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A limited-edition (run of 50 pieces) die-cut 3D standee of an image of Debbie Harry as taken by Martyn Goddard in NYC, 1978. Measures 40cm tall, 25cm across. Signed in gold ink by Martyn Goddard. Excellent condition.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

Four high-quality photo prints, with images taken by photographer Martyn Goddard in 1979. The four images taken originally on a Polaroid camera depict scenes from the shoot for the album artwork for The Cure's 'Three Imaginary Boys'. Each measures 10 x 12". All are signed by the photographer. Each numbered 05/40. Martyn has previously said this about the shoot:"“The still life on the cover of The Cure’s debut album was conceived by Polydor sleeve designer Bill Smith. I had worked with Bill on The Jam’s In the City album and The Cure were another new act the label was about to promote. There was a problem however; the band didn’t want their portraits on the cover. We came up with using common household goods to represent the band members. The record’s title focusing in on “Imaginary” was a help with our final concept. I wanted to use the bright pink background as it would stand out in the point of sale record racks and I happened to have a roll of pink colorama paper in the studio.”About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

A high-quality photo print depicting AC/DC, taken by photographer Martyn Goddard in 1976. The photo depicts the group posing during their stay in London for the Marquee Club residency. Measures 20 x 16". Signed by the photographer. Numbered 17/40. About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69, and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea' 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories.In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987. In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in the UK, Europe, and USA, in addition to cataloguing and preserving his extensive archive rock bands and musicians.

A high-quality photo print depicting AC/DC, taken by photographer Martyn Goddard in 1976. The photo depicts the group posing during their stay in London for the Marquee Club residency. Measures 20 x 16". Signed by the photographer. Numbered 19/40. About The Photographer Martyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019. In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987. In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive rock bands and musicians.

Street art, digital print with collage by Eric Liot, ** Jane **, No. 9/25. - size height and width 81 x 64 cm

§ Dan Pearce (Australian / British, b.1973). 'Rave To The Grave - NEON'. Collage of early 90s rave flyers and rave memorabilia . Finished with a raised neon light, bright yellow of the iconic smiley face. Light working, with plug and switch. Signed by the artist with a smiley face verso. 80cm x 80cm. Dan Pearce's mission statement: "Dan Pearce is a contemporary mixed media artist, his works take inspiration from street and pop art and juxtaposing it with fine art, his work is bold and confident in style often completely transforming iconic portraits with his own inimitable style and blurring lines between new media, pop and digital art" (https://danpearce-art.com/). Dan Pearce combines modern day street art with the influences of the likes of Warhol and Lichtenstein in works full of energy and texture. Bringing together styles and materials including graffiti, traditional painting, collage, and neon lighting. Dan has been exhibiting since 2013 throughout the UK as well as internationally. He has held successful solo exhibitions in London and his specially commissioned portrait of Anthony Joshua hangs above the boxing ring at the heavyweight champions training camp. His artwork is also collected by a plethora of stars including RagnBone Man, 50Cent and a host of footballers, he is one of the UKs most talked about and collectable contemporary artists. The neon collection, of which this piece is a part, is a collection of iconic portraits, hand embellished sprayed frames and fitted neon lighting. The piece was created by Dan Pearce in the lockdown of 2020. See https://danpearce-art.com/product/rave-to-the-grave-neon/. For a video of the creation of this artwork interspersed with interviews about the early 90s rave scene visit the folllowing link: https://www.instagram.com/p/B98-z4CnwDc/?utm_medium=copy_link. Provenance: purchased from Whitewall Galleries in 2021. Please note that Artists Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price, visit www.dacs.org.uk for more information. Condition Report: § Generally good condition, with some marks and surface scratches that may be part of the original making process.

JOSÉ MALDONADO GÓMEZ (Madrid, 1962)."About 3", 1987.Oil on canvas.Signed and dated on the back.Exhibited at ARCO'87.With labels on the back from the Juana Mordó Gallery.Measurements: 200 x 200 cm.José Maldonado Gómez is a self-taught artist who began his artistic career in 1982, without interruption, creating as a painter, illustrator and teacher since then. Although in 1979 he began his professional career by organising a graphic design company project, which would become a company two years later, carrying out important work in graphic and scenographic design for the music industry. He has also worked as a lecturer at the Faculty of Fine Arts at the University of Castilla-La Mancha in Cuenca and at the Instituto Europeo di Design, among other centres, and was a guest DJ at the Ku in Ibiza between 1985 and 1987. Currently, it is worth highlighting his clear commitment to multidisciplinarity, working with music, sound, video, digital image, installations, etc., with a striking interest since 2009 in hybridising painting, drawing, process and concept art and new technologies.His work has been shown in numerous international galleries (Juana Mordo, Denise Van de Velde, etc.), as well as representing Spain in international exhibitions (EXPO Universal 1992, travelling exhibitions in Latin American museums...) and in a large number of exhibitions in Vitoria-Gasteiz, Madrid, Palma de Mallorca, Valencia, Vilafranca del Penedés, Barcelona, Belgium, Tarragona, Zaragoza, Burgos, Aalst (Belgium), etc.Maldonado's work is also held in important private collections and institutions such as the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Prospect in Frankfurt, the Institute of Contemporary Art in Lyon (France), the MACBA, etc.

LUIGI NOTARNICOLA (Mottola, Puglia, 1981)"Amore SuperFLUO" (Love SuperFLUO)Digital art on 360 gr. cardboard.Fine art print, edition 1/5.Signed and numbered in pencil.Size: 70 x 70 cm; 75 x 75 cm (frame).Luigi Notarnicola is a painter and draughtsman trained at the Academy of Arts and New Technologies in Rome. He currently works as a visual communication designer, creating artistic prints in which he alternates digital art and painting, mouse and brush.Notarnicola characterises his art by being persuaded by iconic symbols, irony and bright colours. Each of his subjects tells a story through emotions and metaphors inspired by both lived and imagined reality: stories, readings and lore are always real in his productions. Thus, the images represented are realised in the mind as iconic signs, without nuances, details or artifice.In this case "Powerofpeace" exalts the need for peace. To have rights you need peace, to have peace you need strength, to have strength you need rights.P. o. P. is a work of pure energy generated by the sum of colours, spontaneous and occasional thrusts that fluidify steel and annihilate resistance. Everything is possible with colours united.The works of the artist Luigi Notarnicola have appeared in publications such as Artribune, Quotidiano di Puglia, Itinerarinell'arte, among others.

LUIGI NOTARNICOLA, (Mottola, Puglia, 1981)"Amore SuperFLUO" (Love SuperFLUO)Digital art on 360 gr. cardboard.Fine art print, edition 2/5.Signed and numbered in pencil.Size: 70 x 70 cm; 75 x 75 cm (frame).Luigi Notarnicola is a painter and draughtsman trained at the Academy of Arts and New Technologies in Rome. He currently works as a visual communication designer, creating artistic prints in which he alternates digital art and painting, mouse and brush.Notarnicola characterises his art by being persuaded by iconic symbols, irony and bright colours. Each of his subjects tells a story through emotions and metaphors inspired by both lived and imagined reality: stories, readings and lore are always real in his productions. Thus, the images represented are realised in the mind as iconic signs, without nuances, details or artifice.In this case "Powerofpeace" exalts the need for peace. To have rights you need peace, to have peace you need strength, to have strength you need rights.P. o. P. is a work of pure energy generated by the sum of colours, spontaneous and occasional thrusts that fluidify steel and annihilate resistance. Everything is possible with colours united.The works of the artist Luigi Notarnicola have appeared in publications such as Artribune, Quotidiano di Puglia, Itinerarinell'arte, among others.

DESIGN BOOKS. Three books: 'Digital Design', by Bernd Holthusen, 1988: 'Super Brands', various authors, 2004 & 'Cigarette Pack Art', by Chris Mullen, Hamlyn Ltd., 1979  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.  The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase. 

Zeitgenössische Kunst - Street Art - - Banksy. (1974). The Walled Off Hotel Box Set. Digitaldruck auf Papier, Beton, Sprühfarbe, IKEA Rahmen. 25,5 x 25,5 x 4,5 cm. Verso nummeriert. - Der Rahmen partiell mit materialbedingten Rissen. Sonst in gutem Zustand. Beigegeben: nummerierte Original Rechnung. - Jedes Exponat durch die jeweils individuelle Verwendung der Sprühfarbe mit unikatärem Charakter. - Die Arbeit wurde ausschließlich im Walled Off Hotel in Palästina vertrieben und ist seit längerem ausverkauft. Digital print on paper, concrete, spray paint, IKEA frame. Numbered on verso. - The frame partially with cracks due to the material. Otherwise in good condition. - Each exhibit with unique character thanks to the individual use of spray paint. The work was sold exclusively in the Walled Off Hotel in Palestine and has been sold out for a long time. Enclosed: numbered original invoice.

NICK VEASEY (London, 1962)."Land Rover surfer. 2018.Digital print, copy 2/25.Signed and numbered in the lower right corner.Published by White Wall.Measurements: 62 x 119 cm.Artist and photographer initiated in the advertising field of photography, he is guided by an artistic pattern closely related to science, since he creates images and photographs from X-rays with the aim of reaching his artistic objective, the background and deepest detail of each subject. Objects, people, nature and animals have passed before his lens. The artist considers this collection to be a statement against superficiality and an invitation to rethink our perception of reality. As he states on his website: "We live in a world obsessed with images. What we look like, what our clothes, houses, cars... look like to us. I like to counter this obsession with superficial appearance by using X-rays to peel back the layers and show what it's like underneath the surface. We all make assumptions based on the external visual aspects of our surroundings and are attracted to people and shapes that are aesthetically pleasing. I like to challenge this automatic way we react to physical appearance only by bringing out the often surprising inner beauty. It also makes us reflect on how society is increasingly controlled by security and surveillance. Airport checkpoints or courthouse entrances are some examples of places that x-ray our belongings. For Veasey, being able to create art with equipment and technology designed to "limit our freedom" is a mode of transgression. In 2009 he began exhibiting for Maddox Fine Arts in London, and subsequently toured Europe, North America and Asia. He has won numerous photographic and design awards including the IPA Lucie Awards, AOP, Graphis, Communication Arts, Applied Arts, PX3 and D & AD awards and is also nominated for the IPA Lucie International Photographer of the Year 2008.

Osmosis Jones (2001) Warner Bros - American live-action/animated action comedy film with animation directed by Piet Kroon and Tom Sito and live-action scenes directed by the Farrelly brothers - a large collection of original production used digital artwork for the film, as well hand production used copies of hand drawn art, as created and used by animator Richard Bazley (who worked on the character Drix). All pieces showing Drix is a variety of poses. Colour and black and white, includes some mock-up covers. A3, mostly. 70+ pieces.

"SVCCY" MATTEO SUCCI (Ravenna, 1997)."Libertè, Egalitè, Fraternitè", 2019.Digital collage art on aluminum.Edition 2/15.Measurements: 40 x 40 cm.Svccy is a self-taught digital artist creator of totally unpublished images through the use of 2d and 3d graphics programs. The works he creates are inspired by the art of digital collage, permeated by the Vaporwave visual current developed during the first decade of 2000. This trend born on the Internet embodies a retro style influenced in part by the "chillwave" artists, who developed an imaginary associated with the use of images where violet and fuchsia colors predominate, the use of Greek sculptures, palm trees, pixel art, sunsets and references to the Japanese culture of the end of the millennium.Unlike the classic images of the genre, Svccy tends towards a darker and more introspective variant. The images reflect the human condition in today's society. The human figure is represented by statues often faceless or covered by objects, symbolizing the total lack of identity of the individual, subjugated by technology and ultra-consumerist society. References to Rodin's classical and neoclassical sculpture intersect with post-apocalyptic scenarios of large abandoned shopping malls, or rather finished and never used.All his works are processed by computer creating "collage-art" by joining images that apparently have nothing between them, where light and a good angle of vision are fundamental.Svccy intends to show us the reality in which man lives, an insubstantial, unreal reality, based on models of behavior imposed by the media, which control through fashion and advertising our lifestyles, making us believe that we live a free and self-determined life when in reality it is only an illusion.

"SLASKY", GIANLUCA PALONE (Artena, Rome, 1972)."Lucrezia de Medici".Digital art.Giclèe on canvas.Edition 1/3 COA.Measurements: 85 x 55 cm.Slasky is an established Italian artist whose works have been presented in solo and group exhibitions internationally. Fascinated by the baroque painting of Caravaggio, Slasky creates classical artworks elaborated using digital art techniques. With his classical neo-urban style, he unites tradition and modernism, bringing the protagonists of the original artworks into modern-day social and artistic environments. By inserting the protagonists of the original works into contemporary social and artistic environments, he has created a series of pieces that send new messages and require a level of collaboration from the viewer to be understood.The works have an immediate sense of familiarity, but presented with an injection, sometimes explosion, of color and life that absorbs them with richness and modernity. In his canvases, details take center stage, using contrasting color techniques, textured backgrounds and silkscreens to create the same subject matter in a variety of ways, separating it from its traditional backgrounds.

WALTER NIEDERMAYR (Bolzano, Italy, 1952)."Theodulgletscher".2005.Digital photograph, copy 3/6.Diptych.Signed, dated and justified on the back.Measurements: 125 x 99 cm. each; 131 x 104 cm.(c.u. frame).Walter Niedermayr was born in Bolzano where he also works and creates most of his works. Italy will be used by Niedermayr as a photographic medium to explore his main motif of work which revolves around the dissatisfaction of looking. In contrast to the strong pictorial tradition of Northern Europe, Niedermayr photographs the glacial panorama of the Alps as the protagonist and the people who occupy these landscapes in a secondary way by referring to contemporary art paintings such as Peter Doig or Caspar David Friedrich. Niedermayr uses and exemplifies the camera as an element to draw and paint objects by employing a combination of underexposures and raw filtering in his works. The whitening effect he introduces in the image will be to transfer the sensation we have when we wake up from a dream and as if we were searching with our eyes, still half-open, within these landscapes for our personal and individual selection of forms. The clarity and definition are developed in the time and process of the construction of the image so that there is no further treatment in the laboratory or digitally. His method of fragmentation simplifies the whole image, with "isolated elements that give it a sense of sadness". Since 1988, he has exhibited his photographic and video works in public institutions, museums and galleries. His work has been exhibited at prestigious institutions and cultural events such as Fotografia Europea in Reggio Emilia (2018), Aut. Architektur und Tirol in Innsbruck (2017), Galéria Mesta Bratislavy in Bratislava (2015), Istituto Italiano di Cultura in Paris (2012), Fondazione Fotografia in Modena (2011), Museion in Bolzano (2004), Württembergischer Kunstverein in Stuttgart (2003), Centre pour l'image contemporaine in Geneva (2000), White Cube in London (1998), Vorarlberg Museum in Bregenz (1992) and numerous other public and private spaces. His latest series, conceived during the close of 2020 and commissioned by the Ministry of Culture, is on display at Palazzo Barberini in Rome. His works have also been presented in the past in group exhibitions, such as those at MAST in Bologna (2017), MAXXI in Rome (2016), the International Architecture Biennale in Venice (2014 and 2010), the Fotomuseum in Winterthur (2013), the Museum of Contemporary Art in Tokyo and the Denver Art Museum (2011), Manifesta7 in Bolzano (2008), the Pompidou Center in Paris (2006), MART in Rovereto (2003) and many others. The artist's works are in numerous international collections, including MoMa in New York, Tate Modern in London, Centre Pompidou in Paris, MAXXI in Rome, MOCA in Los Angeles, Fondation Cartier in Paris and the Intesa Sanpaolo and UBS Art Collection. Between 2011 and 2014 he taught art photography at the Libera Università di Bolzano.

ALBERT RÀFOLS-CASAMADA (1923-2009)Partida 1990 signé et daté 90; signé, titré et daté 90 au reversacrylique sur toile signed and dated 90; signed, titled, and dated 90 on the reverseacrylic on canvas181 x 181 cm.71 1/4 x 71 1/4 in.Footnotes:ProvenanceGalería Joan Prats, BarcelonaCollection particulière, Etats-Unis (acquis auprès de celle-ci en 1990) Vente: Bonhams, Los Angeles, The Modern House: Contemporary Art + Design, 1 novembre 2016, lot 1017Collection particulière, Paris (acquis auprès de celle-ci)Puis par descendance au propriétaire actuelClick for an instant shipping quoteThis 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

HENRI MICHAUX (1899-1984) Sans titre 1978huile et acrylique sur toile marouflée sur carton oil on acrylic on canvas laid on carboard41 x 33 cm.16 1/8 x 13 in.Exécuté en 1978.Footnotes:Cette œuvre sera incluse sous le n° hm4891 au catalogue raisonné en préparation par Micheline Phankim, Rainer Michael Mason et Franck Leibovici. ProvenanceGalerie Le Point Cardinal, ParisGalerie Pudelko, BonnCollection particulière, AllemagneVente: Artcurial, Paris, Art contemporain , 22 mars 2011, lot 288Galerie Brimaud, Paris Collection particulière, FrancePuis par descendance au propriétaire actuelLittératureFranck Leibovici, Henri Michaux: Voir (une enquête), Marseille 2014, p. 409, n° 478, illustré en couleurClick for an instant shipping quoteThis 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

ALBERT RÀFOLS-CASAMADA (1923-2009)Direcció Sud 1989 signé et daté 89; signé, titré et daté 89 au revers acrylique sur toile signed and dated 89; signed, titled and dated 89 on the reverseacrylic on canvas150 x 150 cm.59 1/16 x 59 1/16 in.Footnotes:ProvenanceGalería Joan Prats, BarcelonaCollection particulière, Etats-Unis (acquis auprès de celle-ci en 1990) Vente: Bonhams, Los Angeles, The Modern House: Contemporary Art + Design, 1 novembre 2016, lot 1014Collection particulière, Paris (acquis auprès de celle-ci)Puis par descendance au propriétaire actuelClick for an instant shipping quoteThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A Lionel/Fine Art Models 0 Gauge electric DR (German) Br 50 class 2-10-0 Locomotive and Tender with Rolling Road Display Case, ref 6-18035 in Deutsche Reichsbahn black/red as No. 50 259, with eagle motifs to cabsides and bogie tender, with digital sound and instruction sheet, complete with purpose made rolling road display cabinet, loco and tender E, box G, display cabinet G-VG, slight cracking/crazing to ends of Perspex cover (2)

A ladies Art Deco 9ct gold cased digital watch, Cal 90 A5M, on a tan hide strap

Demos Skoulakis (Greek, 1939-2014)Omonia, Coca-Cola signé et daté 'Skoulakis 95' (en bas à gauche) huile sur toile120 x 92cm (47 1/4 x 36 1/4in).Peint en 1995.signed and dated (lower left)oil on canvasFootnotes:ExposéAthens, Ethousa Technis Athinon, Skoulakis, Underground Journey, October 9-28, 1995 (listed, p. 45, and illustrated in the exhibition catalogue, p. 20).Athens, Frissiras Museum Contemporary European Painting, Demosthenis Skoulakis, September 27 - December 31, 2006 (illustrated in the exhibition catalogue, p. 211).LittératureThe Art Magazine, no. 20, November-December 1995, p. 33 (illustrated).I. Papapostolou, Images of the Century, K. Adam editions, Athens 2008, p. 13 (shown in an exhibition photograph).Contemporary Greek Art institute Digital Platform, dp.iset.gr, Dimosthenis Skoulakis Works, p. 8 (illustrated). For further information on this lot please visit Bonhams.com

PIERRE-AUGUSTE RENOIR (1841-1919)Paysage aux Collettes stamped 'Renoir' (lower right)oil on canvas18.6 x 41.1cm (7 5/16 x 16 3/16in).Painted in Cagnes circa 1905-1910Footnotes:This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.ProvenanceGalerie Bernheim-Jeune, Paris (acquired from the artist's estate after 1919).Galerie Adolphe Basler, Paris. Hammer Galleries, New York; their sale, Sotheby's Parke-Bernet, New York, 15 April 1959, lot 37. Blanche Swift Morris Collection, Miami Beach; her sale, Sotheby's, New York, 23 February 1984, lot 3. Galerie Klopfer, Zurich (1987).Private collection, South Africa.Private collection, Australia (acquired from the above circa 1998).ExhibitedCoral Gables, University of Miami, Joe & Emily Lowe Art Gallery, 18th, 19th and 20th Century Paintings, July - September 1962.LiteratureJ. & G. Bernheim-Jeune, Renoir's Atelier, San Francisco, 1989, no. 375 (illustrated pl. 121).G-P. & M. Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, Vol. IV, 1903-1910, Paris, 2012, no. 2920 (illustrated p. 143; dated circa 1910).Painted circa 1905-1910, Paysage aux Collettes is a wonderful example of Renoir's renewed enjoyment of the landscape oeuvre, inspired by fresh surroundings. Prompted to move from Paris to the Mediterranean coast upon the advice of his doctor, the artist bought the five-acre hilltop farm of Les Collettes in 1907, having travelled repeatedly to the area before. Renoir was so enamoured by the original building's rural charm that he left the old structures intact and instead had a new home constructed for his family. Les Collettes and the surrounding views over medieval Cagnes-sur-Mer would provide a new and endless source of inspiration for the artist who sought to capture the gnarled olive trees, sun-drenched meadows and white-washed buildings on intimate, smaller-scale canvases such as the present work.In Paysage aux Collettes we see the characteristic rounded olive trees of Renoir's garden, their foliage realised with verdant greens and burnt yellows, the shadows formed in deep blues and russet tones. Punctuating the landscape are the billowing sheets of white linen hung out to dry, the evocation of a breeze created by fluid and loose brushstrokes. Continually seeking to capture the fleeting effects of nature, Renoir built a glass structure in the olive grove to serve as an outdoor studio to allow him to continue painting en plein air. His new focus on the surrounding landscape led him to comment in a 1918 interview with the art critic René Gimpel, 'The olive tree, what a brute! If you realise how much trouble it has caused me. A tree full of colours. Not great at all. Its little leaves, how they've made me sweat! A gust of wind, and my tree's tonality changes. The colours isn't on the leaves, but in the spaces between them. I know that I can't paint nature, but I enjoy struggling with it. A painter can't be great if he doesn't understand landscape' (Renoir quoted in J. House, Renoir, exh. cat., London, 1985, p. 277).The dancing arabesque shapes formed by trees in the present work are emphasised by their modelling in soft curlicue brushstrokes which appear to sway beneath our gaze. This movement is echoed in the sun-dappled grass and linen which blows in the summer breeze. Renoir's preference for fluid brushwork and layers of transparent colours may in part show the influence of his early training as a porcelain painter from 1854 to 1858.The strong Mediterranean sunlight encouraged Renoir to brighten his already vivid palette and led to an increasing use of red in all its nuances to capture the ruddy Provencal earth. Flecks of red appear throughout the trees and foreground, leading our eye around the work, while the piercing blue of the sky is echoed in the cool shadows in the laundry and grass below. Renoir's landscapes from this period were also typically painted on a smaller scale, but despite their intimate size are full works, densely painted and highly coloured, illustrating his belief that a painting should be attractive to look at, bringing pleasure to both the artist and the viewer. He told the younger artist Albert André, 'I like a painting which makes me want to stroll in it, if it is a landscape' (Renoir quoted in ibid, p. 14). In this aspect, Renoir stood aside from his Impressionist contemporaries who painted the modern world as they saw it, unembellished and un-idealised. Renoir's oeuvre maintained a distance from artistic doctrine, politics or the developments in photography and cinema which influenced so many others. His timeless compositions offered a refuge from the contemporary world and by the time the present work was painted, Renoir was increasingly looking back to eighteenth century classicism. Upon settling on the shores of the Mediterranean he rediscovered his love of classical antiquity, as well as his early interest in artists such as Watteau, Fragonard and Delacroix, whose works he had studied at the Louvre as a young student. Renoir found similarities in his idyllic surroundings with Watteau's landscapes in particular and referenced the tradition of French landscape painting through the use of trees as framing devices and a suffusion of light. Despite suffering from arthritis and being confined to a wheelchair in his later years, Renoir continued to paint every day apart from Sundays. Indeed Matisse, a visitor to the house in 1917, was astonished to see Renoir's mature work and declared these extemporaneous landscapes which celebrate the beauty of the warm Mediterranean coast, to be 'all his best work' (Matisse quoted in F. Harris, Contemporary Portraits, Fourth Series, New York, 1923, p. 125).Housed in a private Australian collection for over two decades, Paysage aux Collettes previously formed part of the prestigious collection of Blanche Swift Morris. Born in France, Blanche de Bilbao enjoyed early success in the theatre in Paris before marrying Colonel Nelson Swift Morris in 1933. The couple had homes in Chicago and Miami Beach and were known for their patronage of the arts and philanthropic contributions. The present work was sold in 1984 to benefit charity, alongside significant works by Henri Fantin-Latour, Eugène Boudin, Maurice de Vlaminck, Louis Valtat, Suzanne Valadon, Moïse Kisling and Camille Pissarro.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

PAUL GAUGUIN (1848-1903)Paysage de Bretagne stamped with the artist's initials 'PGO' (lower left)watercolour monotype on paper heightened with gouache and watercolour30.4 x 21.7cm (11 15/16 x 8 9/16in).Executed circa 1894Footnotes:This work will be included in the forthcoming Paul Gauguin Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.Provenance(Possibly) Galerie Schmit, Paris.Marcel Heyndricx Collection (acquired in the 1930s-1940s).Private collection, France (by descent from the above).Previously unrecorded, this rare watercolour monotype is thought to date from Gauguin's intense spell of experimentation with the technique in 1894 and marks a significant moment of artistic development. Depicting the picturesque village of Pont-Aven in rural Brittany, the composition immediately recalls the artist's earlier works from his first visit to the area in the 1880s. Recently separated from his wife and having lost his lucrative financial career following the stock market crash, Gauguin chose to make the first of many visits to Brittany in the summer of 1886, drawn away from Paris not only by economic necessity but by the fascinating subject matter that the Breton people, their costumes and landscape offered. This physical distance from Paris offered Gauguin space to reject traditional academic artistic doctrine and the prevailing Impressionist style. Here his work evolved towards Cloisonnism in the manner of Émile Bernard, characterised by flat planes of vivid colour contained by bold outlines and a rejection of traditional perspective. Traces of these bold outlines remain in Paysage de Bretagne whereby the blue cernes of the monotype transfer separate areas of distinct colour. Green fields sit above one another while the winding path leads upwards rather than through the composition, emphasising the paper's two-dimensionality. Driven by a quest to find a more unspoilt Eden, Gauguin's well-documented travels to Panama, Martinique and then Tahiti followed, voyages which resulted in many of his best-known works. However, the artist returned to Paris in August 1893 disillusioned and penniless. Adopting an increasingly eccentric public persona, he walked around Paris in Polynesian dress and had an affair with a young woman known as 'Annah the Javanese', though she was in fact half-Indian and half-Malay. Swiftly tiring of the city and seeking a return to the region which had been so fruitful in his earlier career, together they travelled to Brittany. It was an ill-fated trip that was to be Gauguin's final visit to the area. On 25 May in the port of Concarneau, near Pont-Aven, a group of local sailors threw stones at Annah and harassed her; the resulting brawl left Gauguin badly beaten and with a fractured leg. For months his only solace was in the pain-dulling morphine and alcohol he imbibed; he was unable to walk and unable to work. Having eventually grown tired of the crippled and irascible artist, Annah returned to Paris, whereupon she ransacked Gauguin's studio home of his valuables, leaving only his artworks. Gauguin remained in both Pont-Aven and the more remote Le Poldu, alone and debilitated. Unable to shake the influence of the South Seas however he created his first watercolour monotypes, many of which looked back to Tahitian subjects. The present work is one of the few that roots the artist back in his homeland. Gauguin's decision to turn to printmaking was significant and indicative, according to Starr Figura, of a time of reflection for the artist, 'when he had recently completed a major body of paintings or sculptures or was otherwise at a crossroads. Printmaking often provided a crucial creative impetus when he had difficulty painting. [...] A major group of watercolor monotypes, a small body of watercolor and gouache monotypes from around 1896-1902, and a large body of oil transfer drawings from approximately 1899 to 1903 tended to serve as more informal, individual meditations on Gauguin's earlier themes' (S. Figura, Gauguin: Metamorphoses, exh. cat, New York, 2014, pp. 15-16).The 1894 watercolour monotypes reimagined scenes from the South Seas alongside more domestic still lifes and Pont-Aven landscapes such as the present work. The series is known to consist of approximately 34 works but, as the discovery of Paysage de Bretagne demonstrates, more are surely to be found: 'Gauguin's concern with the monotype has been neglected, largely because the evidence has been scattered or lost' (R.S. Field, Paul Gauguin: Monotypes, exh. cat., Philadelphia, 1973, p. 12). Further to this, the very categorisation of a work as a watercolour or monotype can be problematic, not least due to Gauguin's continued experimentation with media. In Noa Noa, a travelogue consisting of the artist's notes on his Tahitian experience and illustrated with ten woodcuts, there is, according to Richard Field, at least one watercolour which was originally mistaken for a monotype because of its grainy, diffuse appearance – however, it was found to be formed of two sheets of paper, Gauguin laying the thinner sheet over a finished watercolour to subtly obscure the composition.The precise technique employed by the artist for his 1894 series is not known, but various methods have been suggested. Gauguin held an exhibition in his studio in December that year which included several watercolour monotypes, which the critic Julien Leclercq described as 'a process of printing with water, [to which] he imparts to the watercolour the gravity, sumptuosity and depth which are for him, no matter what subject he chooses, the necessary condition of art' (Julien Leclercq quoted in ibid, p. 16).Richard Field feels the most likely technique was a simple transfer of wet watercolour from one sheet of paper to another, but more recent research by Peter Kort Zeggers suggests that at least some of the monotypes were created by 'placing a piece of glass over one of his existing drawings or watercolors; painting on top of the glass in watercolor or gouache, using the image below as a guide; and finally, pulling an impression on dampened paper' (S. Figura, op. cit. p. 26). These tracing lines were usually blue, as in the present work, and to these Gauguin would add additional colour and details not present in the original drawing to the surface of the glass. Pressing a sheet of paper on top of the glass would result in an image transfer which was often heightened with varying degrees of ink, watercolour and gouache. Gauguin was known to use a mix of further substances such as wax, resin, oil and gum, all of which created accidental surface finishes. Indeed, Paysage de Bretagne has a historic application of gum Arabic or similar material to the sky, which heightens the mottled effect from the transfer process and casts an opaque veil over the shimmering surface. The watercolour monotype allows a fusion of printmaking and drawing, the artist's hand very much felt in the heightened deft flecks of red paint to the haystack and the rainbow cascade of brush marks in the thatched roof. The random textures left by the original sheet however mark a move away from Gauguin's disciplined cloisonné style of the late 1880s: '[The watercolour monotypes] exploit the conflict between the astructural, textured color and the more disciplined design of the flat cernes. [...They are the] most delightful evocations in Gauguin's oeuvre' (R.S. Field, op. cit., p. 40).The fluidity of these watercolour monotypes has been read as a reaction to the artist's previous woodcuts which emphasised the decorative, with sharper lines. Gaugui... 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

Estate of Dave Prowse - Fan Art - Star Wars - The Empire Strikes Back - a pair of digital artwork prints by an unknown artist, showing Darth Vader alongside Boba Fett in the movie. Printed on high quality artwork stock. Measures approx; 32cm x 45cm. 

Estate of Dave Prowse - Fan Art - Star Wars - a cubist style digital artwork print depicting Darth Vader from the franchise. Printed on artist paper. Unsigned, artist unknown. Unframed. Total size approx; 46cm x 33cm.

Estate of Dave Prowse - Star Wars - Fan Art - digital composite artwork print showing Darth Vader, TIE Fighters and the Death Star to top. Stylised with watercolour type artwork. ' PM ' to corner, and signed by the artist in black ink to the other corner. Measures approx; 42cm x 30cm. 

Estate of Dave Prowse - Star Wars - Fan Art - a digital composite artwork print showing Prowse in various behind-the-scenes images from production, as well as various images of Darth Vader. Unframed. Unsigned. Measures approx; 43cm x 28cm. 

Vandenberg (Al, 1932-2012). Untitled [Lemmy] and [Roger Taylor of Queen] from the series On a Good Day, c. 1975-80, the first photograph a vintage gelatin silver print, 21 x 31 cm, the second a digital print, 23.5 x 31.5 cm, both framed and glazedQty: (2)Footnote: Provenance: From the estate of the photographer. Al Vandenberg (1932–2012) was an American photographer notable for his street portraiture and collaboration on the album cover of Sgt Pepper's Lonely Hearts Club Band by The Beatles. His work is held in the collections of The Smithsonian Institution, Washington DC, The Kobal Collection, The Wagstaff Collection, Museum of Modern Art, New York, Victoria & Albert Museum, London and Tate Britain, London.

Yellow Shimmer Bird Framed art print by Tiffany Lynch on Matt 250gsm conservation digital paper Tiffany Lynch was born in West Sussex and works from a studio in the heart of Brighton. Colourful and whimsical, her contemporary prints brighten up the home. 28 x 36cm

Birdies 4 Framed art print by Tiffany Lynch framed on Matt 250gsm conservation digital paper Tiffany Lynch was born in West Sussex and works from a studio in the heart of Brighton. Bright, whimsical and of the moment, her prints look great in a range of simple frames and fit well in contemporary spaces 30 x 30cm

FIVE BOXES AND LOOSE DVDS, BOOKS, SUNDRIES ETC, to include an aluminium case of LPs (Frank Sinatra, Barbara Streisand, Elvis etc), Nintendo DS Games (My Health Coach - unopened, Art Academy and Puzzler, empty cases), cameras (Samsung Digital camera, Canon FS100 digital video camcorder, in soft case, Samsung WB650 digital camera, Canon PowerShot A57015, in soft carry case boxed Medion Digital Super Slim Full HD camcorder (not checked)

Ken Fandell (American, b.1971) 'A Palm Tree in my Floor' Digital Print 2003, felt-tip signed on backing, below Bodybuilder and Sportsman Gallery, Chicago, informational label providing title and #3/5; floated behind acrylic in wood frame Height: 11 inches, Width: 14 5/8 inchesFrame Size: 13 1/4 inches by 16 7/8 inches Condition: Very Good, no damage to art noted Category: Fine Art > Photographs Estimated Sale Time: 1:47 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Illinois (8%), Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2

Bruce Onobrakpeya (Nigéria, né en 1932)The Last Days of Christ signé et titré en bas au centre 'Bruce Onobrakpeya' et 'The last days of Christ'; étiquette au dos 'Ovuomaroro Gallery, 41 Oloje street, Papa-Ajao Mushin, Lagos, Nigeria'relief en métal monté sur panneau de bois88 x 47,5cm (34 5/8 x 18 1/2in).Footnotes:ProvenanceOvuomaroro Gallery, NigériaCollection privée, FranceBruce Obomeyoma Onobrakpeya, né le 30 août 1932 à Agbarha-Otor au sud du Nigéria, est un graveur, peintre et sculpteur, exposé au sein des plus grands musées du monde, tels que Tate Modern à London, le National Museum of African Art, le Smithsonian Institution de Washington, D.C. et le Malmö Konsthall en Suède.L'art caractéristique de Bruce Onobrakpeya a fait de lui l'un des artistes les plus percutants du 20e siècle en Afrique de l'Ouest et une figure très influente pour de nombreux artistes nigérians. Depuis 1966 Onobrakpeya a découvert, innové et perfectionné plusieurs techniques de gravure et de sculpture en relief, uniquement créées au Nigéria. La plus connue reste sans doute celle du transfert par gauffrage des motifs gravés sur plaque. Dans cette oeuvre, Onobrakpeya dépeint des figures bibliques dans des décors nigérians, revêtant les personnages de tenues caractéristiques nigériannes. Les œuvres de Bruce témoignent de son engagement pour la décolonisation des arts visuels, autrefois imprégnés par les enseignements Européens, et illustrent son soutien actif à la Zaria Arts Society (également connue sous le nom de Zaria Rebels).Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Bacary Diémé (Sénégal, né en 1949)Sans titre, 1988 signé et daté 'Bacary Dieme 88'gouache sur papier58 x 45cm (22 13/16 x 17 11/16in).Footnotes:ProvenanceCollection privée, FranceBacary Diémé est un artiste sénégalais né en 1949 en Casamance. Il étudie à l'Ecole des arts de Dakar, section arts plastiques, à la fin des années 1960. Tout comme ses pairs, à noter Ibou Diouf et Badara Camara, son art est en partie orienté vers les tapisseries, dont l'illustre Manufacture Nationale de la Tapisserie de Thiès, ouverte en 1966 et aujourd'hui Manufactures Sénégalaises des Arts Décoratifs, produira sans doute les plus belles œuvres. Ses travaux sur papier sont autant d'études, de réflexions et de projections à la réalisation de travaux tissés.L'univers de Bacary Diémé et de ses contemporains est marqué par l'œuvre des maitres tapissiers de l'Ecole de Dakar, Iba Ndiaye, Papa Ibra Tall et Pierre Lods.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

El Anatsui (Ghana, né en 1944)Nsukka Shrine, 1979 argile et fragments de poterie55 x 46 x 5 cm (21 3/4 x18 x 2 in).Footnotes:ProvenanceVente: Lagos, Arthouse Contemporary, 5 Mai 2014, lot 53Collection privée, FranceExpositionEnugu, Nigeria, British Council, 'Broken Pots: Sculpture by El Anatsui', 1979.Nsukka, Nigeria, Institute of African Studies, 'Broken Pots: Sculpture by El Anatsui', 1979.Nous remercions El Anatsui d'avoir confirmé la réalisation de ce travail en 1979.Né à Anyako, dans la région de la Volta au Ghana en 1944, et formé au College of Art, University of Science and Technology de Kumasi, dans le centre du Ghana, le travail de sculpture et de sculpture sur bois d'El Anatsui a commencé comme un passe-temps pour garder vivantes les traditions avec lesquelles il a grandi. Il a commencé à enseigner à l'Université du Nigeria, Nsukka, en 1975 et est resté dans la ville universitaire jusqu'à ce jour.« Il a fallu de nombreuses années pour trouver des artistes capables d'occuper une place de choix dans le circuit mondial tout en choisissant de résider en dehors des centres métropolitains. William Kentridge a fait sa réputation à Johannesburg et El Anatsui a conquis la planète en vivant et en travaillant dans la ville universitaire nigériane de Nsukka. » - John McDonald, critique.L'œuvre Nsukka Shrine, littéralement « tombeaux de Nsukka » fait partie d'une série de sculptures de pots en céramique, en argile et en manganèse produites au Nigeria entre le milieu et la fin des années 70, Broken pots. Dans ces œuvres, El Anatsui exprime son désir de créer un art qui réponde aux changements mondiaux et sociétaux, tout en faisant échos à son héritage africain dont l'art exploiterait les ressources à disposition.« L'argile est partout. C'est la terre sur laquelle nous marchons. C'est une chose courante avec laquelle tout le monde peut travailler.' – El AnatsuiLa série Broken Pots s'appuie sur la notion de récipients autrefois intacts, maintenant endommagés, non plus utilisés pour le grain mais pour les offrandes sacrificielles dans les sanctuaires locaux.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

This lot will be auctioned on Wednesday, November 10th. The auction will begin at 3:00pm BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on November 9th or November 11th.Digital mapping paintings from Jim Henson's fantasy film Labyrinth. The film's opening titles show a computer-animated barn owl flying through a mystical maze and around the names of cast and crew. This sequence was created by Digital Productions, best known for its work on The Last Starfighter. The owl has more than 250 moving parts, each individually mapped out so the body would look realistic when digitally animated. The head was digitally encoded from a clay sculpture. Rendered in acrylic paint and pencil on black art boards, the 14 paintings show body sections and individual feathers. Each piece features a handwritten description in blue pencil. The set displays minor marks and edge wear. Dimensions (each): 56 cm x 36 cm x 0.1 cm (22" x 14¼" x¼")Sold without copyright; see copyright notice in the Buyer's Guide. Estimate: £1,000 - 1,500 M

1988 Toyota Crown Royal Saloon G AutoMake: Toyota Model: Crown Royal Year: 1988Mileage: 69086VIN: MS137040581Configuration: Right Hand DriveRegistration: F755MWCTransmission: automatic The vendor tells us that he acquired this 2997cc 1988 Toyota Crown Royal Saloon G in 2006, before which its elderly owner had used it only for summer use, garaging it the rest of the time. It is believed that the vehicle was initially imported into the UK by the Ford Motor Company who wanted to examine its new technology, although there is no actual proof of this. The car is absolutely loaded with advanced equipment, much of which wouldn't become commonplace until the 1990s or even the 21st century. The vendor has maintained the vehicle over the years with oil changes, tyres and brake pads as required. He reports that, despite the scarcity of the model in the UK, spares are available. The Crown Royal Saloon, a flagship of the Toyota range at the time, is described as being 'a pleasure to drive, smooth (with air suspension) and powerful, and crammed with many state-of-the-art (for 1988) features'. These include a digital dashboard, CD-ROM-based automotive navigation system, CD player, and hands-free telephone system - yes, in the 1980s! The history folder includes the V5C, 2006 tax disc, current MoT certificate (valid until October 2022) and past ones from 2004, 2006, 2007, 2008 and 2014 . Three former registered keepers are recorded, and the odometer reading is 69,086km. The car is in very good condition outside and in, with its red velour cabin being especially well-preserved.

digital painting on anodized aluminium163cm x 122cm (64in x 48in)Provenance:Simchowitz Gallery, Los Angeles;Private Collection, London.Footnote: “When you put something on the Internet, it’s mine.” (Petra Cortright)Petra Cortright has been called ‘the Monet of the 21st century’ and is considered one of the foremost artists of the ‘Post Internet’ and ‘Net Art’ movements, known for her digitally created art works across multiple mediums including You Tube videos, digital paintings as well as projections on metallic and archival surfaces. Her work questions new technology and its effects on contemporary aesthetics, society and culture. Lifted from Google Images and Pinterest, Cortright creates her paintings by manipulating these images on photoshop and reintegrating them into ‘digital’ paint, morphed and layering them on top of one another, which are then presented as still-life paintings as with Boylinks.

* EDWARD SUMMERTON RSA,ONE NIGHT IN BANGKOKmixed media on paper, signed; titled in newspaper article versoimage size 40cm x 50cm, overall size 62cm x 69cm Mounted, framed and under glass.Note: The Royal Scottish Academy entry states: "Edward Summerton RSA is a critically-acclaimed artist whose work has expanded from the practice of painting into photography, sound works, prints, objects, collaborations and the organising of events and exhibitions. He has recently curated Blind Sight where 50 visual artists were invited to submit sound works to be exhibited as a jukebox installation; Doctor Skin, a unique public art event where artists designed temporary tattoos to be worn by the public; Bird of the Devil, a publication collaborating with 17 writers, and Digital VD, a one hour film work involving one minute films by 60 artists. Summerton is Senior Lecturer in Art and Media at Duncan of Jordanstone College of Art, Dundee. His work has been exhibited in solo and group exhibitions worldwide and is held within public collections including the BBC and the Museum of Modern Art, New York (MOMA)". Edward Summerton's paintings very rarely appear at auction.

Hampshire Hog Part of something BIGGER by Fatima Pantoja  165 cm long, 75 cm high, 40 cm wide, approx 20kg  Fibreglass with brushed-on layer of gel coat, finished with fire retardant/anti vandal varnish Proceeds to benefit Heartburn Cancer UK, as part of the Hampshire Hogs Trail Charity Auction Fatima Pantoja Fernandez believes all living creatures have to live in harmony, and that we need to respect our environment, treat it with love, make it possible for future generations to enjoy. This design illustrates a reflectiveness and willingness to change people's mind, and was inspired by her walks and colours from around the Basingstoke area.  Sponsored by Worting House Fatima Pantoja is a freelance artist and educator located in Hampshire. Since finishing her degree in Fine Arts in Spain in 2007, she has been able to work on numerous projects as well as teaching art, which she finds really rewarding. She was honoured to be a semi-finalist as part of Sky portrait of the year in 2019. She loves challenging herself trying different techniques and subjects and is always learning something new. Her work covers illustrations with colour pencils to sculptures and digital art. She is inspired by nature in all forms and shapes and the Hampshire Hog project allowed her to combine two of her passions. All hogs are sold as seen and have been outside on public display during the Hampshire Hog Trail.

Etel Adnan (Liban, née en 1925)La Montagne encre de Chine sur papier arches, encadrésigné 'Adnan' (en bas à droite)exécuté en 202056 x 76cm (22 1/16 x 29 15/16in).indian ink on arches paper, framedsignedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabePeintre et poétesse, née à Beyrouth en 1925, Etel Adnan est libanaise et américaine. Elle poursuit des études de philosophie à la Sorbonne, à Berkeley et à Harvard, et c'est en 1960, alors qu'elle écrit de la poésie, des essais, des pièces de théâtre et enseigne la philosophie de l'art, que se tient sa première exposition de peinture. Après avoir longtemps vécu en Californie, Etel Adnan rentre à Paris où elle travaille et réside aujourd'hui. Grâce à la Donation Claude et France Lemand, le Musée de l'Institut du monde arabe compte désormais l'une des plus importantes collections d'œuvres d'Etel Adnan, regroupant des oeuvres de 1970 à 2018.Le Mont Tamalpaïs est la montagne magique d'Etel Adnan, le centre de son être. Sa rencontre avec cette montagne sacrée l'a éveillée à la contemplation de la nature, à la méditation et à l'art de la peinture. La lumière et les couleurs changeantes, la brume, le brouillard et la neige sont sources d'émerveillement, de nouvelles sensations esthétiques et d'élévation spirituelle. « Debout sur le Mont Tamalpaïs, je participe aux rythmes du monde. Tout semble juste. Je suis en harmonie avec les étoiles. Pour le meilleur comme pour le pire. Je sais, je sais. »-Etel AdnanEtel Adnan was born in 1925 and raised in Beirut, Lebanon. Her mother was a Greek from Smyrna, her father, a high-ranking Ottoman officer born in Damascus. In Lebanon, she was educated in French schools. She studied philosophy at the Sorbonne, Paris. In January 1955 she went to the United States to pursue post-graduate studies in philosophy at U.C. Berkeley, and Harvard. From 1958 to 1972, she taught philosophy at Dominican College of San Rafael, California. Years after Adnan established herself as writer and literary critic, she discovered her gift as a visual artist. In her art practice, Adnan has focused mainly on abstraction, moving fluidly between long, accordion-like folio creations which she produced in the 1970s (Leporellos, or concertina fold bookworks), landscapes created and recreated in drawings, watercolour, ceramics, tapestry, and oils, as well as illustrations of poetry. For her, abstraction was a solution, a language that 'doesn't have a language problem' since without doubt her canvases speak universally.Adnan painted her life, her dislocation, a new non-verbal vocabulary. It should not be forgotten that despite her trajectory of multidisciplinary success, Adnan was nevertheless part of a generation of hardy contemporary Lebanese artists such as Huguette Caland and Saloua Raouda Choucair who despite struggles, were triumphantly inspired by the heritage of their roots and similarly able to achieve an individual and authentic personalised style. These artists overcame challenging forces to establish reputations wherever they were, and Adnan was no exception.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Francois Sargologo (Liban, né en 1955)Carbone 14 un ensemble de 5 photographies originales, imprimées sur papier d'artsignées, datées et numérotées 2/7, edition limitée à 7exemplaires + 2 EA, exécuté en 2021chacune 78 x 58cma set of 5 original photographs, printed on art papersigned, dated and numberedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeFrançois Sargologo est un artiste plasticien d'origine libanaise, aujourd'hui basé en France. Son travail interroge les différents aspects de l'identité et de l'exil, notamment au travers de l'étude de sa ville natale Beyrouth. La combinaison de la photographie, des textes et du matériel d'archives impulse la base de son processus créatif, dévoilant toutes les possibilités esthétiques de sa pratique. En tant que directeur artistique, il a également conçu différentes collections de livres pour des éditeurs tels que Le Seuil, les Presses Universitaires de France (France), la Fondation Bodmer Museum en Suisse, ... Lauréat du 'European Print Award of Excellence' par Print Magazine for Progress, un livre d'artistes (Grande-Bretagne), il a également été publié dans des magazines de design tels que 'Étapes Graphiques' (France) et 'Page Magazine' (Allemagne).Depuis janvier 2020, le Musée de l'Institut du monde arabe s'est enrichi d'une importante série de photographies de François Sargologo, grâce à la Donation Claude & France Lemand.François Sargologo is a visual artist from the Lebanon, based in France. His work principally interrogates various aspects of identity, exile, and introspective and social issues, and focuses almost exclusively on his native city of Beirut. The combination of photography, text and archive material is the driving force behind his creative process as far as the aesthetic possibilities of his practice are concerned. His work is included in both private and public collections.As an artistic director, he has also designed various book collections for publishers who include Le Seuil, Les Presses Universitaires de France (France), and the Fondation Bodmer Museum (Switzerland). Winner of the European Print Award of Excellence for Print Magazine for Progress, an artist's book (UK), he has also been featured in design magazines such as 'Étapes Graphiques' (France) and 'Page Magazine' (Germany).Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Lalla Essaydi (Maroc, née en 1956)Harem #4 Impression chromogène montée sur aluminium avec un stratifié anti UVsigné, daté, titré et numéroté au dos, numéro 2 d'un tirage de 10 exemplairesexécuté en 2009152 x 122cm (59 13/16 x 48 1/16in).chromogenic print mounted on aluminium with a UV protected laminatesigned, dated, titled and numberedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde Arabe'Traditionnellement, la présence des hommes définit les espaces publics : les rues, les lieux de rendez-vous, les lieux de travail », écrit Essaydi. « Les femmes, d'un autre côté, ont été confinées dans les espaces privés, dans l'architecture des maisons. Dans mes photographies, je restreins les femmes à ces espaces, leurs espaces propres, cloisonnés par des murs et contrôlés par des hommes'-Lalla EssaydiL'art de Lalla Essaydi est influencé par ses expériences de femme marocaine, élevée dans un foyer musulman de Marrakech. Son travail dépeint des femmes posant dans des décors ornementés, qu'elle aime imaginer et construire dans les moindres détails. Ses œuvres reflètent l'iconographie orientaliste de la peinture du 19ème siècle, alors que les femmes du Moyen-Orient et d'Afrique du Nord étaient sexualisées dans les portraits de la société occidentale. Plutôt que de présenter son travail comme des miroirs de la réalité, qui seraient influencés par une vision masculine de la femme, Lalla Essaydi propose une lecture fantaisiste et satirique de ses photographies.'Traditionally, the presence of men has defined public spaces: the streets, the meeting places, the places of work,' Essaydi writes in her artist's statement. Women, on the other hand, have been confined to private spaces, the architecture of the home. In my photographs, I am constraining the women within space and also confining them to their 'proper' place, a place bounded by walls and controlled by men.'-Lalla EssaydiLalla Essaydi's art draws from her experiences as an Arab woman who grew up in a traditional Muslim household in Marrakech, Morocco. Her work depicts women posing in ornate sets that Essaydi creates from scratch. She photographs the women, who sometimes stare sensually directly into the lens of the camera.Her photographs reflect the orientalist iconography popularized in 19th century paintings, when women in the Middle East and North Africa were portrayed as highly sexualized to Western societies. Rather than looking at her work with a male gaze, Essaydi wants people to be aware that the images they see are a fantasy, not real life. Essaydi also uses calligraphy in her work, an art form typically reserved for men. In a twist, Essaydi writes using henna, which is often worn by women.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Khaled Takreti (Liban, né en 1964)Beirut acrylique sur toilesigné et daté exécuté en 2020150 x 120cm (59 1/16 x 47 1/4in).acrylic on canvassigned and datedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeNé à Beyrouth en 1964, et formé à l'architecture à l'Université de Damas, Khaled Takreti a influencé toute une génération de peintres arabes contemporains. Il commence à exposer son travail au milieu des années 1990 et est rapidement reconnu pour son approche innovante du portrait. En décryptant l'image sociale moderne, mêlée à des souvenirs de vie personnelle, il introduit un style de peinture sans précédent en Syrie.Basé à Paris depuis 2006, Takreti a été exposé internationalement et a été présenté dans les plus importantes biennales et foires du monde, comme la Biennale d'Alexandrie et Art Hong Kong. Ses œuvres sont conservées au Musée national syrien, à la Galerie nationale jordanienne des Beaux-Arts et au Mathaf : Musée arabe d'art moderne, entre autres collections privées et publiques.Born in Beirut in 1964, Khaled Takreti is a leading Syrian artist whose Pop aesthetic has influenced a subsequent generation of contemporary Arab painters. Originally trained as an architect at the University of Damascus, he began exhibiting his work in the mid 1990s. Recognised for his innovative approach to portraiture, which merges a personal narrative in the form of a visual diary with explorations of the modern social image, he introduced a painting style that was without precedent in Syria. Based in Paris since 2006, Takreti has exhibited internationally in solo and group exhibitions and has been featured in biennials and art fairs such as the Alexandria Biennale and Art Hong Kong. His works are housed in the Syrian National Museum, the Jordanian National Gallery of Fine Arts, and Mathaf: Arab Museum of Modern Art, among other private and public collections.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Khaled Dawwa (Syrie, né en 1985)Les Passants bronzesigné 'K.Dawa', daté '2020' et numéroté '2/8', numéro 2 d'une édition de 8exécuté en 2020 et coulé en 2021110 x 59 x 36 cmsigned, dated and numberednumber 2 from an edition of 8executed in 2020 and casted in 2021Footnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeNé en 1985 à Misyaf, nord-ouest de la Syrie, Khaled Dawwa est diplômé des Beaux-Arts de Damas en 2007, section Sculpture. Dans son projet de fin d'études, intitulé « L'Attente», apparaissaient déjà en esquisse les personnages qui vont, jusqu'à aujourd'hui dominer son travail artistique. On y pressent alors également l'importance des thèmes socio-politiques à venir, opposant le peuple au pouvoir.Dans le contexte actuel, au cœur des changements sociaux et politiques que vivent les pays arabes, y compris la Syrie, Khaled Dawwa ne cesse de réfléchir sur le rôle et l'impact de l'art sur la société. Il souhaite que les thèmes de ses œuvres, utilisant des techniques simples et parfois traditionnelles, offrent au public un axe de réflexion.Début 2011, Khaled Dawwa participe activement à la création et la mise en œuvre à Damas de l'atelier Al-Boustan. En 2013 il se trouve obligé de fuir vers le Liban où il poursuit son activité artistique en exposant son travail sur sa page Facebook (Clay&Knife).Fin 2014, il s'installe en France où il reprend une activité publique, au-delà de l'espace virtuel. Il continue à aborder les thèmes socio-politiques, mais dans une vision plus globale, comme le montrent ses expositions personnelles « Compressé » (2015) et « Debout! » (2017). Il participe aussi à des expositions collectives en France et en Europe. Khaled Dawwa quitte Marseille et s'établit à Paris où il crée son atelier de sculpture.Khaled Dawwa is a Syrian artist and sculptor based in France since 2014. He was born in 1985 in the city of Masyaf, west of Syria, and completed his university studies in Damascus where he graduated from the Faculty of Fine Arts, Sculpture Department in 2007. Since his early childhood, Khaled has been interested in the concepts of mass and dimensions, and has begun to experiment with the use of available tools. This encouraged him to complete his secondary education in the professional field, where he gained considerable technical expertise and supported his studies at the Faculty of Fine Arts.The core characters to Khaled's work began to crystallize with his graduation project from the Faculty of Fine Arts, which was titled 'In Waiting' for the political and social subject to dominate later. During his graduation project, which coincided with major political and social transformations in Arab societies, including Syria, Khaled's obsession with the role and impact of art in people's lives dominated his approach. Later, Khaled joined the 'Al Bustan' cultural group in Damascus in early 2011, where he helped establish and equip the centre. He continued to work there until 2013. He then travelled to Lebanon where he spent a year hiding, working secretly and continuing his art through the creation of the clay and knife Facebook page. Khaled currently lives in Paris and continues to work at his studio there.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Mohammad El Rawas (Liban, né en 1951)When We are Gone technique mixte et assemblage sur panneau contreplaquésigné 'M El Rawas' et daté '2019' en bas à droite et au dosexécuté en 2020100 x 110cm (39 3/8 x 43 5/16in).mixed media and assemblage on plywood panelsigned and datedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeNé en 1951, Mohammad el-Rawas a, du plus loin qu'il se souvienne, dessiné et peint. Sauf que, depuis son plus jeune âge, plutôt que de crayonner comme tous les enfants son univers imaginaire en couleurs, il cherchait à reproduire fidèlement les dessins des bédés et les illustrations de magazines. Encouragé par son père, le compositeur et oudiste Baha'eddine Rawas, qui lui fournira très tôt toiles et pigments, Mohammad el-Rawas développe son talent auprès de Mounir Eido. « C'était mon professeur de dessin en classe de brevet. Je lui dois beaucoup au niveau artistique. Il m'a appris la méticulosité et la rigueur. Il m'avait même donné les clés de son atelier pour que je puisse y travailler quand j'en avais envie. C'était un vrai, un grand artiste libanais qui a été méconnu, parce qu'il n'a jamais voulu exposer et vendre », dit-il. À l'heure du choix professionnel, après un an de littérature anglaise, el-Rawas prend définitivement la voie des beaux-arts. Mais à peine décroche-t-il son diplôme que la guerre libanaise éclate. Le basculement du pays dans la violence marquera de son empreinte traumatique son art. 'C'est vrai que l'irruption de la guerre au Liban a opéré en moi un virage à 180°. Lorsque du jour au lendemain, j'ai vu des gens s'entre-tuer parce qu'ils n'étaient pas de la même religion, j'ai eu l'impression d'avoir été berné durant toutes ces années où je croyais vivre dans une société ouverte et tolérante. Et cela s'est traduit dans mon travail, qui d'expressionniste abstrait est devenu plus conceptuel et géométrisant, basé sur une imagerie sous-tendue de sarcasme, d'absurde et d'une certaine dose d'amertume.'Mohammad El RawasBorn in Beirut in 1951, Mohammad El Rawas graduated with a BFA in painting from the Institute of Fine Art of the Lebanese University in 1975 and was awarded a scholarship to study abroad. The year of El Rawas' graduation marked the beginning of the Lebanese Civil War, leading the artist to stop painting and to leave his country for Rabat, Morocco where he remained for two years, teaching art and eventually resuming painting. He returned to Beirut in 1979 to hold his first solo show, before joining the Slade School of Fine Art in London in the same year on scholarship from the Lebanese University. Upon his return to Beirut in 1981 with an MFA in printmaking, he started his academic career at the Lebanese University and the American University of Beirut, which lasted for 27 years. Since 1979, El Rawas has held 11 individual exhibitions in Beirut, London and Dubai and has participated in more than 40 international art biennials and exhibitions in the UK, USA, Norway, Tunisia, Brazil, Japan, Kuwait, France, Netherlands, Egypt, UAE, Poland and China. In these international shows he won five prizes and honorable mentions including, in 2007, the award of the Alexandria Biennale for Mediterranean Countries, for his first installation and video art piece. His work is found in many museums and public collections in Lebanon, Tunisia, Iraq, Jordan, UAE, Norway and the UK.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Tarek Elkassouf (Liban, né en 1985)Yalla Tnâm, Yalla Tnâm sculpture en cuivresigné et numéroté '2/8', numéro 2 d'une édition de 8exécuté entre 2020-2021200 x 75 x 25cm copper sculpturesigned and numberedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeTarek ElKassouf est un designer d'objets et sculpteur libanais primé basé entre Beyrouth et Sydney. Son approche interdisciplinaire du design varie de la conception macro, comprenant villes et bâtiments, au micro, comme les intérieurs, les objets et les meubles design de collection. Lauréat multiple du prestigieux A' Design Award, Elkassouf donne régulièrement des conférences et anime des ateliers à mi-chemin entre l'art et du design. Son studio est spécialisé dans l'artisanat et le design innovant et propose un large éventail d'objets et de travaux.'Cher Mr Lemand,C'était un grand plaisir de parler avec vous du Liban. Tous les deux, loin de Beyrouth, mais avec une flamme au cœur assez vive et vivante.Rien n'est plus parlant pour moi qu'un enchevêtrement de demi-cercles pour parler de Beyrouth en cet instant. Une forme douce et cassée, sans aucun ordre, pour parler d'une destruction sans pour autant sombrer dans le pathos et l'emphase. La Sculpture sera en cuivre, d'une hauteur de 200 cm avec une section de 75 cm x 25cm. Se reposant sur une plaque métallique pour garder l'équilibre.'-Lettre de Tarek ElKassouf à Claude LemandTarek ElKassouf is a Lebanese award-winning object designer and sculptor based between Beirut and Sydney who works on sculptures, collectible design objects and art installations. His cross-disciplinary approach to design ranges from designing the macro, including cities and buildings, to the micro including interiors and collectible design objects and furniture. Multiple winner of prestigious A' Design Award for his collectible furniture pieces, Elkassouf regularly speaks and conducts workshops on the intersection of art and design. His studio specialises in precise craftsmanship and innovative design across a full spectrum of objects and work.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Mahmud Obaidi (Irak, né en 1966)Beirut techniques mixtes sur toilesigné et daté exécuté en 2020200 x 200cm (78 3/4 x 78 3/4in).mixed media on canvassigned and datedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeMahmoud Al Obaidi est un artiste contemporain irako-canadien né en 1966 à Bagdad. Après avoir quitté l'Irak en 1991, il obtient sa maîtrise d'arts appliqués à l'Université de Guelph au Canada et est diplomé en nouveaux médias et en cinéma à Toronto et à Los Angeles. Depuis sa première exposition personnelle internationale en 1995, son travail a été exposé dans de nombreux musées et galeries à travers le monde, dont le Musée national de Bahreïn, Manama ; Musée de l'Institut du Monde Arabe, Paris ; Mathaf : Musée arabe d'art moderne, Doha ; Galerie nationale des beaux-arts de Jordanie, Amman ; Station Museum of Contemporary Art, Houston, Texas ; et Musée d'Art Contemporain de Baie-Saint-Paul, Québec; entre autres.Mahmoud Al Obaidi is an Iraqi-Canadian Contemporary artist, who was born in 1966 in Baghdad. After leaving Iraq in 1991, he obtained his MFA at the University of Guelph in Canada, and completed diplomas in new media and film in Toronto and Los Angeles. Since his first international solo exhibition in 1995, his work has been exhibited in a number of museums and galleries around the world, including the National Museum of Bahrain, Manama; Musée de l'Institut du Monde Arabe, Paris; Mathaf: Arab Museum of Modern Art, Doha; Jordan National Gallery of Fine Arts, Amman; Station Museum of Contemporary Art, Houston, TX; and Musée d'Art Contemporain de Baie-Saint-Paul, Quebec; among others.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Manabu Kochi (Japon / France, né en, born 1954)Tragédie du Liban II technique mixte sur papier arches, encadrésigné 'M. Kochi', daté '2020' et titré 'Tragédie du Liban II' (en bas à gauche)exécuté en 202076 x 57cm (29 15/16 x 22 7/16in).mixed media on arches paper, framedsigned, dated and titledFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeNé en 1954 à Okinawa, au Japon, Manabu Kochi suit une formation à l'Ecole des Beaux-Arts de Florence, et s'établit en France en 1981. Sculpteur, peintre et graveur, il réussit à élaborer un univers personnel, synthèse entre les arts primitifs et les courants européens modernes les plus novateurs et positifs. Son œuvre post-moderne est imprégnée de philosophie et d'humour, de couleur et d'harmonie. Depuis octobre 2018, le Musée de l'Institut du monde arabe détient une très importante collection d'œuvres de Manabu Kochi, grâce à la Donation Claude et France Lemand.« Cher Claude, j'ai dessiné des études préparatoires sur la tragédie et l'espoir du Liban. J'en ai tiré deux peintures à l'aquarelle. La première est l'image de l'explosion et de la destruction de la ville : les bâtiments sont détruits, le bateau a coulé, mais l'esprit des Libanais se dresse comme le Phénix. Et puis, il y a les paysages des célèbres chaînes de montagnes, qui embrassent et qui protègent toujours et si magnifiquement le peuple libanais.La deuxième peinture est dans la ville qui a été détruite et a fait beaucoup de victimes, les hommes, les femmes et les enfants. Les figures humaines sont métamorphosées, comme si elles souffraient dans leur chair de la situation du pays. Mais le peuple libanais garde l'espoir de bâtir un nouveau pays, paisible et beau, stable comme le grand cèdre, l'arbre typique du pays, qui se trouve au fond de l'image. Cet arbre est le symbole de la Nature protectrice, de la liberté et de la culture libanaise. Avec mon amitié. » - Manabu Kochi, 13.08.2020.Lettre à Claude Lemand.« Cher Claude, j'ai changé le dessin du deuxième croquis. A présent, les figures humaines ne sont pas mortes, elles sont vivantes mais expriment la complainte, la souffrance, la colère, mais aussi l'espoir en regardant le grand Cèdre libanais. J'ai enlevé l'oiseau et je l'ai remplacé par l'arbre, qui est le symbole du grand peuple libanais. J'espère que tu l'aimes. » - Manabu Kochi, 15.08.2020. Lettre à Claude Lemand.« Dès notre première rencontre à Paris en décembre 1988, il m'avait dit : Je suis plus pour l'harmonie que pour le conflit, pour l'harmonie entre tous les êtres vivants, qui sont une richesse ; la recherche de la pureté est illusoire, car elle aboutit au fanatisme ». Cette réflexion est une manifestation de sa philosophie pacifiste, opposée à toute dictature et à toute guerre qui ne peuvent qu'engendrer la destruction, la mort et le malheur, comme ce fut le cas au Japon et sur l'île d'Okinawa dont il est originaire. » - Claude Lemand'Dear Claude. I drew preparatory studies on the tragedy and the hope of Lebanon. I drew two watercolour paintings from it. The first is the image of the explosion and destruction of the city: the buildings are destroyed, the boat sank, but the spirit of the Lebanese stands like the Phoenix. And then there are the landscapes of the famous mountain ranges, which always embrace and protect the Lebanese people so beautifully.The second painting is in the city which was destroyed and claimed many lives, men, women and children. The human figures are metamorphosed, as if they suffered physically from the turmoil of the country. But the Lebanese people still hopeful to build a new country, peaceful and beautiful, stable like the great cedar, the national tree of the country, which is at the bottom of the composition. This tree is the symbol of the protective nature and liberty of the Lebanese culture. With my friendship. - 13.08.2020.'Dear Claude. I changed the drawing of the second sketch. Now, the human figures are not deceased, they are alive but express lament, suffering and anger, but also hope glazing at the great Lebanese Cedar. I removed the bird and replaced it with the tree, which is also a symbol of these great and resilient people. Hope you like it' 08/15/2020-Manabu Kochi's letters to Claude LemandBorn in 1954 in Okinawa, Japan, Manabu Kochi completed his training in Italy and came to live in Paris in 1981. Working in the fields of sculpture, painting and engraving, he has succeeded in creating a personal link between Primitive Arts and the most innovative trends in European Modern Art. His works are full of philosophy, humour, colour and harmony. Since October 2018, the museum of the Institut du Monde Arabe in Paris now houses a very important collection of works by Manabu Kochi, thanks to the Claude and France Lemand Donation.From the moment we first met in Paris in December 1988, he told me, 'I tend to be an advocate of harmony rather than conflict, of the harmony amongst all living beings, who represent such resources; seeking for purity is illusionary as it ends up in fantasy'. This comment translates the artist's pacifist philosophy, that opposes all types of dictatorship and war that can only lead to destruction, death and tragedy, as was the case for Japan and on the island of Okinawa, the place where he is born.-Claude LemandClick for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Ayman Baalbaki (Liban, né en 1975)Sans titre Acrylique sur toile, encadrésigné et daté '16' (en bas à droite)exécuté en 2016150 x 198cm (59 1/16 x 77 15/16in).acrylic on canvas, framedsigned and datedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeNé en 1975, l'année du déclenchement de la guerre civile libanaise, Baalkabi et sa famille ont été contraints de fuir Rass-el Dikweneh, dans la banlieue de Beyrouth, alors qu'il n'avait encore que quelques mois. La guerre a imprégné l'environnement proche de Baalbaki tout au long de sa vie, sa maison à Haret Hreik ayant été démolie lors des attaques israéliennes de 2006. Dans sa pratique artistique, Baalbaki puise naturellement dans le profond réservoir que constitue la mémoire formée par ses expériences traumatisantes. Baalbaki a rassemblé du matériel documentaire et d'archives, parmi lesquelles ses propres photographies et images de la guerre et des destructions engendrées. Exécuté à une échelle qui capture à la fois l'énormité architecturale du bâtiment représenté et la gravité des dommages qu'il a subi, ce tableau est la vignette saisissante d'une ville dont le paysage urbain a été perforé et mutilé par la guerre. Le travail de Baalbaki rend hommage à l'histoire bouleversante endurée par ses compatriotes. Ces scènes capturées sont dramatiques, mais les arrière-plans floraux et verts offrent un effet adoucissant délibéré, une touche féminine qui rappelle les robes portées par les femmes des régions du sud du Liban.Préoccupé par la relation entre l'image et la mémoire, la figuration et l'abstraction, Baalbaki utilise sa pratique comme un aide-mémoire au conflit qui a tourmenté Beyrouth, rappelant aux gens que même en temps de paix relative, ils ne doivent pas ignorer les profondes divisions systémiques qui sont à l'origine des conflits. L'écart entre l'acte de destruction et le temps de la représentation, que les œuvres de Baalbaki symbolisent, fait sans-cesse référence aux thèmes de la guerre et du déplacement.Born in 1975, the year of the outbreak of the Lebanese Civil War, Baalkabi and his family were forced to flee Rass-el Dikweneh, in the suburbs of Beirut when he was only a few months old. War loomed over Baalbaki's head throughout his life, with his home in Haret Hreik being demolished during the 2006 Israeli attacks. When it came to approaching his art practice Baalbaki naturally drew from the deep reservoir of memory formed by these traumatic and disturbing experiences. Baalbaki gathered documentary and archival material, his own photographs and images from the internet of war and destruction. These variations inspired him to approach his subject from different angles.Executed in a scale which captures both the architectural enormity of the building depicted, and the severity of the damage it suffered, this painting is a striking vignette of a city whose urban landscape has been punctured and mutilated by the war. Baalbaki's work pays tribute to the traumatic recent history his countrymen have endured by frequently returning to iconic imagery. These scenes Baalbaki captures are dramatic yet the floral textile backgrounds provide a deliberate softening effect, a feminine touch that recalls the dresses worn by rural women in Southern Lebanon.Concerned with the relationship between imagery and memory, figuration and abstraction, Baalbaki uses his practice as a haunting aide-memoire to the conflict that has plagued Beirut, reminding people that even in times of relative peace, they should not disregard the deep systemic divisions that gave rise to this conflict in the first place. His works accordingly focus on the aftermath of conflict, and the remnants of its destructive influence. The gap between the act of destruction and the time of depiction, which Baalbaki's works occupy, is part of a concerted effort to place a reflective emphasis on the theme of war and displacement.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Jamil Molaeb (Liban, né en 1948)Sans titre huile sur toilesigné 'Jamil Molaeb' et daté '10.2.2016'exécuté en 2016105 x 158cm (41 5/16 x 62 3/16in).oil on canvassigned and datedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeJamil Molaeb est né au Liban en 1948. Il a étudié aux États-Unis et est titulaire d'une maîtrise de l'institut Pratt de New York et a également obtenu un doctorat en éducation artistique de l'Université de l'Ohio. Les peintures et gravures sur bois de Molaeb constituent un panorama exceptionnel des paysages de son Liban natal. Son amour de la mer se reflète dans les vues côtières d'un bleu éclatant, tandis que les paysages de montagne et de village célèbrent la diversité et la richesse de la nature libanaise. Les œuvres récentes de Jamil Molaeb sont influencées par les hiéroglyphes égyptiens et caractérisées par des miniatures répétitives évoquant les traditions locales. Depuis 1966, Molaeb a été exposé au Liban, en Algérie et à Brooklyn, New York. Ses œuvres ont été proposées dans de nombreuses ventes aux enchères internationales.Jamil Molaeb was born in Lebanon in 1948. He studied in the United States and has a Master's Degree from Pratt institute, New York. He also earned a PhD in Art Education from the University of Ohio. Molaeb's paintings and woodcuts largely explore his native Lebanon. His love of the sea is reflected in his vibrant blue coastal views, while his mountain and village landscapes celebrate nature in all its diversity. His recent works are influenced by Egyptian hieroglyphs and characterised by repetitive miniatures evocative of Lebanese traditions. Since 1966, Molaeb has held solo and group exhibitions in Lebanon, Algeria and Brooklyn, New York. His works have been sold at multiple international auctions.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Anas Albraehe (Syrie, né en 1991)Beirut. Dream Catchers. Future's Guards huile sur toilesigné 'Anas Albraehe' et daté '2020' au dosexécuté en 2020130 x 195cm (51 3/16 x 76 3/4in).oil on canvassigned and datedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeAnas Albraehe, né en 1991, est un peintre et un performeur syrien, basé à Beyrouth. Il obtient une licence en peinture et en dessin en 2014, à l'Université des Beaux-Arts de Damas. Après le début de la guerre en Syrie, il s'installe au Liban et obtient en 2015 une maîtrise en psychologie et Art thérapie à l'Université libanaise. Les expositions personnelles d'Anas Albraehe, Mother Earth, The Dream Catcher et Manal, ont respectivement été présentées à l'Agial Art Gallery (2018) et à l'Artspace Hamra au Liban ainsi qu'à Wadi Finan en Jordanie (2017). Il a également participé à plusieurs expositions collectives, notamment à la Middle East Institute Gallery à Washington DC, aux États-Unis (2019).Born in Syria in 1991, Anas Albraehe is a Beirut-based artist who primarily works in painting and theatre performance. He received a bachelor's degree in painting and drawing in 2014 from the Fine Arts University of Damascus, Syria. After the onset of war in Syria, he relocated to Lebanon and obtained an MA in Psychology and Art Therapy from the Lebanese University in 2015.Albraehe's solo exhibitions include Dream Catcher (2018) and Mother Earth (2020) at Agial art gallery Lebanon (2020). In 2017, Manal was held respectively in Artspace Hamra in Lebanon and in Wadi Finan in Jordan. He has also participated in several group exhibitions, including the Middle East Institute Gallery in Washington DC, USA (2019); Capkuwait Gallery, organized by Selections Magazine in Kuwait (2018); Artspace Hamra in Lebanon (2016); and Albareh Gallery in Bahrain (2015). In 2016-2017, Albraehe participated in SAFIR TA'AROF 2017, an artist workshop as part of the Sharjah Art Biennial.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Najia Mehadji (Maroc, né en 1950)Ligne d'espoir pour Beyrouth acrylique sur toilesigné, daté et titré au dosexécuté en 2020180 x 190cm (70 7/8 x 74 13/16in).acrylic on canvassigned, dated and titledFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeNajia Mehadji est née à Paris et y a vécu son enfance et son adolescence, séjournant régulièrement à Fès dont sa famille est originaire. Elle est diplômée à la fois de l'Université Paris 1, où elle a soutenu en 1973 son mémoire sur Paul Cézanne, et de l'Ecole des Beaux-arts de Paris. Elle expose dès les années 80 dans des galeries parisiennes et, à partir de 1985, décide de partager sa vie entre son atelier de Paris et celui du Maroc, près d'Essaouira.Dès les années 80, son œuvre effectue une synthèse entre un art contemporain qui renouvelle la peinture et des éléments de l'art islamique tels que la coupole, le polygone, le floral, l'arabesque ou la calligraphie, au bénéfice de nouveaux concepts et de nouvelles formes au sein desquels l'artiste invente son propre style.Najia Mehadji est l'une des artistes marocaines les plus connues sur la scène internationale. Ses œuvres ont fait l'objet d'expositions dans des lieux prestigieux, dont le Musée national d'art moderne Centre Georges-Pompidou, Paris. Sa carrière d'artiste a été couronnée en 2018 par une très importante rétrospective au Musée d'art moderne de Céret (France). Ses œuvres font partie de nombreuses collections dont la Société Générale (Maroc), Attijariwafa bank (Maroc), le MACAAL (Maroc), le Centre Georges-Pompidou (France), l'Institut du Monde Arabe (France), le Musée des Beaux-Arts de Caen (France), le Musée des Beaux-Arts de Amman (Jordanie).« Toutes ces séries se situent entre le dessin et la peinture, l'abstraction et la figuration, la couleur et la lumière, le dehors et le dedans, le mouvement et le suspens, le sensible et le symbolique, le geste et l'idée, le géométrique et l'organique, la forme et le flux, la contrainte et la liberté, l'intuition et la réflexion, la perception et la mémoire - l'Orient et l'Occident. »-Najia Mehadji'Les peintures Ligne d'espoir pour Beyrouth ont été réalisées à la suite de la terrible explosion d'août 2020, qui a détruit une partie de la ville. Du fond noir jaillit une ligne continue, turquoise, très lumineuse dont les méandres dessinent une forme triangulaire qui suggère celle du cèdre, symbole du Liban.'-Najia Mehadji, Note d'atelierDepuis octobre 2018, le Musée de l'Institut du monde arabe détient une très importante collection d'œuvres de Najia Mehadji, grâce à la Donation Claude et France Lemand. Najia Mehadji was born in Paris in 1950. She lives and works in Paris (France) and Essaouira (Morocco). By the 1970s, Mehadji's oeuvre was already marked by a 'tangible abstraction' that derived simultaneously from contemporary music and from her work on the body in the experimental environment of the Université de Paris VIII. During this period she presented several performances that incorporated drawing and sound; she also contributed to the feminist review Sorcières, which published her early drawings.In 1974 she obtained a master's degree in visual arts and art history from the Université de Paris I, and also attended the École des Beaux-Arts in Paris.In the 1980s, Mehadji began to investigate the materials of pictorial practice. She decided to employ unusual media such as gesso and transparent paper on large pieces of raw canvas in order to generate symbolic, highly architectured, geometric forms.In 1985 she spent a year in Essaouira, Morocco, on an extramural scholarship from the Villa Medicis. Mehadji would later return there with increasingly frequency, producing her Icare series in Essaouira. This cycle came to a close in 1994 with the Coupole series, which explicitly referred to Islam and signaled her interest in transcultural architectural forms.In 1996, Mehadji changed technique and hence style, adopting large oil pastels that enabled her to draw long, continuous lines on raw canvas, generating spheres of pure reds or yellows, which yielded three series known as Gradients, Chaosmos, and Souira.In 1997 she taught drawing for a year as a guest artist at the École Nationale des Beaux-Arts de Paris. Her recent works display a symbolism related to nature, notably to the cosmos and the plant kingdom, establishing a logical counterpoint to the geometric forms of her early career. Hence the 'structures of flux' as exemplified by the Fleur-flux series, in which Mehadji revisits the universal symbol of the pomegranate, whose stylized flower runs throughout her canvases, drawings, and watercolors.Her interest in floral and cosmic themes can also be seen in three series titled Pivoines, Vanités, and Volutes. Since 2005, Mehadji has been producing digital works that incorporate details from engraved plates by Goya.Since October 2018, the museum of the Institut du Monde Arabe now houses a very important collection of works by Najia Mehadji thanks to the Claude and France Lemand donation.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Kamel Yahiaoui (Algérie, né en 1966)Géographie du corps-Liban technique mixte sur tatami marouflée sur toilesigné, daté et titréexécuté entre 1998 et 2020195 x 130cm (76 3/4 x 51 3/16in).mixed media on tatami laid down on canvassigned, dated and titledFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeKamel Yahiaoui, né à Alger en 1966, grandit dans la Casbah familiale. Kamel dit encore aujourd'hui qu'il lui sembla débarquer dans un autre monde lorsqu'il quitte l'environnement populaire de cette maison pour s'installer à Alger et étudier à l'Ecole des Beaux-Arts. Il y bénéficie d'une excellente formation de peintre, alors que la peinture demeure à Alger le medium central de la transmission esthétique, sous l'influence d'une exceptionnelle génération de peintres fidèles à la toile et extrêmement actifs dans la seconde moitié du XXe siècle - parmi eux Mesli, Issiakhem, Khadda et Benanteur. Kamel va au-delà de la volonté d'ancrage identitaire portée par la génération précédente et engage une réflexion sur l'importance des symboles dans la société contemporaine, dans l'esprit de la sémiologie que Roland Barthes avait appliqué à ses Mythologies. Cette démarche matricielle est particulièrement sensible dans le processus d'élaboration de Géographie du corps.Au moment où il commence cette œuvre, Kamel Yahiaoui est en proie aux mêmes tourments que de nombreux artistes et intellectuels algériens, qui ont subi de plein fouet « la décennie noire » des années 1990 : à savoir l'assassinat de l'écrivain Tahar Djaout en mai 1993, du directeur de l'Ecole des Beaux-Arts d'Alger, d'Ahmed Asselah et de son fils en mars 1994 ainsi que l'exil forcé de nombre d'entre eux. La Géographie du corps porte en elle ces drames et leur immense douleur. Cette œuvre bénéficie d'une place de premier ordre dans l'histoire de la production de Kamel Yahiaoui. Le souvenir toujours présent du père, colosse exténué par les travaux harassants, la hantise de sa propre disparition, suggérée par l'empreinte des mains de l'artiste ainsi que la cartographie mentale d'un désastre, réminiscence du Bœuf écorché, offrent à cette œuvre de multiples références biographiques et culturelles et une grille de lecture à plusieurs niveaux. Elle étonne par son unité, malgré la diversité des matériaux qui la composent : tatami, papiers collés, crayon, peinture, puis galon de tissu incrusté en 2020.Kamel Yahiaoui was born in Algiers in 1966, grew up in the Casbah where his eyes and curiosity were sharpened. Kamel still says today that arriving from the Casbah and its working-class environment at the School of Fine Arts in Algiers was to land in another world. He benefited from an excellent training as a painter, because painting remained in Algiers the central medium of aesthetic transmission, with the influence of an exceptional generation of painters faithful to the canvas, active in the second half of the twentieth century, whilst being fundamentally anti-colonialists, like his peers Mesli, Issiakhem, Khadda and Benanteur.For Algerian artist Kamel Yahiaoui, art is political. His works have a great resonance with the colonial and postcolonial history and the political and social questions of his time. His subversive search for truth is carried out through the filter of his subjectivity, of a long and complex work of aesthetic elaboration, making the work meaningful, well beyond the moment of its production, undoubtedly because it touches on a nodal point which establishes between the work of art and us this intersubjectivity so difficult to achieve. Geography of the body-Lebanon is a masterful example, which speaks to us of difficult times, in Algeria twenty years ago, in Beirut today, wherever humanity is abused.2Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Mahdjoub Ben Bella (Algérie, né en 1946)Florence huile sur toilesigné 'Ben Bella' et daté '18' (en bas à droite)exécuté en 2018116 x 89cm (45 11/16 x 35 1/16in).Footnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde Arabe'J'ai bien connu Mahjoub Ben Bella. J'aimais son œuvre intense, lumineuse et sensible. Peintre délicat, il peignait ses rêves et nous les offrait en partage. Formé dans les écoles des Beaux-arts d'Oran, puis à Tourcoing et à Paris, il s'installe en France, dans le Nord gris et chaleureux qui, rapidement, l'adopte. Ce Nord accueillant, Mahjoub Ben Bella l'illuminera des couleurs, de la lumière de sa Méditerranée natale et de son pays, l'Algérie qui coulait passionnément dans ses veines. Peinte neuf jours avant sa disparition, sa dernière peinture sur son lit d'hôpital en est la parfaite illustration.Il fut un peintre virtuose aux multiples facettes. Parallèlement à ses grandes et petites peintures sur toile, sur papier, sur bois ou sur pavés, il réalisera des céramiques, des objets, des gravures, des performances et des fresques monumentales dans des lieux publics. En 1986, il peindra les célèbres pavés du Paris-Roubaix, L'envers du Nord, fresque routière de 12 kilomètres, véritable tapis de signes, rouleau magique d'écritures. En juin 1988, il rendra à Wemblay un fraternel hommage à Nelson Mandela.Expositions personnelles et collectives dans de nombreux musées, centres d'art et galeries d'Europe, du Proche-Orient et une rétrospective au MAMA d'Alger, Mahjoub Ben Bella a été représenté dans vingt musées et collections publiques. Grâce à la Donation Claude & France Lemand, le musée de l'Institut du monde arabe est riche de seize de ses éclairantes peintures.'- Jack LangNé en 1946 à Maghnia, dans l'ouest algérien, Mahjoud Ben Bella est un peintre aux multiples facettes, réalisant à la fois des œuvres monumentales, des céramiques, des objets, des peintures sur toile de tous formats ainsi que des œuvres sur papier, sur bois ou sur pierre. A ce jour, Mahjoub Ben Bella est représenté dans vingt musées et collections à travers le monde. « Sa peinture est un chant incantatoire. Dans ses toiles, il compose des champs sacrés dont les sillons nous entraînent au-delà du simple lyrisme. Il se laisse posséder par le vertige de l'écriture jusqu'à l'extase, jusqu'à devenir le chantre d'un livre de prières à la gloire même de l'Art. » - Jean-Louis Pinte, Les champs sacrés de Ben Bella, cité in Le Figaroscope, Paris.'I knew Mahjoub Ben Bella very well. I was fond of his intense oeuvre, full of light and sensitivity. A delicate artist, he painted his dreams and shared them with us. Studying at the School of Fine Arts of Oran, and then in Tourcoing and Paris, he settled in France in the grey warmth of the North, which quickly adopted him. Mahjoub Ben Bella sought to brighten up that welcoming North with his colours, with the light of his Mediterranean origins and of his native country, Algeria, that passionately ran through his veins. His last painting, dating from nine days before his death, was executed from his hospital bed and illustrates perfectly the essence of his art.He excelled as a painter, but also as an artist with multiple facets. Besides his large and small paintings on canvas, on paper, on panel or on cobblestone, he also realized ceramics, objects, prints, performances and monumental frescoes in public spaces. In 1986, he painted the famous cobblestones of the Paris-Roubaix, L'envers du Nord, a twelve kilometer-long road fresco, a true carpet of signs and a magical scroll of writings. In June 1988, he paid a fraternal tribute to Nelson Mandela at Wembley. With several solo and group exhibitions held in many museums, art centers and galleries across Europe, the Near-East and a retrospective exhibition at the MAMA of Algiers, Mahjoub Ben Bella's work is represented in over twenty museums and public collection. Following Claude and France Lemand's donation, the museum of the Institut du Monde Arabe now has sixteen of his illuminating paintings.' - Jack LangMahjoub Ben Bella was born in the Western part of Algeria, in Maghnia, in 1946. He did his artistic training first at the School of Fine Arts of Oran, then in Tourcoing and finally in Paris, and settled in France. Ben Bella is a multifaceted artist, producing monumental artworks, painting ceramics, objects, in addition to large and small paintings on canvas, on paper, panel or even on stone, as well as performances and monumental compositions for public spaces. His works have been exhibited in many solo and group shows in museums, art foundations and galleries across Europe and the Middle East. Besides having his works featured in prominent private collections across the globe, Ben Bella's oeuvre is also present in the collections of twenty museums and public collections.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Assadour (Liban, né en 1943)19h30 GMT huile sur toilesigné 'Assadour', daté '2009' (en bas à droite), signé, daté et titré au dos, exécuté en 2009114 x 146cm (44 7/8 x 57 1/2in).Footnotes:ProvenancePropriété de la collection de Claude et France LemandAcquis directement auprès de l'artiste par le ci-dessusLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des artistes et de l'Institut du Monde Arabe'Né au Liban en 1943, Assadour quitte Beyrouth à l'âge de 20 ans, avec une bourse pour étudier la gravure et la peinture, d'abord en Italie puis à Paris. Longtemps connu comme un virtuose et maître de la gravure contemporaine, il a développé parallèlement une œuvre riche et vaste de gouaches sur papier et d'huiles sur toile, rares et très recherchées, car Assadour travaille beaucoup, mais produit peu de peintures sur toile. Dans ses gravures comme dans ses peintures, les figures humaines et les figures géométriques de base ont toujours été intégrées à l'esquisse d'un paysage urbain, avec des constructions architecturales qui essaient de mettre de l'ordre dans le chaos du monde tel qu'il l'a ressenti au Liban et tel qu'il le voit depuis toujours.Au cours des dernières années, il a amorcé un changement important dans sa pratique picturale. La couleur dominante a changé, le gris bleu et noir remplace désormais l'orange ou se marie aux multiples nuances des autres couleurs, crée des compositions aux multiples surfaces contrastées, avec une mise en lumière parfaite et maîtrisée. Le principal changement est dans la structuration même de l'espace : les grandes figures humaines occupent désormais la place centrale de l'espace pictural et ont remplacé les grandes formes architecturales qui organisaient l'espace urbain chaotique, et les multiples figurines anonymes que l'artiste dispersait dans l'espace de ses œuvres ont pratiquement disparu.'Claude Lemand 'Assadour le secret, prince du cryptage, à la nature retenue mais ardente, apparaît tel le plus méticuleux maître d'images, qu'il imbrique, démêle, coagule, disjoint encore et finalement confond en une même substance. Ses agencements prodigieusement impénétrables ne délèguent rien au hasard. Tout est si précis dans ses chaos calculés qu'il ne semble pas tant détruire tous les codes que les substituer par les siens.' Gérard XurigueraAssadour was born in 1943 in Beirut and left his homeland in 1963 to study abroad. He obtained a scholarship to go study engraving and painting in Italy and subsequently in Paris. Assadour is well-known as a master of contemporary engraving and yet he has also produced a rich and prolific oeuvre of temperas on paper and oils on canvas. The latter are rare and sought-after as Assadour executed very few paintings on canvas. He participated in many exhibitions throughout Europe, Korea, Japan and Lebanon, and his work has been displayed in international art fairs as well as in retrospective shows in Museums in Germany and Italy. Assadour managed to develop his own artistic style by finding inspiration in two art movement, the Bauhaus' Constructivism and the Parisian Surrealism.''Assadour the secret, prince of encryption, with a tempered yet passionate nature, appears as the most meticulous master of images, which he interlocks, untangles, clots, separates again and finally fuses into one same substance. His layout is ingeniously inscrutable yet nothing has been randomly placed. Everything is so precise in this chaos which is very well thought out, that Assadour does not seem to destroy all the codes but rather substitutes them with his own.' - Gérard XurgueraClick for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Missak Terzian (Liban, né en 1949)Kefraya Landscape, Lebanon acrylique sur toilesigné 'Missak Terzian' et daté '2020' (en bas à gauche)exécuté en 2020120 x 160cm (47 1/4 x 63in).acrylic on canvassigned and datedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde Arabe'Mon père possédait Leogravure, la maison de sélection de couleurs. J'ai pour ma part travaillé durant 41 ans dans l'art graphique. Avant l'ère du digital, à l'époque où l'on faisait les impressions en quadrichromies, j'étais ce que l'on appelle chromiste, c'est-à-dire que je faisais la retouche des couleurs. Puis je suis devenu un gourou du Photoshop. Sauf qu'en parallèle, j'ai toujours eu une passion pour la peinture. Depuis mon plus jeune âge, j'ai toujours peint et dessiné et je n'ai jamais arrêté. J'ai toujours été attiré par l'abstraction. Mais suivant les recommandations de Shart, un peintre arménien reconnu qui était l'ami de mon père, j'ai procédé par étapes en commençant par le figuratif classique, puis le réalisme, l'expressionnisme, etc. avant de me lancer dans la semi-abstraction et l'abstraction pure. À laquelle j'arrive donc, maintenant, après un long mûrissement '-Missak TerzianMissake Terzian est né à Beyrouth en 1949 au sein d'une famille de survivants du génocide arménien. Il étudie à l'Ecole d'Art Guvder en 1968 et est diplômé du London College of Printing en 1971. Avec une impulsion innée et primordiale à créer, Missak poursuit, au travers de son oeuvre, une quête artistique vers l'existentialisme, désireux de capturer dans son travail le temps et les événements. Il tient sa première grande exposition d'art en 1984. Depuis lors, l'artiste a participé à 139 expositions à travers le monde. Ses peintures font partie de nombreuses collections en Europe, aux États-Unis, au Moyen-Orient, au Liban, en Arabie saoudite, en Arménie, aux Émirats arabes unis, au Canada et en République de Chine ; à savoir la famille royale saoudienne et d'éminentes personnalités politiques libanaises. Ses œuvres sont exposées dans tout le Liban, à la Dalloul Art Foundation DAF, au siège de la banque Audi, au musée du catholicossat arménien de Cilicie, à l'université Haigazian, au musée Sursock, au musée de Bzommar, au siège de la Banque du Liban et à la Banque du siège social de Sharjah.'Pour moi, la peinture est un testament visuel de l'esprit, du corps et de l'âme. La distorsion et l'exagération déclenchent une recherche continue dans une semi-abstraction inconnue'- Missak TerzianMissake Terzian was born in Beirut in 1949 to Armenian Genocide survivors. Terzian studied at Ecole d'Art Guvder in 1968 and graduated from London College of Printing in 1971. With an innate and primal impulse to create, figurative artist Missak Terzian is in timeless search for existentialism and is eager to record time and occurrences. Terzian held his first major art exhibition in 1984. Since then, the artist has participated in 139 exhibitions worldwide. His paintings are part of many collections in Europe, United States, the Middle East, Lebanon, Saudi Arabia, Armenia, the United Arab Emirates, Canada and the Republic of China; namely the Saudi Royal family and prominent Lebanese political personalities. His works are on permanent display throughout Lebanon, at the Dalloul Art Foundation DAF, the bank Audi head office, the Armenian catholicossate of Cilicia museum, Haigazian university, the Sursock museum, the museum of Bzommar, the Banque du Liban head office and the Bank of Sharjah head office.'For me, painting is a visual testament of the mind, body and spirit. Distortion and exaggeration triggers a continuous search into an unknown semi-abstraction '-Missak TerzianClick for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Hiba Kalache (Liban, née en 1972)Even if a moment later, everything would be altered technique mixte sur toilesigné, daté et titré au dosexécuté en 2020190 x 175cm (74 13/16 x 68 7/8in).mixed media on canvassigned, dated and titledFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeDepuis la destruction de sa Beyrouth natale provoquée par l'indigence politique, Hiba Kalache, née à Beyrouth en 1972, s'est temporairement réfugiée à San Francisco. Nourrie de littérature, l'artiste 'manifeste' avec des dessins, des peintures et des sculptures complexes dans une œuvre très biographique : « Je fais de l'art une réponse à mon environnement immédiat, comme une envie et une tentative de naviguer dans ses couches et ses complexités ». Brassant mémoire collective et histoire personnelle, décortiquant l'imbrication des traumatismes d'une société déracinée et ses conflits intérieurs, Hiba Kalache sollicite le spectateur de regarder au-delà des éclaboussures colorées et sophistiquées sur papiers ou toiles (parfois sans cadre et non tendus), pour scruter le chaos dévorant qui ronge leurs surfaces.'Comment pouvons-nous vaincre, comment pouvons-nous résister, comment continuer à créer en tant qu'artistes et témoins nus d'un présent horrible, comment raconter l'inconnu à plusieurs niveaux, comment survivre, littéralement ne pas étouffer et mourir (moralement, émotionnellement) sous un pouvoir abusif qui nous extermine lentement, quotidiennement », poursuit-elle dans son dialogue avec Singular's. Contre-point à ce désespoir, celle qui revendique aussi ne pas vouloir « se compliquer la vie », sait aussi capter « la banalité des rituels quotidiens'-Hiba Kalache, I Love You Because...'La plupart de mes titres, depuis début 2018, sont principalement des extraits (ou des fragments de phrases) de lectures que je fais à un moment précis – des romans qui m'intriguent généralement et qui évoquent des relations spécifiques et étroites avec mes intérêts, mes préoccupations et mes enquêtes. Pour la série 'Lemonade, everything was so infinite' (Limonade, tout était si infini), je me suis concentrée sur Agua Viva, de Clarice Lispector. Le livre s'est infiltré à travers mon processus artistique et il reflétait ou réverbérait directement ma propre pensée et mon processus technique, en particulier l'abstraction, la fragmentation du style d'écriture et du contenu conceptuel du livre.'-Hiba Kalache, It All Seemed To Be Piling Up Effortlessly, Until..., 200Born in Beirut, Hiba Kalache is an interdisciplinary artist whose practice spans installation, drawing, painting, and sculpture. Kalache draws on her daily life for her materials and process. She has used extra-artistic materials in her work, including food material, such as butter; dough; spices; rice; cake icing, as well as stockings, glass, metal wire, and drying machine lint. Kalache interrogates the separation between the private and public spheres, and more specifically, what she calls, 'the banality of daily rituals', as well as one's definition of 'home' and social belonging. Her recent interests include the relationship between texts and images, and the possibility of intermedial translation, as well as allegories of redemption and propositions of futurity in an era of perpetual presentism.In 2005, Kalache received a Masters of Fine Arts from California College of the Arts (CCA) in San Francisco. She has since exhibited in Beirut, Berlin, Brussels, Istanbul, New Orleans, Oakland, San Jose (USA), San Francisco, and Tehran. Her work has also been shown at art fairs including Art Dubai, Drawing Now (Paris), and Gwangju Art (South Korea). Recent group exhibitions include Mimesis Expression Construction (2016) curated by Octavian Esanu at the American University of Beirut's Rose and Shaheen Saleeby Museum, Heartland (2015) curated by Joanna Chevalier at the Beirut Exhibition Center, and Under Construction, Exposure (2014) curated by Marie Muracciole at the Beirut Art Center. In 2012, she had solo shows in Beirut with The Running Horse Contemporary Art Space, and the FFA Private Bank. In 2017, she taught fine arts at the Lebanese American University.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Ribal Molaeb (Liban, né en 1992)Mount Lebanon huile sur toilesigné, daté et titré en arabe (en bas à gauche et au dos)exécuté en 2021160 x 200cm (63 x 78 3/4in).Footnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeNé en 1992 à Baissour, au Liban, Ribal Molaeb déménage en Autriche à l'âge de 17 ans pour étudier à l'Université Mozarteum de Salzbourg. Il s'installe ensuite à Vienne pour étudier à l'Université de musique et des arts du spectacle, où il obtient sa maîtrise en arts avec distinction. Molaeb est nommé directeur artistique de l'Association d'art et de musique « SUMITO » en Suisse. Il est le président du « Molaeb Art Museum » et le fondateur du « Molaeb Festival for Chamber Music and Fine Arts ».Ribal Molaeb a été personnellement formé par son père, Jamil Molaeb, dès son plus jeune âge. Il s'inspire de nombreux expressionnistes abstraits libanais du XXe siècle, comme Saliba Douaihy, Aref el Rayes et Shafic Abboud. Après avoir déménagé en Suisse, il est influencé par les œuvres de Paul Klee, qui était lui-même un violoniste accompli. L'éducation musicale de Ribal Molaeb à Vienne a influencé ses peintures. Ses oeuvres présentent une orientation musicale claire dans leurs aspects compositionnels, harmoniques et mélodiques.Ses toiles sont autant de distributions délicates et énergiques de couleurs et de formes. La compréhension de Molaeb de l'harmonie dans la musique classique a contribué à sa vision de la peinture abstraite et des compositions. Il peint afin de créer un monde personnellement satisfaisant, proprement conçu et délicatement harmonisé.Born in Baissour, Lebanon, in 1992, Ribal Molaeb moved to Austria at the age of 17, to study at the Mozarteum University Salzburg. He later moved to Vienna to study at the University for Music and Performing Arts, where he received his Master's degree in Arts with distinction. Molaeb was assigned as the artistic director of 'SUMITO'' Art and Music Association in Switzerland. He is the president of the 'Molaeb Art Museum' and the founder of 'Molaeb Festival for Chamber Music and Fine Arts'.Ribal Molaeb was personally trained by his father, Jamil Molaeb, starting at a very young age. He is inspired by many Lebanese 20th century abstract expressionists, like Saliba Douaihy, Aref el Rayes and Shafic Abboud. After moving to Switzerland he was influenced by the works of Paul Klee, who was an accomplished violinist himself. Ribal Molaeb's musical education in Vienna swayed his paintings. There is a musical orientation in the compositional, harmonic and melodic aspects of his works; He interrogates color power and harmony creating energetic paintings. His images have aspects of delicate distribution of colors and shapes. Molaeb's understanding of harmony in classical music contributed to his vision of abstract painting and compositions. He paints in order to create a personally satisfying world, cleanly designed, and delicately harmonized.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com