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Jamini Roy (Indian, 1887-1972)Untitled (Jesus with Mary & Magdalene) initials lower rightoil on paper44.6 x 34.1cm (17 9/16 x 13 7/16in).Footnotes:ProvenanceGifted to Professor Ahmed Ali by the artist in 1947-48 before Ahmed Ali left for the National University in China as the British Council's visiting professor; Inherited from the above by the vendor.FOR THE FRONT PAGE OF THIS COLLECTION The Collection of Orooj Ahmed Ali Orooj Ahmed Ali, is a collector, dealer, consultant, curator and promoter of art, both locally and abroad. Featured twice in Nigaah magazine, first in 2012 as an art collector and then in 2016 as one of the 50 Most influential people in Pakistani Art, it is unsurprising to learn that he has been immersed in the world of art since his childhood. His mother, Bilquis Jehan Begum (1926-1985) was a musician, writer, and artist, who painted figures, abstract, and surreal subjects, in a vibrant and Impressionist style whilst his father, Professor Ahmed Ali, was a novelist, poet, critic, and diplomat, who was deeply involved in the cultural scene of pre and post partition India and Pakistan, and befriended writers and artists, including, E. M. Forster, Virginia Woolf, George Orwell, Edward Thomson, from the Bloomsbury Group, Han Su Yin, Jamini Roy and Zainul Abedin. Sadequain had great regard for him; and Qi Bai Shi, the Chinese master painter, also knew him during his second stay in China (1950-52).Despite being surrounded by antiques and antiquities, it was only in 2004 that Orooj began to collect and deal in art professionally, having spent the early part of his life working as an exporter and manufacturer of terry fabrics, and representing Pakistan at the Frankfurt Book Fair in 1987 and 1990 as a literary agent and publisher. Since then, he has successfully helped clients sell their collections, which included works by artists such as Sadequain, Shakir Ali, Zubeda Agha, Bashir Mirza, Ahmed Parvez, Gulgee, Anna Molka, Jamil Naqsh, Hamidur Rehman, and S M Sultan, to name but a few. The works being offered from Orooj's collection include works by some of Pakistan's, India's, and Bangladesh's finest artists, and Bonhams is honoured to have this opportunity to present them. AHMED ALI (1st July 1910-14th January 1994)Novelist, poet, critic, diplomat, distinguished scholar and co-founder of the All India Progressive Writers' Movement, Ahmed Ali was born in Delhi in 1910. A pioneer of the modern Urdu short story, some of his notable works include: Angarey (Embers), 1932 Hamari Gali (Our Lane), 1940; Qaid Khana (The Prison House), 1942; and Maut Se Pehle (Before Death), 1945. Equally accomplished in English, he achieved international fame with his first English novel, Twilight in Delhi, published by the Hogarth Press, London, 1940, which describes the decline of the Muslim aristocracy with the advance of British colonialism in the early 20th century. He was educated at the universities of Aligarh and Lucknow and later taught at both, amongst other universities, including Presidency College, Calcutta, where he was the Head of the English department between 1932-1947. Between 1942-1945 he was also the BBC's representative and Director Listener Research in India, and was later appointed by the British Government of India as the British Council's Visiting Professor of English to the National Central University of China, Nanking (now Nanjing).Ahmed Ali moved to Pakistan from China in 1948. Joining the Pakistan Foreign Service, he established diplomatic relations with the People's Republic of China as Pakistan's first envoy to Peking (now Beijing), 1950-52, and later with the Kingdom of Morocco. A skilled translator from the Arabic, Indonesian, and Chinese, in addition to Urdu, he is also well known for his English translation of the Qur'an: Al-Qur'an, A Contemporary Translation, Princeton University Press, which is recognized by Islamic scholars as one of the best existing translations of the Qur'an. Influenced by his travels in China, he became a collector of Chinese porcelain & art, and part of his collection was auctioned at Christies in London on 25th July 1960, as Mrs B. Ali's collection. Professor Ahmed Ali is a Founding Father of the Pakistan Academy of Letters; he received Pakistan'sSitara-i-Imitiaz (Star of Excellence), 1980, and an Honorary Doctorate of Philosophy by the University of Karachi, 1993. The Pakistan Post issued a commemorative postage stamp to honour his contributions to Pakistan and Literature, 2005; to celebrate his birth centenary an international conference: Ahmed Ali, Progressive Writers, and Bilingual Creativity, was held by the Sahitya Akademi, Lucknow University, and the Association of Commonwealth Literature and Language Studies, at the Lucknow University in 2011.FOR THIS LOTIt was during the 1940s and 1950s that Roy reinterpreted iconic images in several of his paintings, as he believed that sacred art created the richest mythological traditions. His works were created for the community, and he turned his back on colonial culture, seeking to restore a simple goodness to art that had been lost to the elite of the colonial metropolis. In the two lots that form part of this collection, the first depicting Mary (left), Jesus (centre) and Mary Magdalene (right) and the second depicting Jesus we can see how Roy's intense concentration and ruthless ability to pair down the inessential details, leads to a remarkable modernist brevity, boldness and simplicity of expression, which was a vehicle for his deep and understated social commitment. (Partha Mitter, The Triumph of Modernism: India's artists and the avant-garde 1922-1947, 2007, pp.112-122)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

Jamil Naqsh (Pakistani, 1938-2019)Homage to San Marino Series signed Jamil Naqsh of London lower rightwatercolour on paper62 x 51.2cm (24 7/16 x 20 3/16in).Footnotes:ProvenanceAcquired from the artist and gifted to a family friend;Acquired by the vendor from the above. CompareFor a similar work sold in these rooms, see Islamic & Indian Art including Contemporary Indian and Pakistani Paintings, 13th October 2005, London, lot 250.Naqsh did a series of paintings depicting horses and women having been inspired by Marino Marini (1901-1980), the Italian sculptor and educator, who worked mainly in bronze on a few favourite themes, notably the horse and rider. Naqsh was drawn to Marini's works as Marini maintained his individualism and had not allied himself with avant-garde movements of the time, reminiscent of Naqsh's approach to his work. The present lot likely comes from Naqsh's Homage to Marino Marini series, given its distinct sculptural and overlapping fragmented forms that merge into intricate textures and patterns. To see other works from the series, featuring both, horses individually, and horses with women, see Mohatta Palace Museum, Karachi, Jamil Naqsh: A retrospective, 2003, pp. 169-205.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

Iqbal Hussain (Pakistani, B. 1950)Untitled (Woman in a burqa) signed lower rightoil on canvas91.8 x 60.3cm (36 1/8 x 23 3/4in).Footnotes:ProvenanceAcquired by the vendor from a Pakistani Art Gallery.CompareFor another work depicting women, sold at auction, see Sotheby's, Contemporary Indian and South Asian Paintings, London, 17th June 1998, lot 11.Although Hussain is most well known for his portraits of women, he is equally adept at painting landscapes and still life's as can be seen in the other lot in this collection. Husain is often termed a controversial painter as the models for his works are the prostitutes and dancing girls of Lahore. His women, as seen in the present lot are depicted as they appear in real life, fully clothed and sitting, and often with a resigned look in their eyes. The black background heightens the darkness and despair, and its almost as though the woman is receding into the background. Hussain's works have been exhibited in various shows, some of which include the 1983 Asian Biennial Dacca, Bangladesh, the 1986 International Exhibition in Seoul, London, Paris and Brussels and the 2003 show at World Bank Building, Islamabad, Pakistan. A retrospective was held for his works in 2018, at Tanzara Gallery in Pakistan, where the collection of the former World Bank Pakistan country director, John Wall was displayed; Wall is a patron of the artist.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

Sheikh Mohammed Sultan (Bangladeshi, 1923-1994)Untitled (Farmer ploughing with bulls) signed and dated '88 lower leftoil on jute59.9 x 75cm (23 9/16 x 29 1/2in).Footnotes:ProvenanceAcquired from the artist by Ruqaiyya Bano, a family friend;Acquired by the vendor from the above.CompareFor a scene depicting similar muscular bodies, see Christie's, South Asian Modern & Contemporary Art, New York, 14th September 2016, lot 688.Sultan was born in Machimdia village, in what was then known as Jessore District, British India. He studied at the Government School of Art in Calcutta, where Mukul Dey, the pioneer of drypoint-etching in India was Principal. Under Dey's tutelage, students were encouraged to paint contemporary landscapes and portraits reflecting their own experiences, as opposed to copying the Old Masters and painting Indian allegorical, mythological and historical subjects. The current painting comes from Sultan's Bangladeshi period, after his 1969 solo exhibition at the Khulna Club, Khulna and the first group National Art Exhibition in Dhaka in 1975, where his works were transformed, and he started to paint and draw agricultural labourers engaged in everyday life, as can be seen in the present lot. These works are distinctive due to their exaggerated muscular physiques, which are metaphors for the hard working and sturdy peasants, who are the backbone of Bangladesh. Sultan is seen are one of the four pioneers of Bangladeshi modernism, along with Quamrul Hassan, Zainul Abedin and Safiuddin Ahmed. He exhibited globally during his career and some notable exhibitions included those in Lahore and Karachi in 1948 and 1949, where be forged friendships with Shakir Ali and Abdur Rehman Chughtai, at the Institute of International Education, New York in 1950 and at the German Cultural Centre, Dhaka in 1987.The Bangladeshi Shilpakala Academy, Bangladesh's principal state sponsored national cultural centre of Bangladesh introduced an award named after him, which is given out annually to a notable artist on Sultan's birth anniversary. He also received the Ekushey Padak in 1982, which is Bangladesh's highest civilian national award in the field of culture. His works form part of the collections of the National Art Gallery, Bangladesh; the Bangladesh National Museum, the Bengal Foundation and the SM. Sultan Memorial Museum.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

Abdul Aziz Raiba (Indian, 1922-2016)Untitled (Villagers and buildings on a sea shore) signed and dated Raiba 10.4.93 lower left oil on jute81 x 106cm (31 7/8 x 41 3/4in).Footnotes:ProvenanceAcquired by the vendor's father in the 1990s. He worked for the Portuguese Embassy in India between the 1960s-1980s and continued to live in India after completing his term which is when he acquired this work.CompareFor a similar work sold in these rooms, see Modern and Contemporary South Asian Art, London, 25th October 2021, lot 20.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

Jamini Roy (Indian, 1887-1972)Untitled (Bride with two companions) signed lower rightgouache on cloth75 x 38cm (29 1/2 x 14 15/16in).Footnotes:ProvenanceAcquired in Calcutta between 1945 and 1954, when the current owner's uncle was employed in the freight department of the Kerr Steamship Company.Private UK collection, Leicestershire, UK.CompareFor a similar work sold at Sotheby's see Modern & Contemporary South Asian Art, London, 29th September 2020, lot 2.For further information on this lot please visit Bonhams.com

Amit Ambalal (Indian, B. 1943)Untitled signed and dated Amit 12, 4/93 lower leftwatercolour on card53.4 x 73.7cm (21 x 29in).Footnotes:Born in Ahmedabad in 1943, Ambalal was a businessman until the age of 36, after which he decided to pursue art. His primary medium is watercolour as depicted in this lot, and his works are characteristically playful, an almost satirical representation of everyday life. They are often populated by multiple characters that include animals, close friends, gurus and yogis. His works have been exhibited in over 40 solo and group shows both locally and abroad and he is one of the founder members of the Contemporary Painters Group in Ahmedabad.For further information on this lot please visit Bonhams.com

Anwar Jalal Shemza (British Pakistani, 1928-1985)Untitled (The Walls of Lahore) signed 'Anwar Jalal Shemza' and dated '1963' in Urdu upper rightink on paper54.5 x 42.9cm (21 7/16 x 16 7/8in).Footnotes:ProvenancePrivate Collection, UK;Acquired from the artist by the vendor who is a family member.CompareFor a similar work, dating from 1960, sold at Christie's, see South Asian Modern & Contemporary Art, New York, 22nd September 2021, lot 676.This work is part of the City Wall series, and it marries the two motifs that are a recurrent theme in Shemza's works, the City and the Wall. The City and the Wall have been constructed through the use of the Roman letters B and D, whilst the pattern itself was created using the materials of muslin and ink. Directly to the left of the City and Wall we can see the waxing and waning of the moons in the sky. In composition, this work is similar to the work, The Wall that was used as the catalogue cover for Hayward Gallery's seminal exhibition in 1989, The Other Story and is part of the collection of the Birmingham Museum & Art Gallery. Parallel's can also be drawn with Untitled, mixed media, which is in the National Museum of Art, PNCA, Islamabad. (Akbar Naqvi, Image and Identity: Fifty Years of Painting and Sculpture in Pakistan, 1998, p. 284, fig. 89)For further information on this lot please visit Bonhams.com

Shanti Dave (Indian, B. 1931)Untitled signed and dated '62 in Devanagari upper rightoil on canvas45.7 x 45.7cm (18 x 18in).Footnotes:CompareFor similar works sold in these rooms see, Islamic and Indian Art, London, 6th April 2006, lot 317 and Contemporary Indian and Pakistani Paintings, London, 14th September 2006, lot 59.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

Shanti Dave (Indian, B. 1931)Untitled signed and dated '62 in Devanagari upper rightoil on canvas45.5 x 45.5cm (17 15/16 x 17 15/16in).Footnotes:CompareFor similar works sold in these rooms see, Islamic and Indian Art, London, 6th April 2006, lot 317 and Contemporary Indian and Pakistani Paintings, London, 14th September 2006, lot 59.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

Maqbool Fida Husain (Indian, 1913-2011)Untitled (Horse) signed in Devanagiri lower left, executed circa early 1960soil on canvas56 x 40cm (22 1/16 x 15 3/4in).Footnotes:ProvenancePrivate Collection of George and Norma Dove-Edwin, UK; Purchased by the vendor's between 1966-1968 when they were stationed in India.CompareFor a similar work sold in these rooms, see Islamic and Indian Art including Modern and Contemporary South Asian Art, London, 23rd October 2017, lot 309.George Dove-Edwin (1928-2009) was a Nigerian Diplomat, in the country's post-independence years; Nigeria gained independence on 1st October 1960. He was well known in Britain, having served as the high commissioner in the UK from 1986-1992, the longest tenure of any Nigerian ambassador. He improved relations between the two nations whilst protecting national and African interests. Prior to his term in the UK, he was in the Nigerian foreign service, and he was posted in Washington, Egypt, India, Japan, Sweden and France. It was during his travels to these countries that he acquired art works from the local art scene, and it was in the course of his 2 year stay in India between 1966-1968 that he purchased the present lot, the Husain horse. The horse has been one of the key elements in Husain's oeuvre since he first depicted the animal in 1951. The inspiration for his horses came from various sources, some of which include the classical and folk tradition of the Panchtantra and Jataka tales, Indian sculpture, pre-historic rock paintings, the iconic Duldul, Imam Husain's horse in the battle of Karbala and the Bankura horse of West Bengal. The horse in the present lot, clearly shows the influence of the traditional Bankura horse, with its distinctive elongated and erect neck, and raised ears. The blues deployed in the background and to create the almost translucent figure accentuates the white of the horse, drawing the viewers attention to the horse, the protagonist of the painting.This work dates from the 60s, which was one of the most bellicose decades in the history of modern India. In several works executed in the late 1960s/early 1970s Husain's horses reflect the mood of aggression and violence felt throughout the country. The depiction of this horse is entirely in line with those other works and is infused with the same feeling of aggression and anger. The horse can also be viewed as a victim of the violence and this is evident in the present lot as the nude blue figure is piercing the horse. For works of a similar style dating from the same period, which can be found in the collections of Brian Brown, a Private Collection and the National Gallery of Modern Art, New Delhi, see K. Bikram Singh, Maqbool Fida Husain, New Delhi, 2008, pp.172-184, figures 147, 150 and 160.'Like his bulls, spiders and lamps on women's thighs, boastful snakes and blackly passionate suns, Husain's horses are subterranean creatures. Their nature is not intellectualized; it is rendered as sensation or as abstract movement, with a capacity to stir up vague premonitions and passions, in a mixture of ritualistic fear and exultant anguish.' (R. Bartholomew and S. Kapur, Husain, Harry N. Abrams, New York, 1972, p. 42)For further information on this lot please visit Bonhams.com

1982 A.D. A framed watercolour and ink on paper, attributed to the Indian artist Ganesh Pyne, signature to bottom right. 901 grams, 33.5 x 37.5 cm (13 1/4 x 14 3/4 in). Property of a collector known by the artist since before 2004. Property of a North West England gentleman. Accompanied by an encapsulated illustrated certificate of authenticity as authenticated and signed by the artist in 2004. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11163-18177. Ganesh Pyne (1937-2013) was an Indian painter and draughtsman and one of the most notable contemporary artists of the Bengal School of Art. He was born in Kolkata, West Bengal, and was proclaimed the best painter in India by M.F. Husain in the late 1970s. [No Reserve] Fine condition.

France, Picardy, c.1420-1430 A.D. A rectangular glass panel with lead-alloy frame; image of Christ crucified below a plaque bearing the legend 'INRI', flanked by Virgin Mary and St John; spires and architectural detailing in the background above. 2.4 kg, 58.5 x 32.5 cm (23 x 12 3/4 in). Acquired from Monastery Stained Glass, Northamptonshire, UK, in 2007. Ex central London gallery. Accompanied by a detailed previously researched cataloguing sheet. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.10909-180990. The piece is the product of Picardy / Pas de Calais and shows the influence of contemporary Flemish art. Fair condition, repaired.

Two boxes containing Art Deco figure, wall shelf, contemporary bracket clock, novelty teapots, fairy figures etc

A collection of contemporary ceramic glass ware and two pairs of Art Deco candle sticks.

A large three dimensional contemporary work of art. Indistinctly signed. 150x50cm - NO RESERVE

BOOKS & MAPS, seven boxes containing a large collection of miscellaneous titles in paperback format, subjects include contemporary fiction, art, history, travel and others, maps from Ordnance Survey and Michelin

Oil on masonite Participation in 1954 at the eighth national exhibition of the Gulf of La Spezia. Giovanni Alicò was born in Catania in 1906. A self-taught painter, his approach to art is free from pre-built constraints or tracks. In 1935 he settled first in Naples then in Milan. In 1942 he was present with a work at the XXIII Venice Biennale, and in the same year, he held his first personal exhibition at the Tornabuoni Gallery in Florence. Six years of activity in Argentina followed between 1948 and 1953, with three solo shows in Buenos Aires and many participations in group exhibitions in various national exhibitions in the cities of La Rioja, Santa Fè, Mendoza and Rosario. Returning to Italy, from the mid-fifties and throughout the following decade, there were several personal exhibitions in Catania, Milan, Rome and Como. It was the Suzzara Prize in 1955 with the work Contadino che riposa, where the painter, freed from a cold realistic description and far from the neo-Cubism patterns typical of the first post-war period, abandons himself to a painting of luministic suggestion, with large fields of greens, of grays, of earths, supported by a dense pictorial material defined by a thick contour line. The painting is currently kept in the Civic Gallery of Contemporary Art of Suzzara. In 1957 he exhibited at the Galleria il Pincio in Piazza del Popolo in Rome, one of the most active realities in the panorama of art exhibitions, where Renato Guttuso and Carla Accardi also exhibited. He began his artistic career by depicting in his painting the carts with the colorful stories of the puppets using preferably flat colors, then he introduces in his palette delicate, vibrant colors, and focuses on themes pervaded by a marked spirituality. Favorite subjects are female figures, still lifes and landscapes. In the 1950s, Giovanni Alicò approached his style to that of Guttuso, in the context of social realism. His attention is towards a synthetic figurative painting, which proceeds by suggestions in the general adherence to the themes of social realism. After 1960, an important poetic made of arabesques and luminous and chromatic effects enters his work and shaded furniture. Since 1967 anthropomorphic characters, a sort of ghosts, have appeared on these backgrounds, hovering in the space of the composition. The artist's latest production is instead characterized by paintings where signs, repeated geometric shapes and large splashes of color are rendered with intense and vivid colors, leading to informal and material outcomes. Giovanni Alicò died in Catania in 1971. After his death, an important retrospective was set up at the Palazzo della Borsa in Catania in 1973. Many of his works are present in important private collections in Europe and America and in various art foundations. Cm 40x50, framed cm 57x67

Oil painting on plywood City of Cantù competition award 1958. Signed lower left. Giovanni Alicò was born in Catania in 1906. A self-taught painter, his approach to art is free from pre-built constraints or tracks. In 1935 he settled first in Naples then in Milan. In 1942 he was present with a work at the XXIII Venice Biennale, and in the same year, he held his first personal exhibition at the Tornabuoni Gallery in Florence. Six years of activity in Argentina followed between 1948 and 1953, with three solo shows in Buenos Aires and many participations in group exhibitions in various national exhibitions in the cities of La Rioja, Santa Fè, Mendoza and Rosario. Returning to Italy, from the mid-fifties and throughout the following decade, there were several personal exhibitions in Catania, Milan, Rome and Como. It was the Suzzara Prize in 1955 with the work Contadino che riposa, where the painter, freed from a cold realistic description and far from the neo-Cubism patterns typical of the first post-war period, abandons himself to a painting of luministic suggestion, with large fields of greens, of grays, of earths, supported by a dense pictorial material defined by a thick contour line. The painting is currently kept in the Civic Gallery of Contemporary Art of Suzzara. In 1957 he exhibited at the Galleria il Pincio in Piazza del Popolo in Rome, one of the most active realities in the panorama of art exhibitions, where Renato Guttuso and Carla Accardi also exhibited. He began his artistic career by depicting in his painting the carts with the colorful stories of the puppets using preferably flat colors, then he introduces in his palette delicate, vibrant colors, and focuses on themes pervaded by a marked spirituality. Favorite subjects are female figures, still lifes and landscapes. In the 1950s, Giovanni Alicò approached his style to that of Guttuso, in the context of social realism. His attention is towards a synthetic figurative painting, which proceeds by suggestions in the general adherence to the themes of social realism. After 1960, an important poetic made of arabesques and luminous and chromatic effects enters his work and shaded furniture. Since 1967 anthropomorphic characters, a sort of ghosts, have appeared on these backgrounds, hovering in the space of the composition. The artist's latest production is instead characterized by paintings where signs, repeated geometric shapes and large splashes of color are rendered with intense and vivid colors, leading to informal and material outcomes. Giovanni Alicò died in Catania in 1971. After his death, an important retrospective was set up at the Palazzo della Borsa in Catania in 1973. Many of his works are present in important private collections in Europe and America and in various art foundations Cm 50x60, framed 74x84

acrylic on masonite Signed lower left and on the back. Maria Leonardi Pennisi was born in 1920 in Acireale; He has always shown aptitudes for the figurative arts. He graduated from the "Ripetta" Art School in Rome and specialized in engraving by attending study of the master Nino Mustica and international courses of "Engraving Technique". Masonite, mastered the woodcut that recall the late nineteenth-century revival of this technique already dear to Durer. The language used by Pennisi is inspired by Northern European Expressionism; The subjects rigorously synthesize emotion and thought. His works are present in various Italian museums including the Museum of Modern Art of Gibellina and the Museum of Villa Croce in Genoa. Personal and Group Exhibitions Milan - November 1971 - Exhibition at the “Filodrammatici” Theater by D'Alma Folco Zambelli. Turin - October 1973 - Exhibition at “Sala Bolaffi” Livorno - 1982 Biennial of engraving and graphics Genoa 1988 - Museum of contemporary art of Villa Croce "First Italian Xilon Triennial" curated by Guido Giubbini and TranquilloMarangoni. Pisa March 1989 - National Triennial of art- PalazzoLanfranchi- FIDAPA Turin May 1989- International Competition and of Ex-Libris, Book Fair, Turin. 1990-91-92 - 1st / 2nd / 3rd Kochi International TriennalExhibition of Prints Kochi, Japan. Trento December 1996 - “Caproni” Aeronautical Museum by M. Fede. in frame h 92.5x76.5 cm; without h 80x63.8 cm

acrylic on masonite Signature on the bottom left and on the back. Maria Leonardi Pennisi was born in 1920 in Acireale; He has always shown aptitudes for the figurative arts. He graduated from the "Ripetta" Art School in Rome and specialized in engraving by attending study of the master Nino Mustica and international courses of "Engraving Technique". Masonite, mastered the woodcut that recall the late nineteenth-century revival of this technique already dear to Durer. The language used by Pennisi is inspired by Northern European Expressionism; The subjects rigorously synthesize emotion and thought. His works are present in various Italian museums including the Museum of Modern Art of Gibellina and the Museum of Villa Croce in Genoa. Personal and Group Exhibitions Milan - November 1971 - Exhibition at the “Filodrammatici” Theater by D'Alma Folco Zambelli. Turin - October 1973 - Exhibition at “Sala Bolaffi” Livorno - 1982 Biennial of engraving and graphics Genoa 1988 - Museum of contemporary art of Villa Croce "First Italian Xilon Triennial" curated by Guido Giubbini and TranquilloMarangoni. Pisa March 1989 - National Triennial of art- PalazzoLanfranchi- FIDAPA Turin May 1989- International Competition and of Ex-Libris, Book Fair, Turin. 1990-91-92 - 1st / 2nd / 3rd Kochi International TriennalExhibition of Prints Kochi, Japan. Trento December 1996 - “Caproni” Aeronautical Museum by M. Fede. in frame h 93x78 cm; without h 80x64.8 cm

acrylic on masonite Signed lower left. Maria Leonardi Pennisi was born in 1920 in Acireale; He has always shown aptitudes for the figurative arts. He graduated from the "Ripetta" Art School in Rome and specialized in engraving by attending study of the master Nino Mustica and international courses of "Engraving Technique". Masonite, mastered the woodcut that recall the late nineteenth-century revival of this technique already dear to Durer. The language used by Pennisi is inspired by Northern European Expressionism; The subjects rigorously synthesize emotion and thought. His works are present in various Italian museums including the Museum of Modern Art of Gibellina and the Museum of Villa Croce in Genoa. Personal and Group Exhibitions Milan - November 1971 - Exhibition at the “Filodrammatici” Theater by D'Alma Folco Zambelli. Turin - October 1973 - Exhibition at “Sala Bolaffi” Livorno - 1982 Biennial of engraving and graphics Genoa 1988 - Museum of contemporary art of Villa Croce "First Italian Xilon Triennial" curated by Guido Giubbini and TranquilloMarangoni. Pisa March 1989 - National Triennial of art- PalazzoLanfranchi- FIDAPA Turin May 1989- International Competition and of Ex-Libris, Book Fair, Turin. 1990-91-92 - 1st / 2nd / 3rd Kochi International TriennalExhibition of Prints Kochi, Japan. Trento December 1996 - “Caproni” Aeronautical Museum by M. Fede. in frame h 83x67 cm: without h 70x55 cm

An Art Deco Omega 9ct gold cushion cased gentleman's wristwatch, a/f poor condition, circular silvered dial with Arabic numerals, recessed subsidiary seconds dial, blued steel hands, fifteen jewels movement, cal. 26.5 SOB T.2, serial 8364025, Dennison case back, Birmingham 1933, 4.6g, case number 547360, dial 24mm, case 29mm, on a contemporary brown leather strap, 31.0g gross.Notes: not in working condition.Case hinge damaged / pin missing, detached minute hand, glass, not currently running but does tick.

Malick Sidibé (Mali, 1935-2016)Nuit de Noël (Happy Club), 2012 signé, daté et titré en bas à droite dans la marge 'Nuit de Noël (Happy-club) 1963 Malick Sidibé/ 2012' tirage argentiquesigned, dated and titled 'Nuit de Noël (Happy-club) 1963 Malick Sidibé/ 2012' to the lower margingelatin silver print24 x 17,5cm. 9 7/16 x 6 11/16in.Footnotes:ProvenanceCollection privée, FranceExpositionsGothenburg, The Hasselblad Center, Malick Sidibé, 25 October 2003 – 11 January 2004, p. 82 (another print illustrated and exhibited)Houston, USA, African Art Now: Masterpieces from the Jean Pigozzi Collection, 29 January – 8 May 2005, pp. 33, 184 & 221 (another print illustrated and exhibited, pp. 47 & 185)Houston, USA, The Menil Collection; Lagos, Nigeria, Centre for Contemporary Art; and St. Louis, USA, The Pulitzer Foundation for the Arts, The Progress of Love, 2 December 2012 – 20 April 2013, pp. 30 & 69 (another print illustrated and exhibited)Paris, Fondation Cartier pour l'art contemporain à Paris, Malick Sidibé, Mali Twist, 20 October 2017 – 25 February 2018, pp. 195 & 259 (another print illustrated and exhibited)LittératureGiovanna Cugini, ed., Collection of Contemporary African Artists (Lugano, Switzerland, 2020), p. 361 (another print illustrated)Chika Okeke-Agulu et al., African Artists From 1882 to Now (London, 2021), p. 295 (another print illustrated)Malick Sidibé étudie d'abord la joaillerie à l'Ecole des artisans soudanais de Bamako avant d'être embauché pour décorer le studio du photographe français Gérard Guillat. Devenu apprenti, il adopte rapidement la technique et l'oeil d'un photographe professionnel à part entière.Initié et amateur des clubs de Bamako dans les années 1960 et 1970, Malick Sidibé capture des scènes et des moments spontanés comme Nuit de Noël, illustrant simultanément l'intimité et l'anticipation d'une rencontre impromptue, ainsi que la fierté et l'exubérance d'une nation nouvellement libérée.'Sa photographie était pensée sur le mode de ce qui surgit, de ce qui arrive au hasard, de la bonne rencontre. Il était dans la présence, immortalisait des moments. Nuit de Noël, d'une douceur et d'une tendresse 'infinies', est un instant volé au temps. Ses images dévoilent une conscience aiguë de coïncidences heureuses qui l'ont voulu infatigable, généreux, aimant.' (M. Sidibé, p.9; André Magnin.)BibliographieMalick Sidibé, Mali Twist, exh. cat., Fondation Cartier pour l'art contemporain, Paris, 20 October 2017 – 25 February 2018Malick Sidibé began his creative practice studying jewellery making at the Maison des artisans du Soudan, Mali (known as the Maison des Artisans de Bamako since 2006). From there, he was hired to decorate the studio of French photographer Gérard Guillat, who eventually offered him a position as an apprentice. Sidibé quickly picked up the professional studio techniques which he coupled with his unique creative vision in his own photography practice. In 1957, Guillat's studio closed, prompting Sidibé to begin recording Bamako nightlife on film. Drawn particularly to the Bamako clubs in the 1960s and 1970s, Sidibé captured spontaneous scenes of the vibrant youth culture of the Malian capital, such as that depicted in Nuit de Noël – a photograph which illustrates both the intimacy and anticipation of an impromptu encounter, as well as the exuberance of a newly liberated nation. '[Sidibé's] photography is conceived out of the fashion in which it arises, what happens by chance, the right encounter. He was in the present, immortalising moments. Nuit de Noël, with its 'infinite' softness and tenderness, is a moment stolen from time. His images reveal an acute awareness of happy coincidences which made him tireless, generous, and loving' (André Magnin, 2017: p. 9).BibliographyMalick Sidibé, Mali Twist, exh. cat., Fondation Cartier pour l'art contemporain, Paris, 20 October 2017 – 25 February 2018For further information on this lot please visit Bonhams.com

Godwin Oluwole Omofemi (Nigéria, né en 1988)Sans titre, 2017 signé et daté en bas à droite 'Oluwole Omofemi 17'huile sur toilesigned and dated 'Oluwole Omofemi 17' to the lower right oil on canvas91 x 91cm.35 13/16 x 35 13/16in.Footnotes:ProvenanceCollection privée, NigériaNé en 1988 à Ibadan, au Nigeria, Godwin Oluwole Omofemi développe très tôt son aptitude à la peinture. Au fil de l'évolution de son travail, il acquiert une réputation pour ses représentations éblouissantes du portrait noir contemporain, généralement sur fonds lumineux, comme le bleu froid de Sans titre (2017).Les compositions des peintures d'Omofemi sont le résultat d'un processus mûrement réfléchi. Il choisit une palette de couleurs et les vêtements de son sujet en fonction de l'ambiance qu'il souhaite transmettre à travers l'œuvre. Il prend ensuite des photographies de son modèle qu'il utilise comme images de référence lorsqu'il peint. Travaillant à l'acrylique et à l'huile, il introduit un élément imaginatif qui transcende l'image photographique en stylisant la figure, exagérant souvent des éléments tels que les cheveux du modèle. L'approche réaliste adoptée pour représenter le sujet est réhaussée par la platitude de l'arrière-plan monochrome.Si les modèles des tableaux sont généralement des amis ou des membres de la famille de l'artiste, Omofemi, au travers de ses œuvres, leur offre une part de mysticisme et de spiritualité. Il considère que les femmes sont proches de Dieu, car il associe les qualités traditionnellement associées à la féminité - amour, acceptation et pardon - au divin. Comme l'explique Omofemi, 'Je ne veux pas simplement peindre un tableau. Je veux un tableau qui capture l'âme. Je veux un tableau qui capture la personnalité. Ce sont les choses que je veux que les gens voient' (Omofemi cité par P. Laster, 2021).Sans Titre (2017) appartient à un ensemble d'œuvres dans lesquelles Omofemi explore la politisation des cheveux pour affirmer une puissante subjectivité noire. Il explique : ' Dans mes peintures, j'essaie de dire aux Noirs d'accepter qui ils sont, d'accepter leur identité, d'accepter leur beauté ' (Omofemi cité par P. Laster, 2021). Il se souvient du mouvement transnational des droits civiques des années 1960 et 1970, lorsque les cheveux naturels étaient considérés comme un moyen d'éviter le conformisme européen et d'affirmer une forte identité panafricaine.Dans la présente œuvre, le sujet est représenté arborant une coiffure afro surdimensionnée qui domine la toile. Ses cheveux sont un symbole de force, de beauté et de pouvoir. Réfléchissant aux qualités symboliques des cheveux, Omofemi note ' [un] effet capillaire surprenant des cheveux noirs qui me remplit d'admiration : peu importe la façon dont nous peignons ou traitons nos cheveux, ils ne tomberont jamais, mais s'étireront ou s'élèveront. Pour moi, les cheveux sont une perche ou une antenne qui nous donne le pouvoir de nous connecter au Divin' (Omofemi cité par M. Mobengo, 2021).Au cours des deux dernières années, le travail d'Omofemi a suscité une attention internationale significative. Il a bénéficié de deux expositions personnelles à la Signature Art Gallery de Londres, The Way We Were (12 mars-9 avril 2020) et In Our Days (1-30 septembre 2021). Son travail est actuellement présenté dans une exposition personnelle à Out of Africa Contemporary Art à Barcelone (jusqu'au 19 mai 2022).BibliographiePaul Laster, 'Reclaiming Identity: Oluwole Omofemi's Paintings Reflect His African Roots', Whitehot Magazine of Contemporary Art, May 2021, en ligneMurielle Mobengo, 'Art Talk with Oluwole Omofemi', Revue {R}évolution, 27 April 2019 (updated September 2021), en ligneGodwin Oluwole Omofemi has swiftly garnered international acclaim for his distinctive approach to contemporary Black portraiture. Born in Ibadan, Nigeria in 1988, Omofemi's aptitude for painting was recognised at a young age. Through his evolving body of work, he has gained a reputation for dazzling depictions of female subjects, typically set against luminous backgrounds, such as the cool blue of the present work.The compositions of Omofemi's paintings are the result of a carefully considered process. He selects a colour palette and the clothing of his subject according to the mood he wishes to convey through the work. He then takes photographs of his model which he uses as reference images when he paints. Working in acrylic and oil, he introduces an imaginative element that transcends the photographic image as he stylises the figure, often exaggerating elements such as the model's hair. The realist approach taken to depicting the subject is juxtaposed with the flatness of the monochrome background.While the models for the paintings are typically friends and family of the artist, Omofemi believes they accrue a spiritual quality when translated to canvas. He understands women to be close to God as he associates the qualities traditionally associated with femininity – love, acceptance, and forgiveness – with the Divine. As Omofemi explains, 'I don't want to just paint a picture. I want a picture that captures the soul. I want a picture that captures personality. These are the things I want people to see' (quoted in P. Laster, 2021). Sans Titre (2017) belongs to a body of work in which Omofemi explores the politicisation of hair to assert a powerful Black subjectivity. He explains, '[i]n my paintings, I try to tell black people to accept who they are; accept their identity; accept their beauty' (quoted in P. Laster, 2021). He looks back to the transnational Civil Rights Movement of the 1960s and 1970s when natural hair was valued as a means to eschew European styles and assert a strong Pan-African identity. In the present work, the subject is portrayed with an oversized afro that dominates the canvas. Her hair is a symbol of strength, beauty, and power. Reflecting on the symbolic qualities of hair, Omofemi notes '[a] surprising capillary effect of Black hair which fills me with awe is no matter how we comb or treat our hair, [it will] never fall down, [but will] rather stretch or rise. To me, hair is a pole or antenna which gives us the power to connect with the Divine' (quoted in M. Mobengo, 2021).In the last two years, Omofemi's work has garnered significant critical attention and has been exhibited internationally. He has received two solo exhibitions at Signature Art Gallery in London, The Way We Were (12 March - 9 April 2020) and In Our Days (1 - 30 September 2021), and his work is currently on view in a solo show at Out of Africa Contemporary Art in Barcelona (until 19 May 2022).BibliographyPaul Laster, 'Reclaiming Identity: Oluwole Omofemi's Paintings Reflect His African Roots', Whitehot Magazine of Contemporary Art, May 2021, onlineMurielle Mobengo, 'Art Talk with Oluwole Omofemi', Revue {R}évolution, 27 April 2019 (updated September 2021), online... This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the car 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 la voiture reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

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

Barthélémy Toguo (Cameroun, né en 1967)Mozart - Four saisons, 2003 - 2010 chaque signé, daté et titré en bas à droite 'B. Toguo/ 2003/2010 MOZART - Four Saisons'gouache sur papiereach signed, dated and titled 'B. Toguo/ 2003/2010 MOZART - Four Saisons' to the lower rightgouache on paperChaque: 17 x 17cm.Each: 6 11/16 x 6 11/16in. Exécuté entre 2003 et 2010.Executed between 2003 and 2010.(4)Footnotes:ProvenanceGalerie Lelong, ParisCollection Gervanne + Matthias Leridon, FranceLa musique est un thème récurrent dans l'œuvre de Barthélémy Toguo. Lors de sa première exposition en 2014 avec Stevenson au Cap, il présente une installation immersive qui mettait en scène une série de ses petits dessins placés au sommet de 35 pupitres à musique. Réfléchissant au titre de l'exposition, Célébrations, Toguo expliquait : ' c'est un concert de 'Célébrations' de la vie avec tous ses sentiments : la beauté côtoie la laideur, le plaisir au milieu de la guerre, la sexualité avec la violence, la joie et la mort '. Comme dans la présente œuvre, la musique devient pour lui un véhicule pour l'exploration artistique de la vie. Dans l'œuvre présentée, Barthélémy Toguo illustre les quatre saisons à travers un langage visuel libre et abstrait. Sur quatre pages de calendrier, il articule une série de formes organiques arrondies dans des gouaches de couleurs différentes. Sous l'application dynamique de la couleur, chaque page est structurée par une forme quadrillée qui délimite le passage des jours inhérents au changement des saisons. Le choix des matériaux de Toguo fait ainsi écho au projet conceptuel de l'œuvre, qui est une méditation sur la nature cyclique du temps.Né au Cameroun en 1967, Barthélémy Toguo connait un succès international, travaillant à la fois avec le dessin, la sculpture, la photographie, la performance et l'installation. Le monde naturel sert de métaphore durable à l'intérêt de l'artiste pour les thèmes du changement, du déplacement, des frontières et de l'exil. Il note: ' En observant notre société contemporaine, j'ai l'impression d'être un courant d'eau, d'être le vent, d'être un oiseau migrateur, d'être ici, là et partout ' (cité dans Chris Spring, 2008 : p. 310).Les œuvres de Toguo font partie d'importantes collections publiques internationales, dont la Tate Modern de Londres, le Centre Pompidou de Paris, le Studio Museum Harlem et le MoMA, tous deux à New York. En 2011, il est élu chevalier de l'Ordre des Arts et des Lettres en France pour les services qu'il a rendus au paysage culturel du pays. En 2016, il a été présélectionné pour le prestigieux Prix Marcel Duchamp, le prix d'art le plus prestigieux de France. Reflétant sa grande influence et sa conviction dans le potentiel éthique de la création artistique, Toguo a été nommé artiste de l'UNESCO pour la paix en 2021.'En tant qu'artiste, mon rôle est de présenter une nouvelle réalité, de donner envie aux jeunes de s'intéresser à l'art et d'ouvrir leur esprit. Aussi, j'ai un devoir envers l'Afrique, je dois rendre au continent ce que je gagne de ma production artistique' - Barthélémy ToguoBibliographieChris Spring, Angaza Afrika: African Art Now (London, 2008)In the present work, Barthélémy Toguo depicts the four seasons in an abstracted visual language. Across four calendar pages, he articulates a series of organic rounded forms in coloured gouache. The title of the piece characterises the work as a visual interpretation of the musical expression of the four seasons – a concept perhaps most readily associated with Antonio Vivaldi's violin concertos, Le Quattro Stagioni (1712-1720), but here related to Wolfgang Amadeus Mozart's virtuosic musical output. Underneath the dynamic application of gouache, each page is structured by a gridded calendar form which references the passing of days inherent to the changing seasons. Toguo's selection of materials thus echoes the conceptual project of the artwork as a meditation on the cyclical nature of time.Music is a recurring theme in Toguo's oeuvre. In his 2014 debut exhibition with Stevenson in Cape Town, he presented an immersive installation which featured a series of his small drawings set atop 35 music stands. Reflecting on the title of the show, Célébrations, Toguo explained, 'it is a concert of 'Célébrations' of life with all its feelings: beauty stands alongside ugliness, pleasure amidst war, sexuality with violence, joy and death'. As in the present work, music becomes a vehicle for Togou's artistic exploration of life. Born in Cameroon in 1967, Barthélémy Toguo has garnered international success as a multimedia artist working with drawing, sculpture, photography, performance, and installation. Pursuing his artistic practice between Paris and his native Cameroon, the natural world serves as an enduring metaphor for the artist's interest in themes of change, displacement, borders, and exile. He notes, '[l]ooking at our contemporary society I feel like being a stream of water, being the wind, being a migrating bird, being here and there and everywhere' (quoted in Chris Spring, 2008: p. 310).Toguo's work is held in international public collections including the Tate Modern in London, the Centre Pompidou in Paris, and the Studio Museum Harlem and MoMA, both in New York. In 2011, he was made a Knight of the Order of Arts and Literature in France for his service to the country's cultural landscape, and in 2016 he was shortlisted for the prestigious Prix Marcel Duchamp, France's most high-profile art award. Reflecting his far-reaching influence and conviction in the ethical potential of artmaking, Toguo was appointed UNESCO Artist for Peace in 2021.'As an artist my role is to present a new reality, to make young people want to get involved in art and to open their minds. Also, I have a duty to Africa, I must give back what I gain from my artistic production to the continent' - Barthélémy ToguoBibliographyChris Spring, Angaza Afrika: African Art Now (London, 2008)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

Gonçalo Mabunda (Mozambique, né en 1975)O trono em dois tempos, 2015 fer, armes démilitarisées et matériaux de récupération soudésiron, demilitarized weapons and welded scrap materials103 x 80 x 52cm.40 9/16 x 31 1/2 x 20 1/2in.Footnotes:ProvenanceVente : Bonhams, New York, Modern & Contemporary African art, 2 mai 2019, lot 10Collection privée, FranceNé au Mozambique en 1975, Gonçalo Mabunda puise dans la mémoire collective de son pays, encore marquée par les violences de la guerre civile. Il transforme des armes démilitarisées en œuvres d'art engagées et percutantes, qui portent à la fois une forte connotation politique et une réflexion sur le pouvoir de la résilience et la créativité du Mozambique.Gervanne et Matthias Leridon découvrent les œuvres de Gonçalo Mabunda lors de la formidable exposition Bang ! Bang ! organisée en 2006 à Saint Etienne. Très vite, ils décident de le rencontrer et de soutenir cet artiste iconoclaste. Pour eux, Gonçalo Mabunda est un magicien de la vie, un sourire éclatant, une volonté de vivre pour mieux façonner un monde où chaque vie doit compter.En 2011, ils imaginent pour lui un projet fou : proposer à Bill Clinton que les Clinton Awards remis chaque année par au cours de la Clinton Global Initiative à New York soient réalisés par Gonçalo. Depuis cette date, on peut admirer sur le bureau de Bill Clinton un globe signé... Mabunda!Gonçalo Mabunda est un artiste majeur qui plonge ses mains dans l'ombre de l'histoire pour façonner l'humanité de demain.Born in Mozambique in 1975, Gonçalo Mabunda is a significant artist represented within the Gervanne + Matthias Leridon Collection. He transforms the disarmed weapons of the country's civil war into powerful works of art. Gervanne and Matthias Leridon first discovered the artist's works at the compelling 2006 exhibition Bang! Bang! Guns, Gangs, Games et Oeuvres d'Armes at the musée d'Art et d'Industries in Saint-Étienne, France. Their admiration for the artist's practice prompted the couple to extend their support. Their first meeting flourished into a mutual friendship. For the couple, Mabunda embodies the desire to shape a better world in which the impact of each life is felt. He is an artist who has plunged his hands into the shadows of history to shape the humanity of tomorrow.Motivated by their great admiration for the social impact of Mabunda's artistic practice, Gervanne and Mattias Leridon devised an ambitious plan: to ask the ex-president of the United States Bill Clinton if Gonçalo Mabunda could design the awards given at the annual Clinton Global Citizen Awards to honour individuals who have made an outstanding impact in philanthropy, government, civil society, and the corporate sector. Their proposal was accepted, and one of the awards stands proudly on Bill Clinton's desk.For further information on this lot please visit Bonhams.com

George Lilanga di Nyama (Tanzanie, 1934-2005)Watu Wanakunywa Chai Hasubuhi signé en bas au centre 'lilanga'; titré 'Watu Wanakunywa Chai Hasubuhi' au reversacrylique sur panneau de boissigned 'lilanga' to the lower centre; titled 'Watu Wanakunywa Chai Hasubuhi' on the reverseacrylic on wooden pannel71 x 151cm.27 15/16 x 59 7/16in.Footnotes:ProvenanceVente: Millon, Paris, Art contemporain africain, 19 novembre 2014, lot 212Collection privée, FranceC'est dès son entrée au lycée que l'artiste tanzanien George Lilanga s'initie à la sculpture, faite de racines, de bois tendre et, plus tard, d'ébène, qu'il travaille dans la tradition Makondé. Il fonde en 1973, dans la région de Dar es Salaam la Maison des Arts, Nyumba ya Sanaa qui, jusqu'en 2010, promeut activement les artistes et artisans locaux. Il s'intéresse depuis lors à la sculpture et à la peinture de façons similaires et complémentaires. Comme d'autres artistes tanzaniens modernes, Lilanga a fréquenté les cercles artistiques de l'école Tingatinga, tout en concervant son propre style. Après 1972, il devient essentiellement un peintre, et certaines de ses œuvres sont présentées au Musée national de Dar es Salaam en 1974.Les personnages de Lilanga s'entremêlent dans des univers polychromes tourmentés, sur fonds de couleur rouge, bleu, jaune ou vert. La malice et l'expressivité présentes dans ses toiles donnent aux scènes de vie un air de caricatures. Ses œuvres dérivent de la culture Makondé. Les mashetani (shetani au singulier) que George Lilanga n'a de cesse de représenter sont des figures populaires, empreintes des mythologies et des croyances d'Afrique de l'Est, particulièrement appréciées en Tanzanie. 'Dans toute la culture africaine, la sorcellerie est très présente. Elle fait partie intégrante de notre façon de croire et de vivre. Mes personnages appartiennent au monde de la sorcellerie, ils vivent les histoires et les aventures qui m'ont été racontées par les sorciers quand j'étais enfant. Nos propres rêves concernent la sorcellerie et les sorciers. C'est pourquoi mes œuvres représentent presque exclusivement des sorcières et des démons.' (George Lilanga)Aux côtés d'autres artistes africains contemporains, ses œuvres ont été exposées dans des salons d'art internationaux, notamment Africa Remix 2004 ou African Art Now en 2005. Grâce à ces expositions et à l'intérêt que lui ont porté les critiques d'art et les collectionneurs d'art africain contemporain, Lilanga est devenu l'artiste tanzanien le plus renommé au niveau international.BibliographieGrimaldi Forum Monaco, Arts of Africa: la collection contemporaine de Jean Pigozzi (Milan, 2005), pp. 57-64.Tanzanian artist George Lilanga began carving wood – namely, roots, softwood and, later, ebony – in the Makonde tradition when he entered high school. In 1973, he founded the House of Arts, Nyumba ya Sanaa, in the Dar es Salaam region of Tanzania. The cultural centre actively promoted local artists and craftsmen until its closure in 2010. Since the 1970s, Lilanga has been interested in both sculpture and painting which serve as complementary aspects of his artistic practice. Like many other modern Tanzanian artists, Lilanga engaged with the art circles associated with the increasingly influential Tingatinga School, yet always maintained his own distinctive style. After 1972, he worked primarily as a painter, and presented some of his works at the National Museum in Dar es Salaam in 1974.Lilanga's painted characters are typically intertwined in tormented polychrome universes articulated against red, blue, yellow or green backgrounds. The mischievous expressiveness encapsulated in his paintings imbue a sense of caricature to the scenes depicted. The artist's works draw upon his Makonde culture. The mashetani (or shetani in the singular) that populate Lilianga's work are spirit figures imbued with the mythologies and belief systems of East Africa and are particularly prevalent in Tanzanian culture. The artist explains:'In all African culture, witchcraft is very present. It is an integral part of our way of believing and living. My characters belong to the world of witchcraft, they live the stories and adventures that were told to me by witch doctors when I was a child. Our own dreams are about witchcraft and wizards. That's why my work almost exclusively depicts witches and demons.'Alongside other contemporary African artists, Lilianga's work has been exhibited in international art fairs, including Africa Remix 2004 and African Art Now in 2005. Partly as a result of these exhibitions and the interest he has garnered from art critics and collectors of contemporary African art, Lilanga has become the most internationally renowned Tanzanian artist.BibliographyGrimaldi Forum Monaco, Arts of Africa: la collection contemporaine de Jean Pigozzi (Milan, 2005), pp. 57-64.For further information on this lot please visit Bonhams.com

Ablade Glover (Ghana, né en 1934)Two troubles, one god, 1988 signé et date en bas à gauche 'Glo 88'; titré et inscrit Ablade Glover sur une étiquette au revershuile sur toilesigned and dated lower left 'Glo 88'; titled and inscribed 'Ablade Glover' on a label affixed to the reverseoil on canvas101 x 101cm.39 3/4 x 39 3/4in.Footnotes:ProvenanceCollection privée, FranceAblade Glover, professeur à l'Université de Kumasi, occupe une position centrale au sein de la scène artistique contemporaine du Ghana, à la fois comme artiste et comme enseignant. Né à Accra en 1934, il reçoit ses premiers enseignements dans les écoles de la mission presbytérienne. Il suit ensuite une formation de professeur à l'Université Kwame Nkrumah des sciences et de la technologie, à Kumasi, avant d'obtenir une bourse pour étudier le design textile à la Central School of Art and Design de Londres en 1959. Après une courte période d'enseignement au Ghana, Glover retourne au Royaume-Uni en 1964 pour étudier l'éducation artistique à l'université de Newcastle de Tyne. C'est là, sur les recommandations de son mentor, qu'il décide d'expérimenter le couteau à palette pour appliquer la peinture directement sur ses toiles. Il explique : 'J'utilise le couteau à palette qui m'offre toute la liberté dont j'ai besoin. Le couteau vous donne le sentiment de vous exprimer immédiatement. Vous l'enlevez quand vous n'en voulez plus, c'est instantané et j'adore ça.'Ablade Glover applique d'épaisses couches de peinture sur ses toiles puis utilise le couteau pour déployer les couleurs vives contenues dans chaque empâtement sur la surface de l'œuvre. Cette technique est mise au service de la représentation des sujets qu'il choisit : scènes de marché animées, foules de personnages en prière, toits de bidonvilles et forêts denses. La manipulation gestuelle de la peinture permet aux œuvres d'osciller entre figuration et abstraction.Comme Glover l'explique, ' les scènes que je peins - les marchés, les foules - on ne peut jamais les capturer entièrement parce qu'elles sont toujours en train de changer. Mon objectif ne peut être que d'en saisir le tempo'. Alors concentré sur la justesse des mouvements qu'il représente, Ablade Glover rend au travers des surfaces texturées ondulantes de ses peintures le rythme de la vie quotidienne du Ghana.Peint en 1988, Two troubles, one god démontre l'extrême justesse dont fait preuve Ablade Glover avec son outil de prédilection. Les denses balayages de peinture à l'arrière-plan articulent l'amoncellement des bâtiments et des couvre-chefs des femmes blotties dans la foule. Au premier plan, trois femmes sont représentées de profil. Habillées dans des tons chauds de jaune ocre, les femmes dégagent une force tranquille, en contraste à l'agitation dynamique de leur environnement.Ablade Glover a hérité d'une réputation internationale pour son style pictural distinctif. Ses œuvres font partie des collections du Palais impérial de Tokyo, du siège de l'UNESCO à Paris et de l'Africa First Collection à Tel Aviv. Il a bénéficié de nombreuses expositions en Afrique de l'Ouest, en Europe, aux États-Unis et au Japon. Reflétant l'estime que lui porte la communauté artistique internationale, Glover a reçu plusieurs prix nationaux et internationaux, dont l'Ordre de la Volta au Ghana, et a été nommé membre à vie de la Royal Academy of Art de Londres.Professor Ablade Glover occupies a central position in Ghana's contemporary art scene as both artist and teacher. Born in Accra in 1934, he received his early education in Presbyterian mission schools. He subsequently undertook teacher training at the Kwame Nkrumah University of Science and Technology, Kumasi before winning a scholarship to study textile design at the Central School of Art and Design in London in 1959. Following a short period teaching in Ghana, Glover returned to the UK in 1964 to study art education at the University of Newcastle upon Tyne. It was here, at the suggestion of his teacher, that he first began experimenting with the palette knife as a tool to apply paint directly to his canvases. He explains:'I use the palette knife which gives me the freedom I want. The palette knife gives you the feeling to express yourself immediately. You take it off when you don't want it so there is an immediacy of the palette knife and I love it.'Glover applies thick layers of impasto to his canvases and then uses the palette knife to spread the brightly coloured pigments across the surface of the work to create textural slices of paint. This technique is put to the service of portraying his chosen subject matter; bustling market scenes, crowds of figures at prayer, the rooftops of shanty towns, and densely grown forests. The gestural handling of paint allows the works to hover between figuration and abstraction. As Glover explains of his depictions of these urban topologies, '[t]he scenes I paint – the markets, the crowds – you can never wholly capture them because they are always changing... My aim can only be to capture the tempo'. Indeed, the undulating textured surfaces of his paintings echo the rhythms of daily life in Ghana.Painted in 1988, Two troubles, one god demonstrates the breadth of Glover's experimentation with his chosen tool, the palette knife. The dense sweeps of paint in the background articulate buildings and the head wraps of women nestled together in the throng of the crowd. In the foreground, three women are portrayed in profile, evidencing Glover's enduring navigation of the figurative and the abstract within his painterly practice. Dressed in warm, buttery yellow tones, the women emulate a quiet strength which is juxtaposed with the dynamic bustle of their environment. Ablade Glover has garnered an international reputation for his distinctive painterly style. His work can be found in the collections of the Imperial Palace, Tokyo; the UNESCO Headquarters, Paris; and the Africa First Collection, Tel Aviv. He has exhibited his work extensively in West Africa, Europe, the USA, and Japan. Reflecting the esteem that he is held in by the international art community, Glover has been the recipient of several national and international awards including the Order of the Volta in Ghana and has been made a Life Fellow of the Royal Academy of Art in London.For further information on this lot please visit Bonhams.com

Segovia, Andrés. Ohne Titel. (Schlafendes Kind). Pastell auf leichtem Karton. Links unten signiert. Blattgröße: 50 x 65 cm. Unter Passepartout montiert.Der argentinische Künstler Andres Segovia (1929-1996) war der Sohn des bekannten klassischen gleichnamigen Gitarristen. Er studierte in Buenos Aires und hielt sich in den 1950er Jahren in Europa auf. Bekannt wurde er durch seine expressiven Stillleben und Porträts. Seine Werke finden sich in den ständigen Sammlungen des Museum of Contemporary Art Los Angeles. - Verso mit Resten einer alten Montierung aus Zeitungspapier, obere rechte Ecke mit kleinem Randeinriss, mit leichten Verwischungen, Passepartout mit Einriss in der unteren Ecke. - Provenienz: Privatsammlung Hamburg.

Segovia, Andrés. Ohne Titel. (Porträt Mann und Frau). Pastell auf blauem Papier. Rechts unten signiert. Blattgröße: 70 x 50,5 cm. Unter Passepartout montiert.Der argentinische Künstler Andres Segovia (1929-1996) war der Sohn des bekannten klassischen gleichnamigen Gitarristen. Er studierte in Buenos Aires und hielt sich in den 1950er Jahren in Europa auf. Bekannt wurde er durch seine expressiven Stillleben und Porträts. Seine Werke finden sich in den ständigen Sammlungen des Museum of Contemporary Art Los Angeles. - Mit leichten Atelierspuren und Verwischungen. - Provenienz: Privatsammlung Hamburg.

Varia - Porträts - - Men of Mark. A gallery of contemporary portraits of men distinguished in the senate, the church, in science, literature and art, the army, navy, law, medicine, etc. Photographed from life by Lock and Whitfield, and other eminent photographers, with brief biographical notices by Thompson Cooper. 7 Serien in 7 Bänden. Mit 254 montierten Woodburytypien (oval, 12 x 9 cm). London, Sampson Low, Marston, Searle und Rivington, 1876-1883. 28 x 21 cm. Grüne Original-Leinwandbände mit reicher Rücken- und Deckelvergoldung sowie Ganzgoldschnitt (leicht berieben).Einzige Ausgabe der legendären Porträtsammlung der viktorianischen Größen der Zeit. - Der größte Teil der Photos wurde von Samuel Robert Lock und George Carpe Whitfield aufgenommen, einige aber auch von anderen Photographen wie Antoine Samuel Adam-Salomon (Jules Verne), Etienne Carjat (Victor Hugo) und John Jabez Edwin Paisley Mayall (Lord Tennyson). - Die Aufnahmen jeweils im Halbprofil von rechts oder links. - Weitere Abgebildete sind Henry Irving, Bedford Pim, Richard Burton, der Prinz von Wales, Walpole, Frederick Leighton, Airy, Collinson, Trollope, McClintock, Darwin, Gladstone, Huxley, Wilkie Collins, Hooker und Browning. - Die Klebebindung gelöst, Blätter lose (dadurch wenige etwas angerändert). -

Birds.- Incubation.- Reaumur (René Antoine Ferchault de) Art de Faire Éclorre et de Élever en toute saison des Oiseaux Domestiques de toutes especes, 2 vol., second edition, 16 folding engraved plates, 1751; Pratique de l'Art de Faire Éclorre...des Oiseaux Domestiques..., 4 folding engraved plates, 1751, together 3 vol., both with charming engraved head-pieces, uniform contemporary mottled sheep,spines gilt with red morocco labels, slightly rubbed, [Kress 5154], 12mo, Paris, Imprimerie Royale ⁂ Early work on poultry farming and particularly artificial incubation.

Callières (François) The Art of Negotiating with Sovereign Princes, first edition in English, title with double rule border, woodcut head-pieces and initials, a few pencil markings, marginal damp-staining causing fraying to lower outer corner, extensive notes in early hand to front free endpapers, contemporary panelled calf, rubbed, rebacked preserving old spine, new label, 12mo, for Geo.Strahan..., 1716.⁂ Important work on diplomacy, a translation of Callières' De la Manière de Négocier avec les Souverains published the same year in Paris.

Cookery.- Menon. The Professed Cook: or, the Modern Art of Cookery, Pastry, and Confectionary, 2 vol. bound in 1, second edition, translated by Bernard Clermont, spotting and staining, contemporary half-morocco, rebacked and recornered, 1749; and 2 others coookery, 8vo & 12mo (3)

Bindings.- Dobell (Bertram, editor) The Poetical Works of Thomas Traherne, second edition, one or two spots to half-title, otherwise internally clean, 1920s art nouveau binding, covers with William Blake quote "He Who Sees the Infinite in all Things Sees God" in central panel formed by double gilt rules, g.e., spine in compartments, spine lightly faded, by the editor, 1906 § Robertson (H. Logie, editor) The Poetical Works of Walter Scott, portrait frontispiece, contemporary ink gift presentation inscription to front free endpaper, contemporary calf-backed boards, spine blind stamped with period design, gilt, 1926, 8vo (2)

Aeronautics.- [Pocock (George)] A Treatise on the Aeropleustic Art, or Navigation in the Air, by means of Kites, or Buoyant Sails; with a description of the Charvolant, or Kite Carriage, folding engraved aquatint frontispiece of the charvolant, 6 lithographed plates by Rose Gilbert after David Cox, Jun., bound without advertisement leaf at end, contemporary manuscript note to p.37, some spotting to plates, modern dark blue morocco, gilt, spine gilt, upper cover slightly splayed, 8vo, 1851.⁂ Intriguing work, first published in 1827 as The Aeropleustic Art, or, Navigation in the Air, by the use of Kites or Buoyant Sails. The delightful illustrations show use at sea and the charvolant on land. The author was the grandfather of W.G.Grace; fortunately for cricket his daughter Martha was unharmed during any of the experiments with his kites in which she and other family members partook. Library Hub lists 7 copies of this second edition.

Glass.- Holbach (Paul Henri Dietrich, Baron d', translator) Art de la Verrerie, de Neri, Merret et Kunckel, first edition, engraved frontispiece and 15 folding plates, contemporary ink initials "B.R.F." to head of title, several extensive pencil annotations/translations to text particularly sections with recipes and a couple of plates, occasional browning, final section 'Secret des Vraies Porcelaines de la Chine et de la Saxe' water-stained, contemporary mottled calf, rubbed, corners worn, rebacked, [Duveen 427; Ferguson II, 135], Paris, Durand & Pissot, 1752 § Delaval (Edward Hussey) Ricerche Sperimentali sopra le cause de'cambriamenti de'colori nelli Corpi Opachi, e Colorati..., first edition in Italian, with final imprimatur leaf, modern calf-backed marbled boards, Bologna, Tommaso d'Aquino, 1779; and another on glass-making, 4to & folio (3)⁂ The second work concerns the colours produced in glass by various metals.

A collection of mainly contemporary art to include: a large pastel, 50 x 67cm; a  woodblock print of a farm scene, 36 x 38cm; a modern etching of a William Blake page - 'Behold now, Behemoth...'; two abstract  lino prints, 25 x 42cm; trio of etchings by Christine Packenham, each 13 x 15cm; Persian painting, 14cm diameter; abstract gouache by Lucien Cooper, 25cm sq; framed montage of silk cigarette packet tokens.

Eliza Darcy Mortimer (Contemporary British)Shellsoil on canvas, 35 x 81cmsigned versoProvenance: Purchased Affordable Art Fair Battersea circa 2001 

Alecos Fassianos (Greek, 1935-2022)Le vase bleu signé en grec (au milieu à gauche)huile sur panneau41 x 30cm (16 1/8 x 11 13/16in).Peint en 1985.signed in Greek (middle left)oil on panelFootnotes:ExpositionThessaloniki, Macedonian Museum of Contemporary Art, A. Fassianos, Paintings 1953-1993, September 1993, no. 75 (listed, p. 197, and illustrated in the exhibition catalogue, p. 110).Littératurehttps://youfly.com/arts/alekos-fasianos-i-cheiropoiiti-zoi-tis-zografikis-tou/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

Panagiotis Tetsis (Greek, 1925-2016)La table orange signé en grec (en bas à droite)huile sur toile150.5 x 148cm (59 1/4 x 58 1/4in).signed in Greek (lower right)oil on canvasFootnotes: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. Disarmingly beautiful and irresistibly seductive, the work offered is easily recognizable as a representation of three tabletops under the sun but it can also be read as a nearly abstract sum total of rounded shapes. The cascading rhythm of the composition emphasizes the picture's still atmosphere and imparts a sense of monumentality and timelessness, while the large areas of undifferentiated colour enhance the effect of unity.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.'1 1 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 Moralis (Greek, 1916-2009)Pleine Lune I inscription en grec, signé et daté '1977' (en bas à droite); inscription, signé et daté 'Yannis MORALIS/ Athènes -Grèce/ 1977' (au revers)acrylique sur toile146 x 124cm (57 1/2 x 48 13/16in).signed and inscribed in Greek and dated (lower right); signed, dated and inscribed (on the reverse)acrylic on canvasFootnotes:ExpositionAthens, Zoumboulakis Gallery, Moralis, March 1978, no. 25 (illustrated in the exhibition catalogue).LittératureSima magazine, no. 22, no. 5, March 1979, p. 48 (illustrated).T. Spiteris Archive, Tellogleion Art Institute, Thessaloniki, c. 1980, no. GR TITSpit f636_57, p. 4 (illustrated).Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 251, p. 255 (illustrated).To Tetarto magazine, no. 35, March 1988, p. 70 (shown with the artist in a photograph from his 1978 one man show at the Zoumboulakis Gallery, Athens).C. Christou, Moralis, Adam editions, Athens 1993, no. 176 (illustrated).Tenderly embraced by a soft glow of youthful radiance and enthralled by the poetry and eroticism of the curved line, Full moon I's graceful forms reflect the artist's long preoccupation not only with the schematised and suggestively rendered human figure, but also with the inner rhythm and musical resonance generated by the daring combination of varied types, shapes and colours. As aptly noted by Professor D.N. Maronitis, 'Moralis's paintings take us directly to the wondrous world of pure vision, which emerges, however, from the world of touch.1 Demonstrating solid structure, purity of form, poetic abstraction, disciplined rhythm, harmonious proportions, and ingenious interplay of gently flowing curves, Full Moon I achieves a striking balance between feeling and thought. The figures are broken down to their constituent parts and then reassembled; as a result the lines take on a symbolic import and respond to each other by means of their contrasts and similarities. As noted by Nobel laureate O. Elytis 'by using a limited vocabulary of form, in which recurrent and opposing curves of ochres and blacks dominate, Moralis has succeeded—in a manner unprecedented in Greek art—to transform the language of the natural world into a purely optical phenomenon. Memories and encounters are repeatedly distilled until they blend into forms of great simplicity and precision.'2 Reviewing the artist's work from the late 1970s, art history Professor C. Christou incisively noted that in these paintings 'we overhear an internal dialogue between warm and cool colours, active and passive themes, hard and soft forms, fluid and fixed lines, all of which contrive to create an astonishingly expressive effect. Moralis remains true to the human figure, notwithstanding that he portrays it in such a simplified and schematic manner that it takes on the appearance of a mere suggestion.'3 Likewise, K. Koutsomallis, Director of the Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, noted: '1976 marks the beginning of a new period in his work devoted exclusively to geometric abstraction. Forms now become wholly immaterial, dissolving into pure schemata. Their monumental character does not reduce their sensuality. On the contrary, eroticism acquires its transcendental expression. In no way does this sensual robustness of form -vaguely reminiscent of nude human figures- take anything away from their graceful tenderness, lyrical quality and richness.'4 The evocative symbolism of the couple's loving embrace and the serene rhythm dictated by a sense of human scale, compose a universe of poetic images that echoes the timeless values of ancient Greek art. True to his Greek heritage and yet utilising a formal vocabulary informed by modern sensitivity, Moralis sought the realisation of a classical ideal, the discovery of a universal measure for logos and pathos. By focusing only on the essential, he expressed what is permanent and universal. 'In his fragmented and elliptical figures and in the wealth of his linear compositions and chromatic statements, he neither describes nor narrates but expresses and interprets the forces of creation.'51 D.N. Maronitis, 'The Gift of Vision' [in Greek], To Vima daily, 15.3.1992.2 O. Elytis, preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Galerie, Athens 1972.3 C. Christou, Moralis, Adam editions, Athens 1993, p. 33.4 K. Koutsomallis, 'The Painting of Yannis Moralis, a Tentative Approach' in Y. Moralis, Traces, exhibition catalogue, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, Andros 2008, pp. 18-19, 30.5 Christou, Moralis, pp. 20, 33, 34.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

Lucas Samaras (Greek, born 1936)Conflict 23 #35493.03 pigments purs sur papier57.2 x 74.9cm (22 1/2 x 29 1/2in).Édition 3/5. Réalisé en 2003.pure pigments on paperFootnotes:ProvenancePace Wildenstein gallery, New York.ExpositionsNew York, PaceWildenstein gallery, Lucas Samaras Photofictions, November 11, 2003 - January 10, 2004, no. 24 (illustrated in the exhibition catalogue).London, Waddington galleries, Lucas Samaras Photofictions, March 24 - April 17, 2004, no. 24 (illustrated in the exhibition catalogue).LittératureUnrepentant Ego: The Self-Portraits of Lucas Samaras, exhibition catalogue, Whitney Museum of American Art, New York, 2003, p. 318 (illustrated).Lucas Samaras Retrospective, exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 2005, p. 304 (illustrated).K. Koskina, Lucas Samaras, Contemporary Greek Artists series, Ta Nea editions, Athens 2009, p. 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

Chryssa (Vardea) (Greek, 1933-2013)Les portes de Times Square, New York signé et daté 'Chryssa/1965' (sur l'étiquette en bas à droite)néons, plexiglas114.3 x 94 x 71.2cm (45 x 37 x 28 1/16in).signed and dated (on label on the right side)neon sculpture with timer in plexiglass boxred, yellow, green and blueFootnotes:ExpositionAthens, Stavros Mihalarias Art, Chryssa '60-'90, May-July, 1990, no. 30 (catalogued and illustrated in the exhibition catalogue).When Greek-born Chryssa first arrived in New York in 1954, she was immediately struck by the visual dynamics of this great urban environment. Times Square, a legendary NY landmark with fascinating signs, calligraphic letters, and flashing lights, seemed to her utterly beautiful and poetic, summoning recollections of her Greek heritage: 'In Times Square, the sky is like the gold of Byzantine mosaics or icons.'1 Responding to these age-old presences in contemporary American commercial symbols and guided by a European sense of style, Chryssa, the first artist working in America to use emitted electric light, produced neon sculptures with majestic forms and oscillating letter-like patterns. Here, tightly grouped in a repetitive sequence and encased in a smoky-grey Plexiglas container, the curved red, yellow, green and blue neon tubes heighten the abstract qualities of the calligraphic elements, capturing the romantic imagery and inherent poetry of the modern metropolis. 1 Chryssa: Urban Icons, exhibition catalogue, Albright-Knox Art Gallery, Buffalo, New York, 1982, p. 4.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)Vert de femme signé 'Byzantios' (en bas à droite); signé et daté 'Byzantios 70' (au revers)huile sur toile130 x 97cm (51 3/16 x 38 3/16in).Peint en 1970. 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.LittératureDico Byzantios, Museum of Contemporary Art - Basil and Elise Goulandris Foundation edition, Andros / Athens 2012, no. 34 (illustrated).https://www.monopoli.gr/2019/07/05/istories/art-culture-sub/332838/ntikos-vyzantios-i-diadromi-enos-logiou-kallitexni-apo-to-parisi-stin-andro/https://enandro.gr/politismos/5182-htmlThis 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)Bain l'après-midi I signé 'Byzantios' (en bas à droite); signé et daté 'BYZANTIOS 1999' (sur le châssis)acrylique sur toile162 x 130cm (63 3/4 x 51 3/16in).signed (lower right); signed and dated (on the stretcher)acrylic on canvasFootnotes:ExpositionsAthens, Benaki Museum, Dico Byzantios, in Search of the Lost Gaze, September 7 - October 5, 2007.Hora Andros, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, Dico Byzantios, Abstraction + Figuration, June 30 - September 22, 2019 (illustrated in the exhibition catalogue, p. 21).LittératureG. Gassiot-Talabot, Constantinos Byzantios, K. Adam editions, Athens 2007, p. 2 (detail), p. 26 (illustrated).Constantinos Byzantios, Contemporary Greek Artists series, Ta Nea editions, Athens 2007, p. 25 (illustrated).https://www.monopoli.gr/2019/07/05/istories/art-culture-sub/332838/ntikos-vyzantios-i-diadromi-enos-logiou-kallitexni-apo-to-parisi-stin-andro/https://www.androsfilm.gr/2019/03/07/nea-epohi-gia-to-idryma-basili-ke-elisas-goylandri-me-neo-moyseio-logotypo-kai-ekthesi/ https://www.culturenow.gr/ntikos-konstantinos-vyzantios-anadromiki-ekthesi-sto-moyseio-sygxronis-texnis-tis-androy/https://www.iefimerida.gr/politismos/ntikos-byzantios-sto-moyseio-goylandri-stin-androThis 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

Brian Edwards (British, Contemporary), Cromer Pier, Norfolk, acrylic on canvas, signed.Brian Edwards is a retired architect and currently Professor Emeritus of Architecture at Edinburgh College of Art/ Edinburgh University. He studied architecture in an art school environment and has painted all of his life.Brian Edwards has exhibited widely and is the author of many books including ‘Understanding Architecture through Drawing’ published with English and Mandarin editions. His drawings and watercolours have also featured in profession journals such as Architectural Review and Building Design and a number are held in public collections in Glasgow, Wakefield and Vancouver.The paintings explore urban character with a view to capturing the special qualities of how architecture and place coexist. Line, draughtsmanship, perspective and colour are important ingredients. The paintings start their life as location sketches drawn straight on to canvas and are developed using iPad images. They are mainly in acrylics. John Piper, David Gentleman and David Hockney are important influences.More information on Professor Brian Edwards is available at www.brianedwards.eca.ed.ac.uk

Brian Edwards (British, Contemporary), Cromer, Norfolk, acrylic on board, signed.Brian Edwards is a retired architect and currently Professor Emeritus of Architecture at Edinburgh College of Art/ Edinburgh University. He studied architecture in an art school environment and has painted all of his life.Brian Edwards has exhibited widely and is the author of many books including ‘Understanding Architecture through Drawing’ published with English and Mandarin editions. His drawings and watercolours have also featured in profession journals such as Architectural Review and Building Design and a number are held in public collections in Glasgow, Wakefield and Vancouver.The paintings explore urban character with a view to capturing the special qualities of how architecture and place coexist. Line, draughtsmanship, perspective and colour are important ingredients. The paintings start their life as location sketches drawn straight on to canvas and are developed using iPad images. They are mainly in acrylics. John Piper, David Gentleman and David Hockney are important influences.More information on Professor Brian Edwards is available at www.brianedwards.eca.ed.ac.ukDirect from the artist's studio.

Brian Edwards (British, Contemporary), Sheringham, Norfolk, acrylic on board, signed.Brian Edwards is a retired architect and currently Professor Emeritus of Architecture at Edinburgh College of Art/ Edinburgh University. He studied architecture in an art school environment and has painted all of his life.Brian Edwards has exhibited widely and is the author of many books including ‘Understanding Architecture through Drawing’ published with English and Mandarin editions. His drawings and watercolours have also featured in profession journals such as Architectural Review and Building Design and a number are held in public collections in Glasgow, Wakefield and Vancouver.The paintings explore urban character with a view to capturing the special qualities of how architecture and place coexist. Line, draughtsmanship, perspective and colour are important ingredients. The paintings start their life as location sketches drawn straight on to canvas and are developed using iPad images. They are mainly in acrylics. John Piper, David Gentleman and David Hockney are important influences.More information on Professor Brian Edwards is available at www.brianedwards.eca.ed.ac.uk

Brian Edwards (British, Contemporary), Sheringham, Norfolk, acrylic on canvas, signed.Brian Edwards is a retired architect and currently Professor Emeritus of Architecture at Edinburgh College of Art/ Edinburgh University. He studied architecture in an art school environment and has painted all of his life.Brian Edwards has exhibited widely and is the author of many books including ‘Understanding Architecture through Drawing’ published with English and Mandarin editions. His drawings and watercolours have also featured in profession journals such as Architectural Review and Building Design and a number are held in public collections in Glasgow, Wakefield and Vancouver.The paintings explore urban character with a view to capturing the special qualities of how architecture and place coexist. Line, draughtsmanship, perspective and colour are important ingredients. The paintings start their life as location sketches drawn straight on to canvas and are developed using iPad images. They are mainly in acrylics. John Piper, David Gentleman and David Hockney are important influences.More information on Professor Brian Edwards is available at www.brianedwards.eca.ed.ac.uk

Schomberg (Alexander Wilmot)Practical Remarks and Observations on Building, Rigging, Arming and Equipping His Majesty's Ships of War, &c., Longman, Rees ..., 1832, ex-Royal Naval College library, later half calf with RSNA armorial to upper board and blindstamp to title;'A Captain of the British Navy', A Vocabulary of Sea Phrases and Terms of Art used in Seamanship and Naval Architecture. In Two Parts, I English and French, II French and English, Debrett, 1799, two volumes, 12mo., contemporary calf (spines worn, later spine labels);'An Officer of Rank', Naval Sketch-Book; or, the Service Afloat and Ashore ..., Colburn, Whittaker et al., 1826, two volumes, contemporary half calf (worn); with two others (7)

SCOTTISH CONTEMPORARY  THE ART SCHOOL WITH BULLSEYE  Mixed media, signed 'Craig', dated (19)91, 9 x 14cm Condition Report:Available upon request

◆ JOHN ATKINSON GRIMSHAW (BRITISH 1836-1893) GREENOCK Signed inscribed and dated 'T.20.92', signed, inscribed and dated verso 'Quayside Greenock T.20.92', oil on canvas(31cm x 46cm (12in x 18in))Provenance: Christie's, 20 July 1979, lot.42 £8000 where purchased by the vendor's family and thence by descentJohn Atkinson Grimshaw’s innovation was to apply Ruskin’s tenet of ‘truth-to-nature’ to scenes of Britain’s burgeoning industrial centres. Owing to his sensitive portrayal of the atmosphere and ‘feeling’ of urban life, he has been considered the artistic equivalent of the great Victorian novelists Charles Dickens and Elizabeth Gaskell. Lyon & Turnbull are delighted to be offering two paintings by one of the most accomplished British artists of the nineteenth century. Atkinson Grimshaw was born in Leeds in 1836. By 1860 he had left his position as a Northern Railway clerk to become a full-time painter, much to his parents’ dismay. His early artworks were generally landscapes and still lifes of fruit, flowers and birds rendered with a detailed intensity inspired by the Pre-Raphaelites. He also worked from photography, a relatively new medium, and is believed to have implemented camera obscura projections onto his canvases to refine his compositions. His career breakthrough came in 1867 when a painting of Whitby harbour at night was received to great acclaim. The urban nocturne dominated Atkinson Grimshaw’s output forthwith, as he pursued ever-more subtle and complex ways to illuminate his compositions. Contemporary urban audiences identified with his nighttime streetscapes lit by gas lamps, which effectively evoked the dynamism and isolation of the industrialised town. Atkinson Grimshaw travelled to various towns and harbours to study their architecture and imbibe their atmosphere. The locales he most frequently painted (Glasgow, Leeds, Liverpool, Whitby, Scarborough and London) reflect the distribution of his market. In the mid-nineteenth century innovative contemporary art was generally patronised by wealthy industrialists in the north of England and Scotland. Such was the case with the Pre-Raphaelites, whose aesthetic initially proved too challenging for traditional London tastes but flourished in northern industrial centres. Atkinson Grimshaw’s market developed along similar lines, and it was not until the 1870s that London collectors began to invest in his work in earnest. By 1870 he was successful enough to rent Knostrop Hall, a seventeenth-century mansion represented in Evening in Knostrop. The Hall was built for Adam Baynes (1622-1671), the first Member of Parliament for Leeds, and its Jacobean architecture would prove an enduring inspiration which Atkinson Grimshaw would continue to paint for the rest of his life. Between 1885 and 1887 Atkinson Grimshaw lived in Chelsea, London near the studio of the American artist James McNeill Whistler. The pair became good friends and bonded over their shared interest in painting city living, although Whistler implemented a more impressionistic technique. Whistler would later comment ‘I thought I had invented the nocturne, until I saw Grimmy’s moonlights’. This Greenock scene exemplifies Atkinson Grimshaw’s mastery of ephemeral light. Greenock is situated on the River Clyde around 22 miles from Glasgow, and in the 18th and 19th centuries was a thriving and populous shipbuilding hub. Atkinson Grimshaw delineates the architecture with sharp precision, which serves as a visual counterpoint to the soft, delicate palette. While muted tones evoke the damp evening haze, points of tonal intensity draw the eye to the bustle of activity across the quayside, from the moored ships’ blinking lights, to the carriages conveying silhouetted figures, to the warm glow emanating from the row of smart shops. Greenock was painted a year before his untimely death from tuberculosis in 1893. Several of his children also became painters, including Louis Grimshaw, a son born in 1870. Louis trained under his father, and for a spell the pair painted collaboratively, with John executing the sky and landscape and Louis working on the figures. Like his father, Louis generally painted nocturnes, but he diverged by predominantly representing London. Louis’ career as an artist was relatively brief, as he gave up painting in 1905 to work as a cartographer for the Manchester Guardian, and his paintings are consequently rare.

◆ JOHN ATKINSON GRIMSHAW (BRITISH 1836-1893) EVENING IN KNOSTROP Signed and dated 1881, oil on board(34cm x 44cm (13.5in x 17.25in))Provenance: Thos Agnew & Sons Ltd, London, No.28603John Atkinson Grimshaw’s innovation was to apply Ruskin’s tenet of ‘truth-to-nature’ to scenes of Britain’s burgeoning industrial centres. Owing to his sensitive portrayal of the atmosphere and ‘feeling’ of urban life, he has been considered the artistic equivalent of the great Victorian novelists Charles Dickens and Elizabeth Gaskell. Lyon & Turnbull are delighted to be offering two paintings by one of the most accomplished British artists of the nineteenth century. Atkinson Grimshaw was born in Leeds in 1836. By 1860 he had left his position as a Northern Railway clerk to become a full-time painter, much to his parents’ dismay. His early artworks were generally landscapes and still lifes of fruit, flowers and birds rendered with a detailed intensity inspired by the Pre-Raphaelites. He also worked from photography, a relatively new medium, and is believed to have implemented camera obscura projections onto his canvases to refine his compositions. His career breakthrough came in 1867 when a painting of Whitby harbour at night was received to great acclaim. The urban nocturne dominated Atkinson Grimshaw’s output forthwith, as he pursued ever-more subtle and complex ways to illuminate his compositions. Contemporary urban audiences identified with his nighttime streetscapes lit by gas lamps, which effectively evoked the dynamism and isolation of the industrialised town. Atkinson Grimshaw travelled to various towns and harbours to study their architecture and imbibe their atmosphere. The locales he most frequently painted (Glasgow, Leeds, Liverpool, Whitby, Scarborough and London) reflect the distribution of his market. In the mid-nineteenth century innovative contemporary art was generally patronised by wealthy industrialists in the north of England and Scotland. Such was the case with the Pre-Raphaelites, whose aesthetic initially proved too challenging for traditional London tastes but flourished in northern industrial centres. Atkinson Grimshaw’s market developed along similar lines, and it was not until the 1870s that London collectors began to invest in his work in earnest. By 1870 he was successful enough to rent Knostrop Hall, a seventeenth-century mansion represented in Evening in Knostrop. The Hall was built for Adam Baynes (1622-1671), the first Member of Parliament for Leeds, and its Jacobean architecture would prove an enduring inspiration which Atkinson Grimshaw would continue to paint for the rest of his life. Evening in Knostrop depicts a solitary, fashionably-dressed figure waiting at the gate to the house. The shadowy landscape under the pale sky successfully evokes the ambience of Knostrop’s grounds in twilight. Between 1885 and 1887 Atkinson Grimshaw lived in Chelsea, London near the studio of the American artist James McNeill Whistler. The pair became good friends and bonded over their shared interest in painting city living, although Whistler implemented a more impressionistic technique. Whistler would later comment ‘I thought I had invented the nocturne, until I saw Grimmy’s moonlights’.

Bob Rankin (contemporary)Farmlands Near Saumursigned, label to verso, 56cm x 76cm, label for The Laing Art Competition April 95

A collection of contemporary art reference books to include Lucian Freud, Uproar The first 50 years of the London Group 1913 - 1963, David Hockney, John Piper in the 1930s, Alexej Von Jawlensky, Picasso, painter and sculptor, Sydney Moderns, Henri Rousseau, Primitivism, Cezanne Portraits, Vincent Van Gogh, Impressionists

Ornate Products International - A matching pair of contemporary white terracotta wall planters / pockets in the form of an Art Nouveau lady. Flower decoration throughout both with detailed facial features. Each marked for Ornate Products. Each measures approx; 40cm x 34cm. 

AN ENAMEL AND DIAMOND BANGLE BRACELET, DESIGNED BY JEAN SCHLUMBERGER FOR TIFFANY & COThe hinged bangle with applied black paillonné enamel, highlighted with collet-set brilliant-cut diamonds on fluted gold links, mounted in 18K gold, diamonds approximately 5.00cts total, signed Tiffany & Co, Schlumberger, France, French assay mark, with maker's case, inner diameter 5.9cm, inner length approximately 17cmJean Schlumberger (1907-1987) began his career in Paris in the 1930s as a designer of costume jewellery for the renowned couturier Elsa Schiaparelli and by the end of the decade he was creating fine jewellery for a discerning clientèle. In 1939 he joined forces with Nicholas Bongard and together they opened a jewellery shop at 745 Fifth Avenue. From plummy amethysts to bursting bright turquoise, Schlumberger looked to nature for inspiration, combining coloured gems with diamonds and yellow gold to create a riot of hue and light.Tiffany & Co., under the direction of Walter Hoving, recruited Schlumberger in 1955 with hopes to breathe new life into the company and create a new look. Schlumberger was one of only four jewellers that Tiffany has allowed to sign their work and it was his playful imagination that mounted a jewelled bird on top of the famous Tiffany Yellow Diamond.In many ways a man ahead of the crowd, Schlumberger was the first jewellery designers to be awarded the prestigious ‘Coty American Fashion Critics’ Award in 1958.“Schlumberger brings to his art classic design principles of the Renaissance,” reported The Blue Book of 1986. Diana Vreeland, the respected editor of Vogue, wrote that Schlumberger appreciated “the miracle of jewels, which for him are the ways and means to the realisation of his dreams”.Created in his studio on the mezzanine level of Tiffany’s Fifth Avenue flagship store, his designs became de rigueur for fashionable women of the time including Diana Vreeland, Babe Paley, Elizabeth Taylor, and Audrey Hepburn.Perhaps most famous of all his designs were his pailloné enamel bracelets, which were to become dubbed ‘Jackie Bracelets’ due to First Lady Jacqueline Kennedy Bouvier’s fondness for the pieces, of which she owned several. The shimmering colours of the bracelet were achieved through an unusual technique wherein translucent enamel and foil were layered on top of another. One of Schlumberger’s most enduring designs, this bracelet can still be found in Tiffany’s contemporary collections and are still admired and sought after. Of these bracelets, Diana Vreeland wrote “His enamel is perfection…He likes to stab enamel with nails of gold, as if to hold it from flying back to the world of nature from which he’s taken its colours”.Schlumberger retired in the late 1970s and died in 1987, but more than a hundred of his designs continue to be made by Tiffany artisans. In 1995, he became only the third ever jewellery designer to be honoured with a retrospective on his work titled ‘Un Diamant dans la Ville’ in the Musée des Arts Décoratifs, Paris, who still house many of his original design sketches.Schlumberger pieces have not only held their value at auction but continue to increase.Condition Report: Enamel: no damage observedDiamonds: bright and well matchedSignature located inside braceletEagle's head for French 18K gold located on tongue of claspNormal signs of wear, overall in good conditionWith security barTotal gross weight approx. 128.80g