpet laid on boardsigned and dated 1971, further signed on verso, executed in 1971100 x 120cm (39 3/8 x 47 1/4in).Footnotes:Provenance:Property from a private collection, LondonAcquired directly from the Artist by the above'In the introduction of the exhibition catalogue of a show I had in Washington D.C. that talked about the use of calligraphy in my works, the curator wrote that he could not see Arabic calligraphy in my works but rather a series of 'signs'. That statement gave me more confidence in what I was doing. By trying to produce an art that is accessible to everyone I was not only attempting to bridge the contemporary and the ancient, but also to bridge Western and Eastern art'- Dia AzzawiThis 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
Mohsen Vaziri Moghaddam (Iran, 1924-2018)Untitled oil and sand on canvassigned 'VASIRI 23.2.1962', executed in 1962100 x 70cm (39 3/8 x 27 9/16in).Footnotes:'You can see the world in a grain of sand, and heaven in a wild flower'- RumiProvenance:Property from a private collection, UAEA pioneer of Iranian Modern art, Mohsen Vaziri was born in Tehran in 1924. In 1943, he attended the Faculty of Fine Arts in Tehran. He had his first solo art exhibition at the Iran-America Society in 1952. Vaziri left to Europe in 1955 to study at the Academy of Fine Arts in Milan where he learned about the western modern and contemporary art movements. In 1956, he had his first exhibition in Italy at the Portonovo Art Gallery in Rome and later that year in Germany at the Die Brucke Gallery in Düsseldorf and the Stenzel Gallery in Munich. In 1957, Mohsen Vaziri's artistic career took a turning as he moved away from figurative painting into non-objective or abstract art. He attended Italian artist Toti Scialoja's classes at the Academy. It was during those six months that Vaziri began exercising the depth of his imagination and experimenting with the use of materials, space, form and composition.This monumental work from the sand painting series was executed in 1962. Vaziri focused on working with sand for four years using different types of sands and applying them on canvas mixed with colour or in their natural state. While seeking for his individual style, in the spring of 1959 he found his source of inspiration on the shores of Lake Albano. The traces of his hands in the sand caught his attention and his childhood memories by the sea came flooding back. He went back to Rome and began experimenting playfully with sand and transferring the patterns onto primed canvases, which lead him to create his most powerful and ground-breaking works. He successfully evolved a richly emotive expressive style through colour, space and form. This series of works grabbed the attention of many including some of the most prominent Italian art critics at the time and in 1964 MoMA acquired one of his sand paintings for their permanent collection. He then went on to win several awards and his sand paintings have appeared in several Biennales across the world.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Adam Henein (Egypt, 1929-2020)Om Kalthoum bronzesigned 'A HENEIN' and numbered 'A.P. I.IX', executed in 2003154 x 50cm (60 5/8 x 19 11/16in).Footnotes:Provenance:Property from a private collection, CairoPublished:Mona Khazindar (ed.), Adam Henein, Turin, 2005 (another from the edition illustrated, pp.182-183)Exhibited:Adam Henein: Lasting Impressions, Sharjah Art Foundation, 2019 (another from the edition)Peripheral Vision, Barjeel Art Foundation, Sharjah, 2010 (another from the edition)'No one can describe the extent of my pride when I went to Paris, stood in the middle of Europe, and raised my voice in the name of Egypt.' – Umm Kulthum Mona Khazindar (ed.), Adam Henein, Turin, 2005 (another from the edition illustrated, pp.182-183)The present work is an important and monumental tribute by one of the greatest Egyptian sculptors of the century, Adam Henein, to the greatest female singer in Arab music history, Um Kulthum. Born in at the turn of the century, Kulthum was known as the Star of the East (kawkab el-sharq). She is recognized as one of the Arab world's most famous and distinguished performers. Abstract forms, pure volumes and dynamic movement characterise Henein's mature works. 'Um Kulthum' is elegantly striking by its expressive and asymmetrical rendition and the dynamism and movement of its planes. This artwork embodies a sense of simple monumentality and timelessness that is characterised by an allusive simplification of form that is both modern and archaic. The sculpture is elegant, coherent and a characteristic style of its own that is undeniably inspired by both ancient Egyptian Pharaonic art and European Modernism while reflecting the sophistication of the artist.Adam Henein was born in Cairo in 1929 into a family of metalworkers. In 1953, he graduated from School of Fine Arts, Cairo, he went on to receive a two-year grant to study at the Luxor Atelier. The atelier was established a decade earlier by the notable Egyptian artist and scholar Mohamed Nagi to promote Egyptian art education in school circular. In 1954 and 1956 Henein received the Luxor price for his artistic achievements. Two years later, he received a diploma in advanced practices from the Munich Academy in Germany.In 1971, Adam Henein was invited to participate in an Egyptian contemporary art exhibition in Paris at the Musée Galliera. He spent the next two and half decades, from 1971 to 1996 in Paris pushing his practice through sculpture and painting and continued focusing on ancient Egyptian themes and traditional materials. The early 1970s marked an important evolution in Henein's artistic practice, whilst in Paris he was given the opportunity to be exposed to the work of great western modern sculptors and artists whose freedom of interpretation he found to be deeply inspiring.In the late 1990s Henein returned to his homeland. He contributed greatly to his Egypt's cultural landscape, particularly in Aswan where he established the city's annual International Sculpture Symposium. Upon his return to Egypt he was also appointed by the Minister of Culture to head the design team involved in the restoration of the Great Sphinx in Giza. Henein was awarded Egypt's State Medal, the State Merit Award, as well as the Mubarak Award in the arts. His works have been exhibited at the Institu du Monde Arabe in Paris, the Metropolitan Museum of Art in New York, The MATHAF in Doha, The ASB Gallery in Munich as well as in London and Rome.Throughout his vast career Henein produced a significant number of large and small-scale sculptures handling a variety of different mediums such as bronze, granite, plaster, limestone and terracotta. In 2014, the Adam Henein Museum opened its door in Cairo's Al-Harraniya district, which is a priceless gift from the artist himself to his native country. The museum is dedicated to the largest collection of Henein's sculptures as well as featuring some of his paintings.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Hamed Nada (Egypt, 1924-1990)The Unruly Horse oil on panel, framedsigned 'H.Nada' and dated '1988' in Arabic and English, executed in 1988110 x 120cm (43 5/16 x 47 1/4in).Footnotes:Provenance:Property from the private collection of Dr Mohammad Said Farsi Thence by descent to the present ownerLiterature:Dr Sobhy Al Sharouny, The Collection of Dr. Mohamed Saiid Farsy 'The Egyptian Works', A Museum in a Book, 1998illustrated on page 274 and 264'Any work of art that does not have surrealist elements is no work of art. In other words, no matter what colour or direction spontaneous expression takes, a work of art can't be devoid of the artist's subjectivity if it is true art.' -Hamed Nada cited in Whaatani Newspaper, 1 November 1959.Hamed Nada was an integral member of the Contemporary Art Group founded by Hussein Youssef Amin (1904-1984) in 1944. The movement explored issues of social realism and surrealism. Like his mentor Youssef Amin, Nada was fascinated by the mural quality of children's drawings, which particularly impressed him while teaching art at primary school in the 1950s as proved by lack of perspective and the figure's stylisation in these works. From the mid-1950s onwards Nada to look at the work of Ragheb Ayad, from the first generation of Egyptian pioneer artists, who had reinterpreted pharaonic art in his portrayals of ordinary Egyptians. Also, for inspiration Nada looked to Nubian folk art and African primitive art.Since the 1970s, Hamed Nada's oeuvre gradually shifted from tragic themes of the struggles of working-class subjects to more joyful and energetic scenes. The colours became more vibrant and the works displayed far more movement and rhythm than before. Both artworks provide you with a unique glimpse into the inner workings of Nada's lucid imagination and realisation of liberalised Egyptian men and women. A nouveau twist on ancient Egyptian art, Nada incorporates depictions of animals in his works reminiscent of hieroglyphics on ancient tombs, temples and cartouches. His use of animals further commemorates pharaonic mythology, where they existed both in reality and the celestial world.For further information on this lot please visit Bonhams.com
Bernard Meninsky (British, 1891-1950)Bombed Building signed 'Meninsky' (lower right)watercolour, gouache, charcoal and pencil on paper54 x 37.5cm (21 1/4 x 14 3/4in).Footnotes:ProvenanceNora Meninsky, by whom bequeathed to Contemporary Art Society, London, 1996With Belgrave Gallery, London, where acquired by the present owner, May 2003Private Collection, U.K.For further information on this lot please visit Bonhams.com
A FRENCH 'PALAIS ROYAL' TYPE BOX, MAISON ALPHONSE GIROUX, PARIS, CIRCA 1830, rectangular, the mother-of-pearl panels engraved with formal foliate borders, the gilt-metal rim mounts milled with paterae and further leafage between urns and winged putti, on acanthus headed hoof feet, the blue velvet lined interior with mirror-set lid, underside with original label 'AU COQ HONORE / Rue du Coq St. Honoré No.7 / Chez ALPH. GIROUX....', 17cm long Alphonse Giroux (1776-1848) traded at the sign 'Au Coq Honoré', variously under his own name and in partnership as A. Giroux et Cie, listed at No. 7 rue du Coq (now the rue Marengo) between 1806-1850. This famous business carried out an extraordinary array of activities, including: suppliers of materials for artists, publishers, picture dealers holding exhibitions of old masters and contemporary art, picture restorers to the church of Notre Dame, pioneer producers of daguerreotypes, cabinet makers supplying the Royal Family, stationers and traders of luxury goods and 'objects de fantaisie'.
Full title: Fernando & Humberto Campana (the Campana Brothers, 1953 & 1961): 'Cabana' cabinet for Edra, 2010Description:H 192 cm - Dia.: 100 cm The 'Cabana' is a storage unit arranged around a central column supporting five shelves. The structure, made in aluminum and other metals, is entirely concealed by dangling lengths of fire-proofed raffia. The Campana Brothers, Humberto and Fernando, are among the icons of contemporary furniture design. Since 1983, the Brazilian siblings have achieved both national and international recognition and popularity thanks to their ingenious designs and creativity. The brothers (Humberto Campana, b. 1953 and Fernando Campana, b. 1961) created Estudio Campana in 1984 in ao Paulo. From the very beginning, collaboration with local communities, factories, and industries have been an important part of their activities. In view of this mindset, it comes as no surprise that there is a huge emphasis on handcrafted and artisanal work. Via their pieces, the Campana Brothers institute conversation around ethical production, sustainability and social awareness into some of the world's most alluring interiors. Estudio Campana is recognized for its intriguing and one-of-a-kind pieces. There is no better evidence of their overflowing creativity than listing their current activities: the studio operates in the areas of architecture, landscaping, scenography, fashion as well as special projects and commissions. Their creative process raises everyday materials to nobility, bringing not only creativity to design but also Brazilian characteristics - the colours, the mixtures, the creative chaos - the triumph of simple solutions, in an artistic and poetic way. Campana pieces are part of permanent collections of renowned cultural institutions such as Centre Pompidou and the Musee Des Arts Decoratifs, Paris, MoMa, New York, Museum of Modern Art of ao Paulo and Vitra Design Museum, Weil am Rhein. They have worked with Alessi and Fontana Arte on limited edition pieces, and their studio crafts its own unique handmade pieces. Those special editions are included in the permanent collections of renowned cultural institutions as well. The ao Paulo-based studio is acknowledged internationally as pioneer of disruptive design, which led them to create a ground-breaking language in their field. Proudly rooted in Brazilian culture and traditions, their works carry universal values in their core, such as freedom and human dignity, through the search of our identity from life experiences. In 2009, the Campana Brothers founded Instituto Campana, in order to preserve their ever-growing collection for future generations and to promote design as a tool for transformation through social and educational programs. Their unique designs have earned them numerous awards, including the Ordre des Arts et Lettres from the Ministry of Culture in France and the Order of Cultural Merit in Brazil. Their work has been the subject of several exhibitions, including the 2008 exhibition at the Cooper Hewitt Smithsonian Design Museum in New York (link). Interior photo by Kato Peeters. The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: Koen Soberon (1971): 'Feng Shui' and 'Travelling in your mind', two digital prints, ed. 1/49 and 2/10, [2016]Description:Work: 70 x 70 cm Frame: 71,6 x 71,6 cm The style of Koen Soberon (1971) is contemporary and non-figurative, he is intuitively guided by the energy and atmosphere that is present in a certain place. He creates art that enriches, inspires and makes people dream. For him, art is a means of expressing his great love for people. As an autodidact, he is able to gain international recognition in record time. In addition to his colourful paintings, he succeeds in designing beautiful concepts that convey a universal message. He searches for the earthly and the dialectical transcendental within the human nature. The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
James Earley (British, B.1981)Kaud signed 'J.Earley' lower rightoil on canvas, framed99 x 69cm (39 x 27 3/16in).Footnotes:James is a self taught artist and uses his work to raise awareness of issues such as homelessness, war and mental health. He first came to prominence in 2013, when he was part of the acclaimed 'Seven Artists Exhibition' held at London's Strand Gallery. 'I was born in the UK, spent many years in France but I am now back living in the UK. I am a self taught artist and I paint those on the very edge of society. I want to use my art to help raise awareness of the issues in the world today, I want to help make the invisible visible and ultimately I want my art to scream. I am always looking to the long term as my ambition is to be a relevant and significant artist today and also in hundreds of years from now.I always had a passion for art, I knew this was my gift yet my career took me away from my passion. It was only in 2015 that I knew that I could no longer live a lie so I swapped a career in business for a profession as a full time artist, a job that in my heart I was always meant to do. My career as an artist has accelerated since 2015. In that time I was part of the prominent 'Seven Artists Exhibition' at The Strand Gallery London. I have also been nominated by The Royal Society of Oil Painters, The Royal Society of Portrait Painters and I received a nomination for the 2015, 2016, 2017 and 2020 BP award. I have had my work displayed in London, Madrid, Paris, New York and Amsterdam and I have been described as one the most relevant artists in the world today by the German Kunst Heute Art publication and the Contemporary Art Curator Magazine. In 2019 I was honoured to win the first prize at the prestigious London Biennale as well as the prestigious International Michelangelo prize for art. In 2020 I was awarded the Venice International Artist Of The Year and in 2021 I was honoured to win The International Confederation of Art Critics Award. I won the Velazquez International Painting award in 2022.' (James Earley, Saatchi Art)He has been the receipt of numerous awards, including the International Prize Giotto, and the International Prize Leonardo da Vinci in 2019 and the International Dante Eligheiri and Collector's Vision International Award,' in 2021. He has also featured on the front covers of International Art Magazine and Vanity Fair in 2017 and 2020.'In May of 2022 I was invited by the Social Purpose Organisation Friendship to visit Nakna village in the remote coastal region of Bangladesh. This area had been hit by cyclones and flooding and the situation was getting worse as climate change accelerated. Friendship and the community were doing a lot of work to protect the village from the impact of the floods and they had embarked on a huge project of planting mangrove trees to protect the coastal areas and strengthen the coastal edge.I wanted to learn how climate change had impacted over the years and I was introduced to one of the elders of the village Kaud Banq. I knew as soon as I saw Kaud that I wanted to paint her. Every wrinkle on her face told a story, her eyes showed her wisdom, her hands clutching tightly at the wooden stick that supported her showed her strength and her beautiful dress showed her pride and dignity. I wanted to create a back ground that would show a path way that instead of looking smaller in the distance as it disappeared in the horizon had the opposite affect, the pathway was getting narrower and narrower as it pushed its way into the foreground. This path that Kaud had taken for 85 years was wide and abundant in her childhood but as climate change gradually impacted the pathway got narrower and narrower as the water level increased. Kaud now stood near the end of this narrowing path surrounded by water.'For further information on this lot please visit Bonhams.com
Christopher Richard Wynne Nevinson A.R.A. (British, 1889-1946)The Peaceful Rhythms Of The Downs signed 'C.R.W NEVINSON' (lower right)oil on canvas63.9 x 76.6 cm. (25 1/8 x 30 1/8 in.)Footnotes:ProvenanceWith Dicksee & Co, Glasgow, 1941Private Collection, U.K., thence by descent to the present ownerPrivate Collection, U.K.ExhibitedLondon, Royal Academy of Arts, Summer Exhibition, 5-9 May 1941, cat.no.240Possibly London, Royal Academy of Arts, The Second United Artists' Exhibition in aid of H.R.H. The Duke of Gloucester's Red Cross and St. John Ambulance Fund, 1 January-7 March 1942, cat.no.72 (as September Morn)The Peaceful Rhythms of the Downs was one of six pictures Nevinson exhibited as an A.R.A. at the Royal Academy in 1941, and the only one not directly referring to wartime themes and events. The title, however, is telling, suggesting the contemporary viewer might find consolation, looking away from war to its opposite, in a 'peaceful' downland vista located in an area close to Amberley in West Sussex. The eye is led up the track on the left to a lone tree, a pivotal point, from which fields, slopes and lines of trees fan out. The landscape is variously worked but devoid of figures, this second world war having created a shortage of land workers, as had the first. There are levels of rhythm in the lines and groups of trees: choppy, toothed, islanded or sinuous, as along and shouldering the crest of the down, which Nevinson evokes with, in T.W. Earp's phrase, 'a lyric fervour'. Nevinson, so much the war artist, found peace in such a landscape, as he did in listening to classical music. The painting's colouring is quiet, yet embracing many shades of green, and earth and straw colours, below a sky of light, passing clouds. In wartime, pensive and melancholic, Nevinson built here on many years of depicting the English landscape, to reach an apotheosis of his art.The Peaceful Rhythms of the Downs was one of a number of Nevinson's landscape paintings reproduced full-size by the Medici Society. Other titles, of a similar size, included Spring in Suffolk and After the Storm. This meant the images reached an audience beyond the galleries and exhibiting societies. The Peaceful Rhythms of the Downs became a print in the 1940s, and the print can be glimpsed on the wall of an apartment in the 1947 film The Dream of Olwen, also known as While I Live (director, John Harlow).We are grateful to Christopher Martin for his assistance in compiling this catalogue entry.For further information on this lot please visit Bonhams.com
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