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Untitled (paste up) (2009)Not signedBlack, watercolored serigraph on light wallpaperTotal sheet size: 73 x 50 cm (Framed and behind glass)NOTEMade for the LA Art Show, 2009 editionPROVENANCEFrom a private Dutch collector(Please refer to department for Condition report. You can find the biography of this artist in our digital catalogue for this sale)

Untitled (paste up) (2009)Black, watercolored serigraph on light wallpaperTotal sheet size: 73 x 50 cm (Framed and behind glass)NOTEMade for the LA Art Show, 2009 editionPROVENANCEFrom a private Dutch collector(Please refer to department for Condition report. You can find the biography of this artist in our digital catalogue for this sale)

Oiseaux (Birds) circa 1970Signed ‘chazal’ lower rightGouache on paper Size: 57 x 73 cmNOTEThis painting is registered at the South African Art Archives(Please refer to department for Condition report. You can find the biography of this artist in our digital catalogue for this sale)

‘Elephant lily’(from ‘Surrealistic Flowers’, 1972)No. 153 from a limited edition of 350Signed with pencilDrypoint etchingTotal sheet size: 33 x 25 cm (Unframed)NOTEThe final edition was published in 350 copies and 25 artists’ proofs.PROVENANCEWith certificate Maria Luisa Thomas ‘TOT ART’, 1985REFERENCES‘The official catalogue of the graphic works of Salvador Dalí by Albert Field ‘Catalogue raisonné of Etchings and mixed media prints 1924-1980" of Michler-Löpsinger 537-551 page 204.(Please refer to department for Condition report. You can find the biography of this artist in our digital catalogue for this sale)

‘Gangsta Rat’ (Seel St / Liverpool Bienniale 2004)Stencil and Spray paint on PlywoodSize: 49.8 x 49.8 cm Framed in a bespoke box and behind glass (19.6 x 19.6 inches) Framed 60cm x 60cm(Unique)PROVENANCEExecuted on an abandoned building on Seel St and timed to coincide with the 2004 Liverpool Biennale, this piece was produced at the same time as a number of other public works, all of which were located within a short walk of each other, on the border of Chinatown, and in between the neighbourhoods of Knowledge Quarter and Baltic Triangle. It has been in the same private ownership since it was salvaged in 2004.NOTERats are iconic in Banksy street art prints, because they are emblematic of street art itself. Banksy rats reference the so-called father of stencil graffiti,” Blek Le Rat. This French stencil artist, who made his name in the 1980s, was similarly fond of rats as subjects because of their massive, if negatively perceived, impact on populations.Banksy’s Gangsta Rat is shown sitting down next to a large, portable “boom-box” stereo. He is wearing a working-class New York City uniform of a heavy chain medallion necklace and a NY Mets baseball cap. His expression is one of surprise — as if he is equally as startled by the viewer’s expression as we are of his own.The market is relatively small for street pieces as not many have survived, even though they are by far the most important. This stencil is featured in Banksy’s self-published book ‘Cut it Out’. Rats are one of Banksy’s most prolific subjects, and Gangsta Rat is a truly iconic Banksy artwork. The screen print first appeared in 2004 in the red colorway with a limited edition of 350 signed and unsigned pieces, and was re-released in 2005 in an edition of 500. Banksy also created rare colorways of Gangsta Rat (Pink) in an edition of 64 and Gangsta Rat (Green) in an edition of 20 in 2004, and released a special VIP collector set at Dismaland in 2015. Banksy has reproduced Gangsta Rat as graffiti art in the streets and on canvas, and urban art lovers all over the world have imprinted the image on coffee mugs, t-shirts, posters, and their bodies.(Please refer to department for Condition report. You can find the biography of this artist in our digital catalogue for this sale)

‘Surrealistic Flowers’ (1972)No. 279 from a limited edition of 350Signed with pencilDrypoint etchingTotal sheet size: 33 x 25 cm (Unframed)NOTEThe final edition was published in 350 copies and 25 artists proofs.PROVENANCEWith certificate Maria Luisa Thomas ‘TOT ART’, 1986REFERENCES‘The official catalogue of the graphic works of Salvador Dalí by Albert Field ‘Catalogue raisonné of Etchings and mixed media prints 1924-1980" of Michler-Löpsinger 537-551 page 204.(Please refer to department for Condition report. You can find the biography of this artist in our digital catalogue for this sale)

‘Rosa, FlorDalí (from ‘Surrealistic Flowers’ 1972)No. 153 from a limited edition of 350Signed with pencilDrypoint etchingTotal sheet size: 33 x 25 cm (Unframed)NOTEThe final edition was published in 350 copies and 25 artists proofs.PROVENANCEWith certificate Maria Luisa Thomas ‘TOT ART’, 1986REFERENCES‘The official catalogue of the graphic works of Salvador Dalí by Albert Field ‘Catalogue raisonné of Etchings and mixed media prints 1924-1980" of Michler-Löpsinger 537-551 page 204.(Please refer to department for Condition report. You can find the biography of this artist in our digital catalogue for this sale)

‘Surrealistic Flowers’ (1972)No. 156 from a limited edition of 350Signed with pencilDrypoint etchingTotal sheet size: 33 x 25 cm (Unframed)NOTEThe final edition was published in 350 copies and 25 artists proofs.PROVENANCEWith certificate Maria Luisa Thomas ‘TOT ART’, 1986REFERENCES‘The official catalogue of the graphic works of Salvador Dalí by Albert Field ‘Catalogue raisonné of Etchings and mixed media prints 1924-1980" of Michler-Löpsinger 537-551 page 204.(Please refer to department for Condition report. You can find the biography of this artist in our digital catalogue for this sale)

‘Surrealistic Flowers’ (1972)No. 153 from a limited edition of 350Signed with pencilDrypoint etchingTotal sheet size: 33 x 25 cm (Unframed)NOTEThe final edition was published in 350 copies and 25 artists proofs.PROVENANCEWith certificate Maria Luisa Thomas ‘TOT ART’, 1985REFERENCES‘The official catalogue of the graphic works of Salvador Dalí by Albert Field ‘Catalogue raisonné of Etchings and mixed media prints 1924-1980" of Michler-Löpsinger 537-551 page 204.(Please refer to department for Condition report. You can find the biography of this artist in our digital catalogue for this sale)

‘Surrealistic Flowers’ (1972)No. 153 from a limited edition of 350Signed with pencilDrypoint etchingTotal sheet size: 33 x 25 cm (Unframed)NOTEThe final edition was published in 350 copies and 25 artists proofs.PROVENANCEWith certificate Maria Luisa Thomas ‘TOT ART’, 1986REFERENCES‘The official catalogue of the graphic works of Salvador Dalí by Albert Field ‘Catalogue raisonné of Etchings and mixed media prints 1924-1980" of Michler-Löpsinger 537-551 page 204.(Please refer to department for Condition report. You can find the biography of this artist in our digital catalogue for this sale)

‘Surrealistic Flowers (1972)No. 153 from a limited edition of 350Signed with pencilDrypoint etchingTotal sheet size: 33 x 25 cm (Unframed)NOTEThe final edition was published in 350 copies and 25 artists proofs.PROVENANCEWith certificate Maria Luisa Thomas ‘TOT ART’, 1986REFERENCES‘The official catalogue of the graphic works of Salvador Dalí by Albert Field ‘Catalogue raisonné of Etchings and mixed media prints 1924-1980" of Michler-Löpsinger 537-551 page 204.(Please refer to department for Condition report. You can find the biography of this artist in our digital catalogue for this sale)

‘Surrealistic Flowers’ (1972)No. 153 from a limited edition of 350Signed with pencilDrypoint etchingTotal sheet size: 33 x 25 cm (Unframed)NOTEThe final edition was published in 350 copies and 25 artists proofs.PROVENANCEWith certificate Maria Luisa Thomas ‘TOT ART’, 1986REFERENCES‘The official catalogue of the graphic works of Salvador Dalí by Albert Field ‘Catalogue raisonné of Etchings and mixed media prints 1924-1980" of Michler-Löpsinger 537-551 page 204.(Please refer to department for Condition report. You can find the biography of this artist in our digital catalogue for this sale)

‘Surrealistic Flowers’ (1972)No. 153 from a limited edition of 350Signed with pencilDrypoint etchingTotal sheet size: 33 x 25 cm (Unframed)NOTEThe final edition was published in 350 copies and 25 artists proofs.PROVENANCEWith certificate Maria Luisa Thomas ‘TOT ART’, 1985REFERENCES‘The official catalogue of the graphic works of Salvador Dalí by Albert Field ‘Catalogue raisonné of Etchings and mixed media prints 1924-1980" of Michler-Löpsinger 537-551 page 204.(Please refer to department for Condition report. You can find the biography of this artist in our digital catalogue for this sale)

‘Surrealistic Flowers’ (1972)No. 153 from a limited edition of 350Signed with pencilDrypoint etchingTotal sheet size: 33 x 25 cm (Unframed)NOTEThe final edition was published in 350 copies and 25 artists proofs.PROVENANCEWith certificate Maria Luisa Thomas ‘TOT ART’, 1985REFERENCES‘The official catalogue of the graphic works of Salvador Dalí by Albert Field ‘Catalogue raisonné of Etchings and mixed media prints 1924-1980" of Michler-Löpsinger 537-551 page 204.(Please refer to department for Condition report. You can find the biography of this artist in our digital catalogue for this sale)

Anémones per anti pasti aux Fourchettes’ from Surrealistic Flowers (1972)No. 142 from a limited edition of 350Signed with pencilDrypoint etchingTotal sheet size: 33 x 25 cm (Unframed)PROVENANCEWith certificate Maria Luisa Thomas ‘TOT ART’, 1984NOTEThe final edition was published in 350 copies and 25 artists’ proofs.REFERENCES‘The official catalogue of the graphic works of Salvador Dalí by Albert Field ‘Catalogue raisonné of Etchings and mixed media prints 1924-1980" of Michler-Löpsinger 537-551 page 204.(Please refer to department for Condition report. You can find the biography of this artist in our digital catalogue for this sale)

‘CREAM’ (2004)Acrylic on Canvas152cm x 178cmSTRETCHED BUT NOT FRAMEDNote:London based artist Tommy Penton is best known for his strong fluid line work, where vibrant, graphic scenes eschew reality, by playfully manipulating the perspective. Working in pencil, pen, acrylic & enamel paint, Tommy’s projects are wide and have included his graphic novel Tate to Tate, published by Random House, which depicts ‘An illustrated walk along London’s Southbank’. Past work includes album covers, posters & international advertising campaigns within the music industry for artists Babyshambles, Röyksopp, Mercury Rev, New Order & Underworld amongst others.He has collaborated with fashion group Orlebar Brown designing four cityscapes for the OB Limited Edition. This included live art work in Paris and for London Fashion Week. Tommy was short-listed for Crossrail’s ‘Artist -in-Residence’ scheme and took part in the group show Tunnel Visions.(Please refer to department for Condition report. You can find the biography of this artist in our digital catalogue for this sale)

‘LIGHTER’ (2004)Acrylic on Canvas152cm x 178cmSTRETCHED BUT NOT FRAMEDNote:London based artist Tommy Penton is best known for his strong fluid line work, where vibrant, graphic scenes eschew reality, by playfully manipulating the perspective. Working in pencil, pen, acrylic & enamel paint, Tommy’s projects are wide and have included his graphic novel Tate to Tate, published by Random House, which depicts ‘An illustrated walk along London’s Southbank’. Past work includes album covers, posters & international advertising campaigns within the music industry for artists Babyshambles, Röyksopp, Mercury Rev, New Order & Underworld amongst others.He has collaborated with fashion group Orlebar Brown designing four cityscapes for the OB Limited Edition. This included live art work in Paris and for London Fashion Week. Tommy was short-listed for Crossrail’s ‘Artist -in-Residence’ scheme and took part in the group show Tunnel Visions.(Please refer to department for Condition report. You can find the biography of this artist in our digital catalogue for this sale)

Never Liked The Beatles’ (Seel St / Liverpool Bienniale 2004)Stencil and Spray paint on PlywoodSize: 50 x 120 cm Framed in a bespoke acrylic box frame(48 x 20 x 4 inches)(Unique) PROVENANCEExecuted on a building attached to the Community College Catering School on Seel St, and timed to coincide with the 2004 Liverpool Biennale. The building on which this work appeared, was demolished shortly afterwards and the work was later salvaged by a local graffiti artist, who sold it to its current owner. The work was produced at the same time as a number of other public works, all of which were located within a short walk of each other, on the border of Chinatown, and in between the neighbourhoods of Knowledge Quarter and Baltic Triangle.SEEArticle in The Sun, ‘Money In The Banksy’ 23 Sep 2017, about stripping of Banksy’s Street Art from the walls in Liverpool (with image of the above painting)(Please refer to department for Condition report. You can find the biography of this artist in our digital catalogue for this sale)

‘Beggars Banquet’ (1990)Screenprint on Somerset Velvet 280 gms PaperTotal sheet size: 60.5 x 80 cm (Framed and behind glass)(The print comes with a letter of authenticity by Jamie Wood)PROVENANCE- Private collection Ronnie Wood, London- Jamie Wood’s private art collection, acquired directly from his father Ronnie Wood NOTEThis screenprint is one of the few test plates that have served the printing of the final edition before signing and numbering. Highly sought after, limited edition print by Ronnie Wood based on the photographs taken by Michael Joseph for the inner sleeve of the 1968 Beggars Banquet Rolling Stones album. Featuring a gathering of past and present(Please refer to department for Condition report. You can find the biography of this artist in our digital catalogue for this sale)

Richard Wilson (British, 1714-1782) Tower and Bastion by the Sea, oil on canvas, 16cm x 19cm, with ''M. Ford'' collection seal verso Provenance: Benjamin Booth; Rev R.S. Booth; Marianne Booth, Lady Ford; Richard Ford; Sir Francis Clare Ford; Captain Richard Ford; Mrs Richard Ford; thence by descent; Mallams Cheltenham, 21 January 2021 (116a). Exhibitions: Grosvenor Gallery, London, 1888 (197); Fine Art Galleries, Brighton 1920, A Collection of Oil Paintings and Sketches by Richard Wilson, R.A. lent by Captain Richard Ford (30). Bibliography: W.G. Constable, Richard Wilson, 1953, p. 227, pl. 120a; P. Spencer-Longhurst with K. Lowry and D. Solkin, Richard Wilson Online: A Digital Catalogue Raisonné (London: Paul Mellon Centre for Studies in British Art, 2014) With thanks to P. Spencer-Longhurst with K. Lowry and D. Solkin, Richard Wilson Online : A Digital Catalogue Raisonné, Paul Mellon Centre for Studies in British Art (www.richardwilsononline.ac.uk)

Richard Wilson (British, 1714-1782) Entrance to a Town, oil on canvas, with ''M. Ford'' collection seal verso Provenance: Benjamin Booth; Rev R.S. Booth; Marianne Booth, Lady Ford; Richard Ford; Sir Francis Clare Ford; Captain Richard Ford; Mrs Richard Ford; thence by descent; Mallams Cheltenham, 21 January 2021 (116b) Exhibitions: Grosvenor Gallery, London, 1888 (197); Fine Art Galleries, Brighton 1920, A Collection of Oil Paintings and Sketches by Richard Wilson, R.A. lent by Captain Richard Ford (30) Bibliography: W.G. Constable, Richard Wilson, 1953, p. 227, pl. 120a; P. Spencer-Longhurst with K. Lowry and D. Solkin, Richard Wilson Online: A Digital Catalogue Raisonné (London: Paul Mellon Centre for Studies in British Art, 2014) With thanks to P. Spencer-Longhurst with K. Lowry and D. Solkin, Richard Wilson Online : A Digital Catalogue Raisonné, Paul Mellon Centre for Studies in British Art (www.richardwilsononline.ac.uk)

Richard Wilson (British, 1714-1782) Ponte Vigo at Chioggia, pencil drawing, 15cm x 20cm Provenance: William Lock (1732-1810); his sale, Sotheby's 3 May 1821; Marianne Booth, Lady Ford [?]; thence by descent; Mallams Cheltenham, 21 January 2021 (118) Exhibitions: Tate Gallery Richard Wilson Exhibition 3/11/82 - 2/1/83 no.16 William Lock 'of Norbury' was a well-known amateur, connoisseur and collector of works of art. In 1749 he set out on the Grand Tour and in Venice he met Richard Wilson. Wilson travelled with him in his carriage from Venice to Rome late in 1751 and Lock kept many of the drawings that Wilson made on the spot along the way. The town of Chioggia is situated on a small island at the southern entrance to the Lagoon of Venice, about 25 kilometres (16 miles) south of the city. It was the first major stopping-point on Wilson's journey from Venice to Rome With thanks to P. Spencer-Longhurst with K. Lowry and D. Solkin, Richard Wilson Online : A Digital Catalogue Raisonné, Paul Mellon Centre for Studies in British Art (www.richardwilsononline.ac.uk)

λ JOHN SWANNELL (BRITISH B. 1946)LADY WITH BLACK BALLOONS (AYNHOE PARK)Colour photographSigned in black ink and inscribed A/PSheet 60 x 50cm (23½ x 19½ in.)Inc. frame 83 x 73cm (32 3/4 x 28 3/4in.)John Swannell is one of the most important names in British photography. Over the last four decades he has created iconic images of fashion models, celebrities, actors, musicians, politicians and royalty. After beginning his career at Vogue Studios, Swannell went on to work as an assistant to David Bailey for four years before setting up on his own. Over the next ten years his work appeared regularly in publications such as Vogue, Tatler, Harpers & Queen and The Sunday Times. His distinctive style coupled with unrelenting hard work garnered him international recognition and further success followed in the form of a one-man show at the Royal Academy in Edinburgh in 1989 and, in 1990, with an exhibition at the National Portrait Gallery in Edinburgh and a retrospective of his fashion work at the Royal Photographic Society. In 1993, he was awarded the Fellowship of the Royal Photographic Society, at the time, one of the youngest members to have received this accolade.Swannell has since gone on to have numerous further exhibitions as well as publishing a number of books. His work is held in the permanent collections of some of the most important galleries in the work including The National Portrait Gallery, London, The National Portrait Gallery, Edinburgh and The Museum of Modern Art, New York. Condition Report: It is unexamined out of its frame. There are no visible signs of damage or restoration. Regarding the print of the girl with the black Balloon It's a digital print Photographed about 6 years agoPrinted the same year  Condition Report Disclaimer

A fine and rare late 17th century ebony quarter repeating table clock with alarmJoseph Knibb, LondonThe shallow caddy top with tied bud handle over foliate mounts to the front and sides, framed by four squat urn finials, the front door with pierced sound fret and two applied escutcheon mounts (the left hand pinned to allow access to the keyhole), with a pair or rectangular glazed side panels, on a plinth base, the 6.25inch square dial signed along the lower edge Joseph Knibb, London, with two slots flanking the XII 'N-S' and 'R-N' (Not strike- Strike and Ring - Not ring), the winged cherubs head spandrels framing the silvered chapter ring with outer minute track (marked in Arabic 5s), Roman hours with fleur-de-lyse half-hour markers and an inner quarter hour track, the centre finely matted and carrying the silvered Arabic alarm-setting dial, with finely fettled blued steel hands (the hour restored, but retaining the original hexagonal centre), the twin gut fusee movement united by six baluster shaped pillars, all latched to the frontplate, the going train terminating in a knife edge verge escapement, the strike train with rack system acting on a single bell above (the alarm sounding on the same bell), probably with a quarter repeat originally taken from the strike train (part of train and bell lacking, but with original pivotted hammer intact), the backplate with single line border framing a symmetrical design of four pairs of flowers (tulips, anenomes and irises), the lowermost pair of irises on cut stalks below the curved copperplate signature Joseph Knibb Londini fecit. 34cms (13ins) highFootnotes:Literature: Illustrated and described in R.A.Lee; The Knibb Family Clockmakers, The Manor House Press, 1964, Plate 81 and page 181 'Joseph Knibb, London. Table clock with ebony veneered case with repousse gilt metal mounts on the caddy top. The lifting handle, finials and escutcheons are of a design which now becomes standard. The eight day striking movement is fitted with alarm mechanism with setting dial under the hands. Stopwork for striking and alarm above chapter ring. Circa 1680-82. In the possession of Mrs Oakes.'For a similar repeat system operated from the strike train, see Dawson, Drover & Parkes, Early English Clocks, Antiques Collectors Club, 1982, pp392. Illustrated is an example by Edward Burgis, but others are known by Richard Colston, William Herbert and Fromanteel, see plates 557 to 563.See Sunny Dzik, Engraving on English Table Clocks, 'Art on a Canvas of Brass, 1660-1800' 2019, figure 8.6 for a related cut-stalk backplate with curving signature on a Joseph Knibb table clock. Other Knibb cut stalk patterns can be seen in plates 8.7 and 8.8, and in the digital library.For further information on this lot please visit Bonhams.com

Pierre-Auguste Renoir 1841 Limoges - 1919 Cagnes-sur-Mer Portrait de femme. Um 1885. Pastell. Rechts unten signiert. Auf Bütten. 48,4 x 41 cm (19 x 16,1 in), blattgroß. • Bezaubernde, in lockerer Handschrift eingefangene Studie der eleganten Pariserin des fin-de-siècle • Renoir nutzt besonders ab den 1880er Jahren die modisch dekorierten Hütchen der Damen zur farbenfrohen, duftigen Einrahmung des Gesichts • In den puppenhaft-zarten Gesichtszügen der Modelle Renoirs verschmelzen individuelle Charaktere zu einem stilisierten, vom Künstler geschaffenen Ausdruck idealer weiblicher Schönheit • Bedeutende Provenienz mit dem Vorbesitzer Hans Bethge, Lyriker und Freund zahlreicher Künstler um die Jahrhundertwende. Mit einer schriftlichen Bestätigung des Wildenstein Institutes, Paris, vom 12. Oktober 2001. Eine Vorlage des Originals zur Aufnahme in das digitale Werkverzeichnis kann vorgenommen werden. PROVENIENZ: Sammlung Dr. Hans Bethge, Berlin. Privatsammlung Süddeutschland. Ketterer Kunst, München, Auktion 5.12.2003, Los 35. Privatsammlung Hessen (bei vorgenannter Auktion erworben). 'De même que Watteau avait pour ainsi dire créé la grâce de la femme au dix-huitième siècle, de même Renoir a crée la grâce de la femme au dix-neuvième.' Octave Mirbeau, Notes sur l‘art: Renoir, in: La France, 8. Dezember 1884, S. 2. Auguste Renoir ist für zahlreiche Kunstkritiker am Ende des 19. Jahrhunderts der Impressionist, der die leichte Eleganz der Pariserin in ihrer Anmut, Sanftheit, Verführung und Koketterie am treffendsten einzufangen versteht. Für den einflussreichen Kunstkritiker Octave Mirbeau ist es gar ein Rätsel, warum nicht alle Frauen ihr Portrait von diesem Künstler anfertigen lassen, dessen poetische und sensible Handschrift dem weiblichen Wesen so sehr gerecht wird: „Er ist wahrhaftig der Maler der Frau, anmutig und bewegt, wissend und einfach, immer elegant, mit exquisiter Sensibilität des Auges, liebkosender Hand wie ein zarter Kuss, tiefsinnigem Einblick wie jener von Stendhal. Er malt nicht nur auf delikate Weise die plastischen Formen des Körpers, die zarte Modellierung, die frischen Töne der jugendlicher Haut, sondern auch die Form der Seele, und was an der Frau an innerem Klang und fesselndem Mysterium hervorströmt. Seine Figuren sind, anders als die der meisten modernen Maler, nicht in der Farbe erstarrt; sie singen, beseelt und lebendig, die ganze Palette heller Töne, alle Melodien der Farbe, alle Vibrationen des Lichts.“ (Octave Mirbeau, Notes sur l‘art: Renoir, in: La France, 8. Dezember 1884, S. 2). Vor allem das Pastell wird gegen Ende des 19. Jahrhunderts in seiner Zartheit und Fragilität zu dem Material der Darstellung der Frau. In den unzähligen mittlerweile vorhandenen Nuancen eignet es sich bestens dazu, die leuchtende Transparenz des modisch blassen Teints zu zeigen, gegen den die farbenfrohen, in zahlreichen Raffungen und Rüschen sich bauschenden Toiletten und die blumengeschmückten Hütchen kontrastieren, mit denen sich die Damen nach der neuesten Mode einkleiden. So ist Renoir auch ein Chronist der sich unablässig wandelnden Mode als Inbegriff der modernen Flüchtigkeit und Schnelligkeit. Sein Atelier ist angefüllt mit einem ganzen Sammelsurium weiblicher Requisiten: „Bei Renoir stehen zahlreiche Damenhüte, einige besondere Stoffe, Halsbänder aus Seidentaft für seine Modelle bereit, beflaggen sie in Blau, Gelb und Rot, arrangieren sich hier und da, auf hübschen Köpfchen oder auf dem Diwan, wie lauter kleine wertvolle Körbchen, in zartem Farbenreichtum..“ (Gustave Coquiot, Auguste Renoir, Paris 1925, S. 89). Die Hütchen, die für die weibliche Toilette außerhalb des Hauses unverzichtbarer Bestandteil ist, werden zum Motiv der Maler, genauso wie die zahlreichen jungen Frauen, die in den Ausstattungsgeschäften als Modistin ihr Auskommen verdienen. Renoir hält sie bereits 1877 in einem Pastell fest (Metropolitan Museum of Art, New York), berühmt für seine Pastelle der Modistinnen und bunten Hüte wird allerdings sein Zeitgenosse Edgar Degas in den 1880er Jahren. Als Blütezeit für die Portraitkunst im Pastell gilt das 18. Jahrhundert, das für Renoir am Anfang seines Schaffens wesentliche Inspiration bereithält. Im Louvre kopiert er als eines seiner ersten Gemälde Antoine Watteaus „Einschiffung nach Kythera“ und hegt große Bewunderung für die unbeschwerten, vergnüglichen Szenen in hellem, pastellfarbigen Kolorit und zarter Eleganz dieser Zeit. Für seine eigenen, dem 19. Jahrhundert entstammenden Motive der gesellschaftlichen Unterhaltung wie den berühmten „Bal im Moulin de la Galette“, 1876 und „Frühstück der Ruderer“ 1880 stehen ihm befreundete Künstlerinnen wie Suzanne Valadon oder Modelle wie seine zukünftige Frau Aline Charigot Modell, es entstehen im Laufe der Zeit aber auch etliche Studien und Portraits unbekannter Pariserinnen. Die Züge der von ihm gezeichneten Frauen gleichen sich bereits seit den 1880er Jahren immer mehr einem von ihm bevorzugten Typus an, dem eine kindlich-gerundete Gesichtsform und ein leicht abwesender Blick zueigen sind. Das Interesse Renoirs liegt dabei kaum auf genauer Ähnlichkeit sondern vielmehr auf dem malerischen Ausdruck, in dem die Leuchtkraft der Farbe und die Harmonie der Formen an Bedeutung überwiegt. [KT] Aufrufzeit: 12.12.2020 - ca. 16.18 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONPierre-Auguste Renoir 1841 Limoges - 1919 Cagnes-sur-Mer Portrait de femme. Um 1885. Pastel. Signed in lower right. On laid paper. 48.4 x 41 cm (19 x 16.1 in), the full sheet. • Charming study in easy manner of an elegant Parisian fin-de-siècle lady • As of the 1880s Renoir used fashionable hats to add a colorful and airy touch to the face of the depicted ladies • The doll-like facial features of Renoir's models show the individual character and also express the artist's ideal of female beauty • Notable provenance with Hans Bethge, poet and friend with many renowned artists around the turn of the century, as previous owner. Accompanied by a written confirmation from the Wildenstein Institutes, Paris, from October 12, 2001. The work can be presented for an inclusion into the digital catalog raisonné. PROVENANCE: Collection Dr. Hans Bethge, Berlin. Private collection Southern Germany. Ketterer Kunst, Munich, auction on December 5, 2003, lot 35. Private collection Hesse (acquired in aforementioned auction). 'De même que Watteau avait pour ainsi dire créé la grâce de la femme au dix-huitième siècle, de même Renoir a crée la grâce de la femme au dix-neuvième.' Octave Mirbeau, Notes sur l‘art: Renoir, in: La France, December 8, 1884, p. 2. Called up: December 12, 2020 - ca. 16.18 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Grayson Perry CBE RA (British, b.1960). 'Queen of Diamonds', limited edition digital print on Giclee Hahnemuhle Pearl paper. Signed and numbered A/P (artists proof). From an addition size of 2. Sheet size 61 x 42.5cm. Grayson Perry is an English contemporary artist. He is known for his ceramic vases, tapestries and cross-dressing, as well as his observations of the contemporary arts scene, and for dissecting British ""prejudices, fashions and foibles"".Perry's vases have classical forms and are decorated in bright colours, depicting subjects at odds with their attractive appearance. There is a strong autobiographical element in his work, in which images of Perry as ""Claire"", his female alter-ego, and ""Alan Measles"", his childhood teddy bear, often appear.Perry has had solo exhibitions at Stedelijk Museum Amsterdam, at the Barbican Centre, the British Museum and Serpentine Gallery in London, at The Andy Warhol Museum in Pittsburgh, and at the 21st Century Museum of Contemporary Art, Kanazawa, Japan. His work is held in the permanent collections of the British Council and Arts Council, Crafts Council, Stedelijk Museum Amsterdam, Tate and Victoria and Albert Museum, London.He was awarded the Turner Prize in 2003. In 2008 he was ranked number 32 in The Daily Telegraph's list of the "100 most powerful people in British culture". In 2012, Perry was among the British cultural icons selected by artist Peter Blake to appear in a new version of his most famous artworkthe Beatles' Sgt. Pepper's Lonely Hearts Club Band album coverto celebrate the British cultural figures of his life. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future. Please note that there is no buyers premium payable on this sale if bidding on Ewbank's Live, online fee of 6% inc VAT is payable bidding via the-saleroom.com. Added to the hammer price. Ewbank's are also waiving all vendor commission for the charity.

Grayson Perry CBE RA (British, b.1960). 'Queen of Diamonds', limited edition digital print on Giclee Hahnemuhle Pearl paper. Signed and numbered 1/2. From an addition size of 2. Sheet size 61 x 42.5cm."Grayson Perry is an English contemporary artist. He is known for his ceramic vases, tapestries and cross-dressing, as well as his observations of the contemporary arts scene, and for dissecting British ""prejudices, fashions and foibles"".Perry's vases have classical forms and are decorated in bright colours, depicting subjects at odds with their attractive appearance. There is a strong autobiographical element in his work, in which images of Perry as "Claire", his female alter-ego, and ""Alan Measles"", his childhood teddy bear, often appear.Perry has had solo exhibitions at Stedelijk Museum Amsterdam, at the Barbican Centre, the British Museum and Serpentine Gallery in London, at The Andy Warhol Museum in Pittsburgh, and at the 21st Century Museum of Contemporary Art, Kanazawa, Japan. His work is held in the permanent collections of the British Council and Arts Council, Crafts Council, Stedelijk Museum Amsterdam, Tate and Victoria and Albert Museum, London.He was awarded the Turner Prize in 2003. In 2008 he was ranked number 32 in The Daily Telegraph's list of the "100 most powerful people in British culture". In 2012, Perry was among the British cultural icons selected by artist Peter Blake to appear in a new version of his most famous artworkthe Beatles' Sgt. Pepper's Lonely Hearts Club Band album coverto celebrate the British cultural figures of his life.Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future. Please note that there is no buyers premium payable on this sale if bidding on Ewbank's Live, online fee of 6% inc VAT is payable bidding via the-saleroom.com. Added to the hammer price. Ewbank's are also waiving all vendor commission for the charity.

Katie Ponder (British). '5 of Clubs'. Digital print on paper, signed and dated November 2020 in pencil to margin. Sheet size 40 x 29.5cm. Katie Ponder has developed a unique style that is both fresh and contemporary but with references to art deco and with a touch of Gothic inspiration also. Ballet, tarot cards, mythology and patchwork quilts have all been key sources of inspiration behind Katie’s work.Katie’s work is developed digitally but to create a hand made quality she applies different textures from printing, collage and media experiments to create a rich and tactile look to her images. Recently Katie has enjoyed working with silkscreen printing and making limited edition prints.Katie attended Falmouth University where she received a 1st class with honours degree in illustration. On graduating from Falmouth Katie was the winner of the ‘AOI Book Award for New Talent’. In 2017 She was winner of the second prize for ‘Folio Society Book Illustration Competition’ and winner of the ‘House of Illustration People’s Choice Award’. Katie has also been the winner of the ‘Glyndebourne Tour Art Competition’. Currently living in South London with her cat Poppy. Katie can often be found at her desk making pictures, whilst drinking tea, eating vegan snacks and listening to Joni Mitchel. www.katieponderillustration.com. Katie’s list of clients include: Dorling Kindersley, Penguin, Simon and Schuster, Oh Comely Magazine, Glyndebourne, Canterbury Cathedral and her work has been exhibited at Somerset House.Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future. Please note that there is no buyers premium payable on this sale if bidding on Ewbank's Live, online fee of 6% inc VAT is payable bidding via the-saleroom.com. Added to the hammer price. Ewbank's are also waiving all vendor commission for the charity.

BUETTI, DANIELE BUETTI, DANIELE 1955 Freiburg/Üechtland Titel: Dreams result in more dreams. Datierung: 2004. Technik: Leuchtkasten mit Diafilm (Illford Clearfilm) sowie Kabel und Stecker auf Maße: 40 x 30cm. 6,5Bezeichnung: Signiert verso auf Editionsaufkleber: Buetti. Hier weitere Angaben zum Werk. Griffelkunst-Vereinigung Hamburg e.V. (Hrsg.)Zustand: Der Leuchtkasten ist voll funktionstüchtig. WVZ. Griffelkunst, Bd. III, Nr. E 392, Abb . Erläuterungen zum Katalog Daniele Buetti Schweiz Fotografie Videokunst Digitale Kunst Zeitgenössische Kunst Objekte 2000er Abstrakt Multiple Mischtechnik Taum BUETTI, DANIELE BUETTI, DANIELE 1956 Fribourg Title: Dreams result in more dreams. Date: 2004. Technique: Light box with filmstrip (Illford Clearfilm) as well as cable and plug on Measurement: 40 x 30cm. 6,5Notation: Signed verso on edition label: Buetti. Here further information on the work. Griffelkunst-Vereinigung Hamburg e.V. (publisher)Condition: The light box is fully functional. Cat. rais. Griffelkunst, vol. III, no. E 392, ill . Explanations to the Catalogue Daniele Buetti Switzerland Photographs Video Art Digital Art Contemporary Art Sculptures 2000s Abstract Multiple Mixed media

GOLDSWORTHY, ANDY GOLDSWORTHY, ANDY 1956 Cheshire/England Titel: River stones scratched white made in dried-up bed of Swindale Beck after a long hot summer over cast began to rain steadily just as I finished. Datierung: 1983. Technik: Vier C-Prints in Passepartout montiert. Darstellungsmaß: 71,5 x 111cmcm. Bezeichnung: Signiert und datiert (auf dem Passepartout). Rahmen: Künstlerrahmen. Zustand: Rahmen mit Gebrauchsspuren. Das Werk ist auf der offiziellen Internetseite im digitalen Werkverzeichnis unter der Nummer 1983-131 verzeichnet (www.goldsworthy.uk). Erläuterungen zum Katalog Andy Goldsworthy England Land Art Nachkriegskunst Fotografie 1980er Steine Fotografie Cibachrome GOLDSWORTHY, ANDY GOLDSWORTHY, ANDY 1956 Cheshire/England Title: River stones scratched white made in dried-up bed of Swindale Beck after a long hot summer over cast began to rain steadily just as I finished. Date: 1983. Technique: Four C-Prints mounted in mat. Depiction Size: 71,5 x 111cm. Notation: . Signed and dated (on the mat). Frame: Artist's frame. Conditon: Frame with traces of use. The work is listed on the official website in the digital catalogue raisonné under the number 1983-131 (www.goldsworthy.uk). Explanations to the Catalogue Andy Goldsworthy England Land Art Post-War Art Photographs 1980s Stones Photography Cibachrome

ZIMMERMANN, PETER ZIMMERMANN, PETER 1956 Freiburg i.Br. Titel: "Liquid". Datierung: 2001. Technik: Epoxidharz auf Leinwand. Maße: 200 x 150cm. Bezeichnung: Betitelt, signiert und datiert verso oben links: "Liquid" P. Zimmermann 2001. Provenienz: - Privatsammlung Nordrhein-Westfalen Das Oeuvre des 1956 geborenen Künstlers Peter Zimmermann ist äußerst vielfältig. Von 1978 bis 1983 studiert der Künstler an der Staatlichen Akademie der Bildenden Künste Stuttgart. Als Maler, Bildhauer und Objektkünstler zählt Zimmermann zu den Vertretern der Appropriation Art und der Medienkunst. Er beschäftigt sich in seinem Schaffen insbesondere mit dem Thema der Reproduktion und der Frage nach dem Verhältnis von Original und Kopie. Das großformatige Werk "Liquid" ist ein besonders beeindruckendes Beispiel für Zimmermanns Epoxidharz-Arbeiten. Bei diesen werden Fotografien oder Filmstills digital vergrößert und bearbeitet, sodass die ursprüngliche Abbildung schwerlich erkennbar ist. Die daraus entstehenden Motive werden mit Epoxidharz in mehreren Schichten auf die Leinwand appliziert. Die Transparenz dieser Schichten ist auch in dem farbintensiven Werk "Liquid" zu erkennen. Die glänzenden, amorphen Formen und visuellen Effekte regen uns hier zu unerschöpflichen Interpretationen an. Erläuterungen zum Katalog Peter Zimmermann Zeitgenössische Kunst Unikate 2000er Abstrakt Malerei Epoxidharz ZIMMERMANN, PETER ZIMMERMANN, PETER 1956 Freiburg i.Br. Title: "Liquid". Date: 2001. Technique: Epoxy resin on canvas. Measurement : 200 x 150cm. Notation: Titled, signed and dated verso upper left: "Liquid" P. Zimmermann 2001. Provenanace: - Private collection North Rhine-Westphalia. Explanations to the Catalogue Peter Zimmermann Contemporary Art 2000s Abstract Painting Epoxy resin

MENIEL, BERTRAND MENIEL, BERTRAND 1961 Boulogne Billancourt, Frankreich Titel: San Francisco, China Gem. Datierung: 2005. Technik: Acryl auf Leinwand. Maße: 83 x 134cm. Bezeichnung: Signiert und datiert unten rechts: MENIEL 2005. Rahmen/Sockel: Modellrahmen. Provenienz: - Louis K. Meisel Gallery, New York (Aufkleber) - Privatsammlung Deutschland Ausstellungen: - Louis K. Meisel Gallery, New York 2016 Literatur: - Ausst.-Kat. Bertrand Meniel: New Cityscape Paintings, Bernarducci.Meisel.Gallery, New York 2011, S. 52 & 53 - Meisel, Louis K.: Photorealism in the Digital Age, New York 2013, S. 203. Erläuterungen zum Katalog Bertrand Meniel Frankreich Fotorealismus Zeitgenössische Kunst Unikate 2000er MENIEL, BERTRAND MENIEL, BERTRAND 1961 Boulogne Billancourt, France Title: San Francisco, China Gem. Date: 2005. Technique: Acrylic on canvas. Measurement: 83 x 134cm. Notation: Signed and dated lower right: MENIEL 2005. Frame/Pedestal: Craftman's frame. Provenance: - Louis K. Meisel Gallery, New York (label) - Private collection Germany Exhibitions: - Louis K. Meisel Gallery, New York 2016 Literature: - Exhobition catalogue Bertrand Meniel: New Cityscape Paintings, Bernarducci.Meisel.Gallery, New York 2011, p. 52 & 53 - Meisel, Louis K.: Photorealism in the Digital Age, New York 2013, p. 203. Explanations to the Catalogue Bertrand Meniel Photorealism Contemporary Art 2000s

BLACKWELL, TOM BLACKWELL, TOM 1938 Chicago - 2020 Rhinebeck, NY/USA Titel: "Naples Custom Chopper". Datierung: 2009. Technik: Öl auf Leinwand. Maße: 15 x 23cm. Bezeichnung: Betitelt, datiert und signiert verso mittig: "NAPLES CUSTOM CHOPPER" 2009 Tom Blackwell. Rahmen/Sockel: Rahmen. Provenienz: - Bernarducci.Meisel.Gallery/Louis K. Meisel Gallery, New York (Aufkleber) - Privatsammlung USA Ausstellungen: - Louis K. Meisel Gallery, New York 2012 - MASS MoCA, North Adams/MA 2018 Literatur: - Chase, Linda/Meisel, Louis K./Ratcliff, Carter und Blackwell, Tom: Tom Blackwell: The Complete Paintings, 1970-2014, New York 2016, S. 166 - Meisel, Louis K.: Photorealism in the Digital Age, New York 2013, S. 203. Erläuterungen zum Katalog Tom Blackwell USA Abstrakter Expressionismus Hyperrealismus Figurative Malerei Nachkriegskunst Unikate 2000er Automobil Gemälde Öl BLACKWELL, TOM BLACKWELL, TOM 1938 Chicago - 2020 Rhinebeck, NY/USA Title: "Naples Custom Chopper". Date: 2009. Technique: Oil on canvas. Measurement: 15 x 23cm. Notation: Titled, dated and signed verso centre: "NAPLES CUSTOM CHOPPER" 2009 Tom Blackwell. Frame/Pedestal: Framed. Provenance: - Bernarducci.Meisel.Gallery/Louis K. Meisel Gallery, New York (label) - Private collection USA Exhibitions: - Louis K. Meisel Gallery, New York 2012 - MASS MoCA, North Adams/MA 2018 Literature: - Chase, Linda/Meisel, Louis K./Ratcliff, Carter und Blackwell, Tom: Tom Blackwell: The Complete Paintings, 1970-2014, New York 2016, p. 166 - Meisel, Louis K.: Photorealism in the Digital Age, New York 2013, p. 203. Explanations to the Catalogue Tom Blackwell USA Abstract Expressionism Hyperrealism Figurative Painting Post-War Art Contemporary Art 2000s Car Painting Oil

070 - - Veronika Hubert-Natter. Bridal Suit Swimmer. 2015. Pigmentdruck auf 225g sa¨urefreiem Galeriekarton. 3/45. 50x70 cm. Gerahmt, signiert, Passepartout, Aluminiumrahmen. After attending Cambridge School of Arts and Design, she graduated from Wimbledon School of Art with a degree in Fine Art, Print & Digital Media. Her photographs capture the intimate details in everyday situations around her, uncovering the fragile beauty of the ordinary. Currently, Veronika is living in Berlin and working in several roles behind the camera as Stylist, Photographer and Art Director.

404 - - Menno Aden. Untitled (LAGE EGAL). 2017. Inkjet on fine art paper. 3/3 (Ed 3 + 1 AP). 50 x 50 cm. Rückseitig signiert. Die Arbeit "Untitled (Lage Egal)" aus der Serie "Room Portraits" zeigt den Berliner Off-Space LAGE EGAL so, als hätte jemand die Decke angehoben und durch einen Scanner ersetzt. Tatsächlich bestehen die Fotografie aus mehreren Einzelaufnahmen, die Aden digital zu einem Bild zusammensetzt. Man assoziiert Puppenstuben und denkt gleichzeitig an Überwachung. - Menno Adens (*1972, Weener) fotografische Arbeiten sind oft topographischer Natur. Ob Rohrsysteme, Fassaden oder Vorgärten - immer geht es um Muster und Ordnungssysteme, die unseren Alltag durchdringen und strukturieren. Adens Arbeit umfasst verschiedene Fotoserien, in denen er sich analytisch mit unserer gebauten Umwelt auseinandersetzt. Obwohl meist abwesend, zeigen seine Bilder immer Spuren des Menschen. - In seiner Serie "Room Portraits" spielt Aden den Begriff der Überwachung systematisch durch, auch um auf den voyeuristischen Trend hinzuweisen, der im heutigen Überwachungskapitalismus zunehmend zum Mainstream wird.

333 - - Julia Steinigeweg. Untitled / Serie: Ein verwirrendes Potential. 2015. Fotografie (digital). 3/3. 75 x 50 cm. Fine Art-Print auf Sihl Masterclass Cotton Photo Papier 320 g, kaschiert/Alu Dibond, gerahmt in Aluminiumrahmen von Nielsen hinter Museumsglas. Julia Steinigeweg, geboren 1987 in Emden, lebt und arbeitet in Berlin. Sie stellte u.a in der Galerie Eigenheim, Weimar (2019), auf der Daegu Photo Biennale, Südkorea (2018) und im Haus der Photographie, Hamburg (2017) aus. In ihrer Arbeit beschäftigt sie sich mit dem Einfluss von Simulation auf unser alltägliches Zusammenleben. In der Serie "Ein verwirrendes Potenzial" thematisiert sie die Beziehung zwischen Menschen und Puppen. Das Gegenüber besitzt keine eigene Psyche und beunruhigt gleichzeitig umso stärker mit seiner physischen Präsenz, die von Herstellern und Kunsthandwerkern in allen erdenklichen Formen und Farben gestaltet wird. Während beim Verkäufer die täuschende Realitätsnähe oder die sexuelle Attraktivität der Puppen im Mittelpunkt stehen, suchen die hier abgebildeten Paare nach einer von Angst und Kontrollverlust befreiten, ruhigen Beziehung.

Abdelnasser Gharem (Saudi Arabia, born 1973)Siraat (The Path) projection on UV cured virtu digital print on white aluminiumsigned, dated, numbered '4/6' and titled on the verso, number 4 from an edition of 6, executed in 200770 x 120cm (27 9/16 x 47 1/4in).Footnotes:Provenance:Property from a private collection, LondonAcquired directly from Edge of Arabia, London, 2009Note:Please note that this work is accompanied by a limited edition CDExhibited:Venice, Palazzo Polignac, 53rd Venice Biennale, 2009Much of Gharem's art is performance based, captured in photographs and video, and focuses on our relationship to and trust in physical structures and the natural environment. The Path, or Siraat, commemorates a tragic event that occurred in 1982, when a group of villagers took shelter from an approaching flood on a concrete bridge spanning a river in southwest Saudi Arabia, where heavy rains are often commonplace. Everyone was swept away and most were killed by the deluge. A new road was built nearby but the old one on either side of the washed away bridge remained. On the section of road leading up to the bridge, Gharem and a crew of assistants spray-painted over and over again the word siraat, which means both a literal path and also a spiritual one (e.g., the straight path that leads to Paradise). The repetition of this single word on the roadway becomes a visual chant—a reminder of how we choose our own paths, and a remembrance of the flood victims, who, having chosen the apparent safety of higher ground, lost their lives. This notion of individual choice when it comes to life's pathways is endemic in Gharem's work.For further information on this lot please visit Bonhams.com

Abraham Brueghel (Flemish 1625-1690)Still life with flowersOil on canvasSigned lower left38 x 30cm (14¾ x 11¾ in.)Provenance:MacConnal Mason & Son Ltd., LondonWe are grateful to Fred Meijer of the RKD-Netherlands Institute for Art History, The Hague, for endorsing the attribution to Abraham Brueghel, based on high resolution digital photographs.Condition Report: The canvas has been relined and is on a new stretcher which is providing good support. There is some minor abrasions to the edges. Fine surface cracking and very small areas of paint shrinkage are visible in background areas. Under UV light there are some scattered areas of retouching in the background, the largest is in a vertical line which runs down the right hand edge (in line with the stretcher) and through the fig in the lower right corner. The other areas of retouching appear to be cosmetic and are most probably excessive. It has a layer of uneven and discoloured varnish and some surface dirt.   Condition Report Disclaimer

Sean Molloy Pentimento, 2020 Watercolour, Ink and Varnish on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) As a painter, Molloy's key concern is to investigate the relevance of painting in a digitally-mediated world. The work is constructed via a process of experimenting with a series of traditional baroque-inspired themes, spliced together with over-painted elements associated with digital-based imagery. The traditional elements have been appropriated from sources within the Dutch, Spanish, Flemish and Italian baroque painting canon, combined and juxtaposed to create a series of capriccio-type fantasy scenes and miniature tondo portraits. The digital elements overlaying the traditional subject matter have been inspired by a variety of sources (C.G.I., games, image manipulation software, glitch-art, etc.). Molloy refers to these concealing elements as pentimenti.   The use of terms like 'pentimenti' refers to the underlying mark-making, choices and corrections that the painter would make during the composition of the work, usually discovered by restorers, and now, even more accurately, through the technology of reflectography. 'Pentimenti' also reveal when the painter's original work has been later over-painted, often in response to socio-political, moral or fashion imperatives or simply through complacent restoration. Thus the definitive (often canonical) work reveals itself as something which is not a solid given, but the outcome of a fluid, changing dynamic. In today's world, there is also a certain impermanence to digital images; they can be easily deleted, they succumb to degradation over time, they can be altered and manipulated as we wish. This shared impermanence of both mediums old and contemporary is key to Molloy's current area of research.  

Sean Molloy Deep Rain, 2020 Acrylic and Oil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) As a painter, Molloy's key concern is to investigate the relevance of painting in a digitally-mediated world. The work is constructed via a process of experimenting with a series of traditional baroque-inspired themes, spliced together with over-painted elements associated with digital-based imagery. The traditional elements have been appropriated from sources within the Dutch, Spanish, Flemish and Italian baroque painting canon, combined and juxtaposed to create a series of capriccio-type fantasy scenes and miniature tondo portraits. The digital elements overlaying the traditional subject matter have been inspired by a variety of sources (C.G.I., games, image manipulation software, glitch-art, etc.). Molloy refers to these concealing elements as pentimenti.   The use of terms like 'pentimenti' refers to the underlying mark-making, choices and corrections that the painter would make during the composition of the work, usually discovered by restorers, and now, even more accurately, through the technology of reflectography. 'Pentimenti' also reveal when the painter's original work has been later over-painted, often in response to socio-political, moral or fashion imperatives or simply through complacent restoration. Thus the definitive (often canonical) work reveals itself as something which is not a solid given, but the outcome of a fluid, changing dynamic. In today's world, there is also a certain impermanence to digital images; they can be easily deleted, they succumb to degradation over time, they can be altered and manipulated as we wish. This shared impermanence of both mediums old and contemporary is key to Molloy's current area of research.  

Sean Molloy Interference, 2020 Acrylic and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) As a painter, Molloy's key concern is to investigate the relevance of painting in a digitally-mediated world. The work is constructed via a process of experimenting with a series of traditional baroque-inspired themes, spliced together with over-painted elements associated with digital-based imagery. The traditional elements have been appropriated from sources within the Dutch, Spanish, Flemish and Italian baroque painting canon, combined and juxtaposed to create a series of capriccio-type fantasy scenes and miniature tondo portraits. The digital elements overlaying the traditional subject matter have been inspired by a variety of sources (C.G.I., games, image manipulation software, glitch-art, etc.). Molloy refers to these concealing elements as pentimenti.   The use of terms like 'pentimenti' refers to the underlying mark-making, choices and corrections that the painter would make during the composition of the work, usually discovered by restorers, and now, even more accurately, through the technology of reflectography. 'Pentimenti' also reveal when the painter's original work has been later over-painted, often in response to socio-political, moral or fashion imperatives or simply through complacent restoration. Thus the definitive (often canonical) work reveals itself as something which is not a solid given, but the outcome of a fluid, changing dynamic. In today's world, there is also a certain impermanence to digital images; they can be easily deleted, they succumb to degradation over time, they can be altered and manipulated as we wish. This shared impermanence of both mediums old and contemporary is key to Molloy's current area of research.  

Sean Molloy Noli Me Tangere, 2020 Acrylic and Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) As a painter, Molloy's key concern is to investigate the relevance of painting in a digitally-mediated world. The work is constructed via a process of experimenting with a series of traditional baroque-inspired themes, spliced together with over-painted elements associated with digital-based imagery. The traditional elements have been appropriated from sources within the Dutch, Spanish, Flemish and Italian baroque painting canon, combined and juxtaposed to create a series of capriccio-type fantasy scenes and miniature tondo portraits. The digital elements overlaying the traditional subject matter have been inspired by a variety of sources (C.G.I., games, image manipulation software, glitch-art, etc.). Molloy refers to these concealing elements as pentimenti.   The use of terms like 'pentimenti' refers to the underlying mark-making, choices and corrections that the painter would make during the composition of the work, usually discovered by restorers, and now, even more accurately, through the technology of reflectography. 'Pentimenti' also reveal when the painter's original work has been later over-painted, often in response to socio-political, moral or fashion imperatives or simply through complacent restoration. Thus the definitive (often canonical) work reveals itself as something which is not a solid given, but the outcome of a fluid, changing dynamic. In today's world, there is also a certain impermanence to digital images; they can be easily deleted, they succumb to degradation over time, they can be altered and manipulated as we wish. This shared impermanence of both mediums old and contemporary is key to Molloy's current area of research.  

Taylor O. Thomas Untitled, 2020 Oil and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Taylor O. Thomas is an American painter who uses gestural painting as a means of making manifest human tendencies, ways of seeing, and the interconnection between the body and the mind. Her paintings have been exhibited in galleries and private collections across the United States and in Italy, Spain, Singapore, and China. In 2012, Thomas graduated magna cum laude from Davidson College with a BA in Studio Art. She was then awarded a Graduate Fellowship by the University of South Florida and earned her MFA in 2019. Thomas is the recipient of an inaugural Innovate Artist Grant, a Peripheral Vision Publication Fellowship, a two-time role as Publication Juror for Friend of the Artist, a Regional Artist Project Grant by the Arts and Science Council of Charlotte, NC, and residency scholarships to attend Vermont Studio Center (Johnson, Vermont) and Benaco Arte (Sirmione, Italy). Other residencies include MassArt's Art New England and Deli Grocery New York. Thomas currently lives and works in Tampa, Florida. Thomas is represented by Deli Grocery New York (Brooklyn, NY) and Emily Friedman Fine Art (Los Angeles, CA) . A painting may begin with a gesture I have borrowed from a dilapidated wall, cracking tile,scurrying commuter, or draping telephone wire. It continues based on the objects that jolt myattention within my studio walls. I mine for forms that approach "rightness" and "wrongness"simultaneously, gathering references to expand upon and manipulate. Gestural painting is mymeans of creating a tactile language, as I question what it means to live fully into the body.I visualize my environment with a collage mentality- jumping from shape-to-shape and texture-to-texture- cultivating a way of seeing that directs my intuitive way of making. This interactiveresearch that occurs outside of the studio serves as the preface for my work within it. Myphysical marks are embodiments of my being and moving through the world. Materialexperimentation is also a key factor in creative decision-making. Playing with paint's plasticityand ambiguous spaces provides for more interesting routes to each unexpected end. I teeter-totterbetween the compositional "bones" I establish for a painting and the spontaneous actions thatdisrupt those plans. Be it the imprint of an old tool, or the smudgy scrawls made by my faultybrush, I choose to embed such moments in the work. By embracing studio residue andresponding to past and present images at once, I invite new layers of meaning, chance, andauthorship into my paintings.While my practice remains rooted in my attempt to unify self-expression with ongoingdiscovery, the optical and emotive qualities of each surface stretch beyond my singularperspective. The images are altogether thick and flat, direct and obscure, sensitive and markedlydeliberate. Through them, I question: Where do our collective ideas of mind-body connectednessstand today? What is the value of preserving the physical in a digital age? And how mightgestural abstraction be utilized as a mode of contemporary communication?

Taylor O. Thomas Untitled, 2020 Oil and Pastel on Paper Sigend verso 15 x 10cm (5¾ x 3¾ in.) Taylor O. Thomas is an American painter who uses gestural painting as a means of making manifest human tendencies, ways of seeing, and the interconnection between the body and the mind. Her paintings have been exhibited in galleries and private collections across the United States and in Italy, Spain, Singapore, and China. In 2012, Thomas graduated magna cum laude from Davidson College with a BA in Studio Art. She was then awarded a Graduate Fellowship by the University of South Florida and earned her MFA in 2019. Thomas is the recipient of an inaugural Innovate Artist Grant, a Peripheral Vision Publication Fellowship, a two-time role as Publication Juror for Friend of the Artist, a Regional Artist Project Grant by the Arts and Science Council of Charlotte, NC, and residency scholarships to attend Vermont Studio Center (Johnson, Vermont) and Benaco Arte (Sirmione, Italy). Other residencies include MassArt's Art New England and Deli Grocery New York. Thomas currently lives and works in Tampa, Florida. Thomas is represented by Deli Grocery New York (Brooklyn, NY) and Emily Friedman Fine Art (Los Angeles, CA) . A painting may begin with a gesture I have borrowed from a dilapidated wall, cracking tile,scurrying commuter, or draping telephone wire. It continues based on the objects that jolt myattention within my studio walls. I mine for forms that approach "rightness" and "wrongness"simultaneously, gathering references to expand upon and manipulate. Gestural painting is mymeans of creating a tactile language, as I question what it means to live fully into the body.I visualize my environment with a collage mentality- jumping from shape-to-shape and texture-to-texture- cultivating a way of seeing that directs my intuitive way of making. This interactiveresearch that occurs outside of the studio serves as the preface for my work within it. Myphysical marks are embodiments of my being and moving through the world. Materialexperimentation is also a key factor in creative decision-making. Playing with paint's plasticityand ambiguous spaces provides for more interesting routes to each unexpected end. I teeter-totterbetween the compositional "bones" I establish for a painting and the spontaneous actions thatdisrupt those plans. Be it the imprint of an old tool, or the smudgy scrawls made by my faultybrush, I choose to embed such moments in the work. By embracing studio residue andresponding to past and present images at once, I invite new layers of meaning, chance, andauthorship into my paintings.While my practice remains rooted in my attempt to unify self-expression with ongoingdiscovery, the optical and emotive qualities of each surface stretch beyond my singularperspective. The images are altogether thick and flat, direct and obscure, sensitive and markedlydeliberate. Through them, I question: Where do our collective ideas of mind-body connectednessstand today? What is the value of preserving the physical in a digital age? And how mightgestural abstraction be utilized as a mode of contemporary communication?

Ariel Vargassal To Whom Who Wears the Crown II, 2020 Acrylic and 24k Gold Leaf on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Ariel Vargassal was born into a richly mixed culture family. These cultural singularities introduced Ariel to undeniable senses of style. He always leaned towards the arts and when he did not mold small clay sculptures, he turned to countless drawings in his notebook. Therefore, it was logical that Ariel followed a Bachelor of Fine Arts at the University of Mexico. In studying the works of the great artist who preceded him, his passion ignited and his determination proved unstoppable. Upon graduation, Ariel became one of the youngest teachers to teach art at a high school at Mexico City, and had the opportunity to showcase his work in different places, including the prestigious "Polyforum Cultural Siqueiros".   His first international exhibition was in Salt Lake City, Utah during the Winter Olympic Games as a host of the city, representing the visual arts of Mexico. After this exhibition, Ariel received invitations to showcase her work in area galleries as well as offers elsewhere in the US, so she decided to move to Los Angeles. Vargassal's work has been seen in various digital publications, books and television programs. In addition, he has been fortunate to work with young Hollywood stars as his models and clients.   Apart from Mexico City, Salt Lake City and Los Angeles, Ariel has shown her work in Arizona, San Francisco and New York. He is a member of the Los Angeles Art Association, one of the oldest and most prestigious art associations on the West Coast. He worked with International Curators in early 2013, his work was presented at the International Surrealism of Lisbon, Portugal, and recently received invitations to exhibit in Montreal, Canada (Galerie Gora, art contemporain), Germany (the Contemporary Museum of Berlin) and France.    

Kelly-Anne Davitt Bum Shot Mini, 2020 Limited Edition Digital Print Signed recto 15 x 10cm (5¾ x 3¾ in.)   "I like painting the heart throb sweet for Art on a Postcard, I use it as a symbol of life and living. I often paint sweets, they are a vehicle for me to paint many different forms, shapes, textures and colours. Sweet love oil painting, explores cultural imagery and is a reaction to our current circumstances. When the threat of loss is so close, love for the important people in our lives is intensified.   Bum Shot and Pink Bum Shot Mini limited edition prints explore themes of empowerment, having faith, strength and courage in the face of adversity. A nod to this unprecedented pandemic and the challenges we have all faced during lockdown and a celebration of my curatorial debut 'The Most Powerful Woman In The Universe' which was held at Gallery 46 in Whitechapel last year."   A young British artist, painter and feminist, Kelly-Anne Davitt was selected by the National Portrait Gallery to exhibit in the BP Portrait Awards, immediately after graduating from London Guildhall University with a degree in Fine Art. Kelly has had solo shows: Beach Balls & Melons at Dadiani Fine Art, Cork Street and Feel Good at Blacks, Soho. She has also exhibited her work at Faggionato Fine Arts, Colony Room Club, Gallery 46, The Laurence Stern Trust, Art Car Boot Fair, Zoo Art Fair, Trolley Gallery, Outside World Gallery and Lights of Soho. Through her oil paintings exploring the hyper-sexual images of women found online and within media, rendered realistically and with playful pop tones, Kelly achieves a contemporary approach and attitude to the time-honoured female nude. She also uses light text sculpture to re-enforce the ideas within her paintings. Taking text that amuses and outrages her from tabloids and magazines and re-appropriating them to illuminate the ridiculous, absurd and humorous. These themes remain dominant in Kelly's work. She currently lives and works in London.  

Imam Raad Gaze (Zipolite), 2020 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Iman Raad (Mashhad, Iran 1979) received his MFA in Painting and Printmaking from Yale University (2017), and was the Shandaken Projects' Paint School fellow (2017-18). He is currently a resident at the Queens Museum Studio Program, and an adjunct faculty at The Cooper Union School of Art. He lives and works in New York City.   Iman Raad works across a variety of media, including painting, drawing, embroidery, graphic work and performance lectures. In these diverse works, he draws on influences such as Persian painting, Mughal painting, South-Asian Truck painting and internet image culture. He combines these local references with contemporary subject matter to create his mural-like installations. Using a vivid, high key palette, altered perspective, and repetition that mimics digital glitches, the result is a riot of colour and movement that is both seductive and unsettling. Traditionally ornamental elements such as birds, fruits and flowers are recalibrated into subjects that carry narrative import and are given animate, unnatural presences. These are intertwined with social events and historical moments rendered in fantastical ways to draw in the viewer.   Aside from painting, Raad is also an internationally acknowledged graphic designer, included in The Phaidon archive of five hundred designs that matter, representing the contemporary Persian graphic design movement.   His recent solo exhibitions include Sargent's Daughters Gallery, New York (2021 -forthcoming), In Her Sweetest, Saddest Plight, Dastan Gallery at Frieze New York (2020), Tongue Tied, Sargent's Daughters Gallery, New York (2017) and Forty Drawings and So, Dastan Gallery, Tehran (2016). 
Recent exhibitions include group show at The Flag Art Foundation in New York (Sep 2018), Standing Still, Lying Down, As If at the Museum of Contemporary Art Detroit (MOCAD) (Oct 2018), the 9th Asia Pacific Triennial of Contemporary Art at QAGOMA Brisbane, Australia (Nov 2018), Contemporary Art from Asia, Australia and the Pacific at the Centro Cultural La Moneda, Santiago, Chile (Aug 2019), and Reflections: contemporary art of the Middle East and North Africa at the British Museum, London, UK (Dec 2020).  

Imam Raad Gaze (Nightfall), 2020 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Iman Raad (Mashhad, Iran 1979) received his MFA in Painting and Printmaking from Yale University (2017), and was the Shandaken Projects' Paint School fellow (2017-18). He is currently a resident at the Queens Museum Studio Program, and an adjunct faculty at The Cooper Union School of Art. He lives and works in New York City.   Iman Raad works across a variety of media, including painting, drawing, embroidery, graphic work and performance lectures. In these diverse works, he draws on influences such as Persian painting, Mughal painting, South-Asian Truck painting and internet image culture. He combines these local references with contemporary subject matter to create his mural-like installations. Using a vivid, high key palette, altered perspective, and repetition that mimics digital glitches, the result is a riot of colour and movement that is both seductive and unsettling. Traditionally ornamental elements such as birds, fruits and flowers are recalibrated into subjects that carry narrative import and are given animate, unnatural presences. These are intertwined with social events and historical moments rendered in fantastical ways to draw in the viewer.   Aside from painting, Raad is also an internationally acknowledged graphic designer, included in The Phaidon archive of five hundred designs that matter, representing the contemporary Persian graphic design movement.   His recent solo exhibitions include Sargent's Daughters Gallery, New York (2021 -forthcoming), In Her Sweetest, Saddest Plight, Dastan Gallery at Frieze New York (2020), Tongue Tied, Sargent's Daughters Gallery, New York (2017) and Forty Drawings and So, Dastan Gallery, Tehran (2016). 
Recent exhibitions include group show at The Flag Art Foundation in New York (Sep 2018), Standing Still, Lying Down, As If at the Museum of Contemporary Art Detroit (MOCAD) (Oct 2018), the 9th Asia Pacific Triennial of Contemporary Art at QAGOMA Brisbane, Australia (Nov 2018), Contemporary Art from Asia, Australia and the Pacific at the Centro Cultural La Moneda, Santiago, Chile (Aug 2019), and Reflections: contemporary art of the Middle East and North Africa at the British Museum, London, UK (Dec 2020).

Imam Raad Gaze (Oranges on Turquoise Table), 2020 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Iman Raad (Mashhad, Iran 1979) received his MFA in Painting and Printmaking from Yale University (2017), and was the Shandaken Projects' Paint School fellow (2017-18). He is currently a resident at the Queens Museum Studio Program, and an adjunct faculty at The Cooper Union School of Art. He lives and works in New York City.   Iman Raad works across a variety of media, including painting, drawing, embroidery, graphic work and performance lectures. In these diverse works, he draws on influences such as Persian painting, Mughal painting, South-Asian Truck painting and internet image culture. He combines these local references with contemporary subject matter to create his mural-like installations. Using a vivid, high key palette, altered perspective, and repetition that mimics digital glitches, the result is a riot of colour and movement that is both seductive and unsettling. Traditionally ornamental elements such as birds, fruits and flowers are recalibrated into subjects that carry narrative import and are given animate, unnatural presences. These are intertwined with social events and historical moments rendered in fantastical ways to draw in the viewer.   Aside from painting, Raad is also an internationally acknowledged graphic designer, included in The Phaidon archive of five hundred designs that matter, representing the contemporary Persian graphic design movement.   His recent solo exhibitions include Sargent's Daughters Gallery, New York (2021 -forthcoming), In Her Sweetest, Saddest Plight, Dastan Gallery at Frieze New York (2020), Tongue Tied, Sargent's Daughters Gallery, New York (2017) and Forty Drawings and So, Dastan Gallery, Tehran (2016). 
Recent exhibitions include group show at The Flag Art Foundation in New York (Sep 2018), Standing Still, Lying Down, As If at the Museum of Contemporary Art Detroit (MOCAD) (Oct 2018), the 9th Asia Pacific Triennial of Contemporary Art at QAGOMA Brisbane, Australia (Nov 2018), Contemporary Art from Asia, Australia and the Pacific at the Centro Cultural La Moneda, Santiago, Chile (Aug 2019), and Reflections: contemporary art of the Middle East and North Africa at the British Museum, London, UK (Dec 2020).

Luke Elwes Rise, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Luke Elwes' paintings are meditations on our place in the world. They often refer to particular journeys and to the passing of time. His work has been widely shown in galleries and museums in both the UK and Europe and in recent years he has been awarded grants to work in the US at the Vermont Studio Center and the Albers Foundation. Luke Elwes was born in London (1961) and spent his early years in Iran, where the light and space of the desert were a formative influence. He holds degrees from Bristol University (1983) and UAL (Camberwell school of Art 1985), and completed his Masters in Art History at London University (Birkbeck) in 2007. Since 1990 his work has been exhibited in the following galleries: Frestonian Gallery (London), Adam Gallery (London), Broadbent (London), Art First Contemporary (London), Browse & Darby (London), Art First (New York), Galerie Vieille du Temple (Paris), Galerie Marceau Bastille (Paris), Grand Palais (Paris), Palazzo Lanfranchi (Pisa), Galleria Ceribelli (Milan & Bergamo), Galleria Ghelfi (Vicenza). He has participated in shows at the following UK institutions: Royal Academy London, Christies London, Barbican Gallery London, National Trust, Estorick Collection London, Kettles Yard Cambridge, Southampton Art Gallery, Bury Art Gallery Manchester, Young Gallery Salisbury, Minories Colchester. He has also written about contemporary art for journals including Modern Painters, Royal Academy Magazine, Galleries Magazine, Abstract Critical and other digital platforms. In 2011 he was invited to give an 'Artist's Eye' talk at the National Gallery.    

Luke Elwes Sanctuary, 2020 Mixed Media on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Luke Elwes' paintings are meditations on our place in the world. They often refer to particular journeys and to the passing of time. His work has been widely shown in galleries and museums in both the UK and Europe and in recent years he has been awarded grants to work in the US at the Vermont Studio Center and the Albers Foundation. Luke Elwes was born in London (1961) and spent his early years in Iran, where the light and space of the desert were a formative influence. He holds degrees from Bristol University (1983) and UAL (Camberwell school of Art 1985), and completed his Masters in Art History at London University (Birkbeck) in 2007. Since 1990 his work has been exhibited in the following galleries: Frestonian Gallery (London), Adam Gallery (London), Broadbent (London), Art First Contemporary (London), Browse & Darby (London), Art First (New York), Galerie Vieille du Temple (Paris), Galerie Marceau Bastille (Paris), Grand Palais (Paris), Palazzo Lanfranchi (Pisa), Galleria Ceribelli (Milan & Bergamo), Galleria Ghelfi (Vicenza). He has participated in shows at the following UK institutions: Royal Academy London, Christies London, Barbican Gallery London, National Trust, Estorick Collection London, Kettles Yard Cambridge, Southampton Art Gallery, Bury Art Gallery Manchester, Young Gallery Salisbury, Minories Colchester. He has also written about contemporary art for journals including Modern Painters, Royal Academy Magazine, Galleries Magazine, Abstract Critical and other digital platforms. In 2011 he was invited to give an 'Artist's Eye' talk at the National Gallery.    

Luke Elwes Offering, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Luke Elwes' paintings are meditations on our place in the world. They often refer to particular journeys and to the passing of time. His work has been widely shown in galleries and museums in both the UK and Europe and in recent years he has been awarded grants to work in the US at the Vermont Studio Center and the Albers Foundation. Luke Elwes was born in London (1961) and spent his early years in Iran, where the light and space of the desert were a formative influence. He holds degrees from Bristol University (1983) and UAL (Camberwell school of Art 1985), and completed his Masters in Art History at London University (Birkbeck) in 2007. Since 1990 his work has been exhibited in the following galleries: Frestonian Gallery (London), Adam Gallery (London), Broadbent (London), Art First Contemporary (London), Browse & Darby (London), Art First (New York), Galerie Vieille du Temple (Paris), Galerie Marceau Bastille (Paris), Grand Palais (Paris), Palazzo Lanfranchi (Pisa), Galleria Ceribelli (Milan & Bergamo), Galleria Ghelfi (Vicenza). He has participated in shows at the following UK institutions: Royal Academy London, Christies London, Barbican Gallery London, National Trust, Estorick Collection London, Kettles Yard Cambridge, Southampton Art Gallery, Bury Art Gallery Manchester, Young Gallery Salisbury, Minories Colchester. He has also written about contemporary art for journals including Modern Painters, Royal Academy Magazine, Galleries Magazine, Abstract Critical and other digital platforms. In 2011 he was invited to give an 'Artist's Eye' talk at the National Gallery.    

ISENBRANT, ADRIAEN ISENBRANT, ADRIAEN um 1490 Antwerpen - vor 1551 Brügge Werkstatt / Schule Titel: Kreuzabnahme. Fragment (?). Technik: Öl und Tempera auf Holz. Maße: 30 x 23cm. Rahmen/Sockel: Rahmen. Das Gemälde ist in der Datenbank des RKD, Den Haag, unter der Abbildungsnummer 44895 verzeichnet. Provenienz: Kunstmarkt, England (1930er Jahre); Firma D. Katz, Dieren; über Alois Miedl Auktion H.W. Lange, Berlin, 04.12.1940, Lot 209; Privatbesitz, Deutschland. Der Veräußerer und die Erbengemeinschaften Nathan und Benjamin Katz haben sich hinsichtlich eventuell bestehender Restitutionsansprüche geeinigt. Seitens der Erbengemeinschaften Nathan und Benjamin Katz werden keine weiteren Ansprüche hinsichtlich dieses Werkes geltend gemacht. Das vorliegende Gemälde ist als Fragment einer größeren Komposition zu betrachten, welche in der Werkstatt des Adriaen Isenbrandt ausgeführt wurde. Der noch unbekannte Lehrling nahm sich wahrscheinlich die Kreuzabnahme von Isenbrandt zum Vorbild, die derzeit in Oxford am Ashmolean Museum of Art and Archaeology aufbewahrt wird (Öl auf Holz, 37 x 28 cm). Bei dem Oxforder Gemälde drängen sich um die Christusfigur herum der heilige Johannes der Evangelist, die Muttergottes und Maria Magdalena zusammen, die den linken Arm Christi hält. In unserem Fragment wird der Arm Christi, von dem nur ein Teil zu sehen ist, erhoben: Es deutet die fehlende Figur der Magdalena an. Wir danken Guido de Werd, Köln, der die Zuschreibung des vorliegenden Gemäldes auf Grundlage einer hochaufgelösten Digitalfotografie bestätigt hat. Erläuterungen zum Katalog Adriaen Isenbrant Flandern Niederländische/ Flämische Schule 16.Jh. Originale Religiöse Darstellung Andachtsbild Leben Christi ISENBRANT, ADRIAEN ISENBRANT, ADRIAEN ca. 1490 Antwerp - before 1551 Bruges Workshop / School Title: The Descent from the Cross. Fragment (?). Technique: Oil and tempera on wood. Measurement: 30 x 23cm. Frame/Pedestal: Framed. Provenance: Art market, England (1930s); Private ownership, Germany. The assignor and the communities of inheritors Nathan and Benjamin Katz have reached an agreement regarding possible existing restitution claims. The communities of inheritors Nathan and Benjamin Katz have not asserted any further claims with regard to this work. The painting is registered in the RKD database under number 44895. The present painting is to be regarded as a fragment of a larger composition, executed in Adriaen Isenbrandt's workshop. The still unknown apprentice probably took Isenbrandt's Descent from the Cross as his model, which is in Oxford at the Ashmolean Museum of Art and Archaeology (oil on wood, 37 x 28 cm). In the Oxford painting, St. John the Evangelist, the Holy Mother of God and Mary Magdalene, holding Christ's left arm, crowd around the figure of Christ. In our fragment the only partly visible arm of Christ is raised: It indicates the missing figure of Magdalene. We are grateful to Guido de Werd, Cologne, for confirming the attribution of the present painting on the basis of a high-resolution digital photograph. Explanations to the Catalogue Adriaen Isenbrant Flanders 16th C. Old Masters Religious Art Devotional painting Life of Christ

ROMBOUTS, SALOMON ROMBOUTS, SALOMON 1655 Haarlem - vor 1702 Florenz Titel: Holländische Dorflandschaft am zugefrorenen Kanal. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 66 x 95,5cm. Rahmen/Sockel: Rahmen. Literatur: W. Bernt: Die Niederländischen Maler des 17. Jahrhunderts, Band 2, München 1948/60, Nr. 629, als Isaac von Ostade. Hier mit der Angabe: London, Versteigerung Lowe 4.7.1904, Nr. 20. Provenienz: Privatbesitz, Deutschland. Die vorliegende Winterlandschaft wurde von Walther Bernt als Werk von Isaack van Ostade (1621 -1649) veröffentlicht, welcher in seiner Spätphase häufig Szenen des ländlichen Lebens im Freien malte. Darunter sind Winterlandschaften mit zugefrorenen Flüssen und vielen Figuren, die sich an die Ufer kauern oder auf der gefrorenen Oberfläche Schlittschuh laufen. Fred G. Meijer erkennt dieses Gemälde als ein Originalwerk von Salomon Rombouts, etwa 30 Jahre jünger als Isaack van Ostade. Rombouts zeichnete sich durch die Darstellung von Dörfern und Landschaften mit Figuren aus, die zu allen Jahreszeiten dargestellt wurden. Das vorliegende Gemälde, das einen gefrorenen Fluss mit Figurenstaffage zeigt, wurde zweifelsohne von van Ostades Werken inspiriert, die zum Kanon der Kunst gehörten und von den Künstlern der darauffolgenden Generation als Vorlagenbuch studiert wurden. Aufgrund seiner hervorragenden Qualität gilt die vorliegende Landschaft als eines der besten Werke von Salomon Rombouts, wenn nicht sogar sein Meisterwerk. Wir danken Fred G. Meijer, Amsterdam, der die Zuschreibung auf der Grundlage von hochauflösenden Fotos vorgeschlagen hat. Erläuterungen zum Katalog Salomon Rombouts Niederlande 17.Jh Originale Winter Malerei Dorfleben ROMBOUTS, SALOMON ROMBOUTS, SALOMON ca. 1650 Haarlem - before 1702 Florence Title: Dutch Village Landscape with Frozen Canal. Technique: Oil on canvas. Mounting: Relined. Measurement: 66 x 95,5cm. Frame/Pedestal: Framed. Literature: W. Bernt: Die Niederländischen Maler des 17. Jahrhunderts, Band 2, Munich 1948/60, no. 629, as Isaac von Ostade. Here with the specification: London, Auction Lowe 4.7.1904, no. 20. Provenance: Private ownership, Germany. The present winter landscape was published by Walther Bernt as the work of Isaack van Ostade (1621 -1649), who in his late phase often painted scenes of rural life outdoors. They include winter landscapes with frozen rivers and many figures crouching on the banks or skating on the frozen surface. Fred G. Meijer recognises this painting as an original work by Salomon Rombouts, some 30 years younger than Isaack van Ostade. Rombouts distinguished himself by his depiction of villages and landscapes with figures depicted at all seasons. The painting on offer, depicting a frozen river with figures, was undoubtedly inspired by van Ostade's works, which were part of the canon of art and were studied by the artists of the next generation as a model book. Because of its outstanding quality, the landscape in question is considered one of the best works by Salomon Rombouts, if not his masterpiece. We are grateful to Fred G. Meijer, Amsterdam, for confirming the attribution on the basis of high-resolution digital photography. Explanations to the Catalogue Salomon Rombouts The Netherlands 17th C. Old Masters Winter Painting Village Life

Alecos Condopoulos (Greek, 1905-1975)Picture III signed in greek and dated '964' (upper right) gouache and mixed media on board47 x 63 cm. Painted in 1964.Footnotes:ProvenancePrivate collection, Athens.ExhibitedAnn Arbor, Michigan, Forsythe Gallery, Alecos Condopoulos, April 26 - May 20, 1965 (based on label on the verso).Thessaloniki, Tellogleio Art Institute, Selections of a Bold Collector, Stavros Tsigkoglou, February 2017, no. 42 (illustrated in the exhibition catalogue, p. 68).LiteratureEllinomouseion, Militos editions. Athens, 2001, p. 134 (illustrated).Contemporary Greek Art institute Digital Platform, dp.iset.gr, Alecos Condopoulos Works, p. 2 (illustrated).'An event of outstanding importance is the current showing at the Forsythe Gallery of some twenty oils and gouaches by the contemporary Greek painter Alecos Condopoulos. This is truly a handsome affair, and should by no means be missed by the many who are interested in good painting. This is only the second one-man showing of his work in this country, but his paintings have found their way into several notable American collections.' - Jean Paul Slusser, 1965.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Yiannis Moralis (Greek, 1916-2009)Erotic signed, inscribed in Greek and dated '1977' (lower right); signed and dated 'Yannis MORALIS/Athènes-Grèce/1977' (on the reverse)acrylic on canvas147 x 124 cm.Footnotes:ProvenanceZoumboulakis Galleries, Athens.Private collection, Athens.Bonhams, The Greek Sale, 10 November 2008, lot 90.Acquired from the above by the present owner.ExhibitedAthens, Zoumboulakis Gallery, Moralis, March 1978, no. 14 (illustrated in the exhibition catalogue).Athens, National Gallery - Alexandros Soutzos Museum, Yannis Moralis, April - June 5, 1988, no. 89, possibly (listed in the exhibition catalogue, p. 67). Athens, Benaki Museum, Yannis Moralis, September 20, 2018 - February 10, 2019.Literature Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 242, p. 241 (illustrated).C. Christou, Moralis, Adam editions, Athens 1993, no. 168 (illustrated)Y. Bolis, Yannis Moralis, Adam editions, Athens 2005, p. 99 (illustrated).Y. Bolis, Yannis Moralis, Ta Nea editions, Athens 2007, p. 81 (illustrated).Axia newspaper, November 1, 2008, p. 7/58 (illustrated).Kathimerini newspaper, December 25, 2009, Arts and Letters, p. 8 (illustrated).Archaiologia & Technes magazine, no. 111, June 2009, p. 28 (illustrated).Contemporary Greek Art institute Digital Platform, dp.iset.gr, Yannis Moralis Works, p. 3 (illustrated).'In Moralis's work, the earth of Aegina and the bodies of young girls emerge with the dampness of the sea, like magnified fragments of ancient Greek vases or miniature frescoes from a bygone place of worship.'Odysseus Elytis1 Painted on the island of Aegina2 in the summer of 1977, Erotic demonstrates a striking balance between erotic passion, lyrical feeling and intellectual thought. True to his classical Greek heritage and yet utilizing a formal vocabulary perfectly balanced to the scale of modern sensitivity, Moralis sought the realization of a classical ideal, the discovery of a universal measure for logos and pathos. 'The erotic encounter of two people, life's greatest mystery, stripped from any external element that threatens to alienate it, is depicted in a simple and, therefore, essential way. The figures are broken down to their constituent parts and then reassembled; as a result, the lines take on a symbolic import and respond to each other by means of their contrasts and similarities. Any dryness or harshness that could result from such an austere, constructivist approach, is avoided due to the artist's sensitivity.'3Imbued with the eroticism of the curved line, Erotic reflects the artist's long preoccupation not only with the suggestively rendered female form, but also with the inner rhythm and musical resonance generated by the combination of varied types, shapes and colours. He used abstraction to isolate the core of human existence, to create a symbolic language of evocative forms that echo age-old memories, freed from the burden of their physical existence.4 As aptly noted by Professor D.N. Maronitis, 'Moralis's paintings take us directly to the wondrous world of pure vision, which emerges, however, from the world of touch.'5 Reviewing the artist's work from the late 1970s, K. Koutsomallis, Director of the Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, incisively noted: '1976 marks the beginning of a period devoted exclusively to geometric abstraction. His forms now become wholly immaterial, dissolving into pure schemata. Their monumental character does not reduce their sensuality. On the contrary, eroticism acquires its transcendental expression. In no way does this sensual robustness of form—only vaguely reminiscent of nude human figures—take anything away from their graceful tenderness, lyrical quality and richness.'6 The evocative symbolism of the couple's loving embrace and the serene rhythm dictated by the classical sense for human scale, compose a universe of poetic images that echoes the timeless values of ancient Greek art. 1 Preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Gallery, Athens 1972. 2 In the summer afternoons in the artist's island studio, some close friends had the privilege to first see his latest works. 'Though daylight started to wane, another glow lit the atmosphere, tenderly embracing his 'doric' paintings.' See C. Capralos, Autobiography [in Greek], Athens 2001.3 V. Karaiskou, 'An Attempt to Approach Yannis Moralis's Work' [in Greek], Sima magazine, no. 7, March-April 1992, p. 20.4 See Y. Bolis, Yannis Moralis [in Greek], Ta Nea ed., Athens 2007, p. 79.5 D.N. Maronitis, 'The Gift of Vision' [in Greek], To Vima daily, 15.3.1992. 6 K. Koutsomallis, 'The Painting of Yannis Moralis, a Tentative Approach' in Y. Moralis, Traces, (exh. cat.), Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, Andros 2008, pp. 18-19, 30.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Thanos Tsingos (Greek, 1914-1965)Flowers in white background signed 'TSINGOS/60' (lower left)oil on canvas47 x 19 cm. Footnotes:ExhibitedEleusis, Leonidas Kanellopoulos Cultural Centre, Thanos Tsingos, July-August 2005, no. 42 (illustrated in the exhibition catalogue, pp. 96 [detail] and 69).LiteratureContemporary Greek Art institute Digital Platform, dp.iset.gr, Thanos Tsingos Works, p. 2 (illustrated).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

REGGAEL LABEL (MAINLY JAMAICAN) 7" COLLECTION - 'B TO D'. Dynamite collection of 46 x 7" from (largely) Jamaican labels from B to D. Labels/artists/titles include Michael Campbell & Lee Perry - Dread At The Control (Black Art), Basement - Judge Dread, Big Yard Production, BCR International - Freddie McGregor and Big Ship Crew, Black - Pat Kelly - It's Your Love, Burning Sounds, Crown - Charlie Chaplin, Clocktower Records, Candy Man, Crazy Joe, Coxsone (x12) inc. Heptones - Hard To Confess (red), Delroy Wilson - Run Run, Freddy McGregor, Johnny Osbourne - Rub A Dub Party, Wailing Soul (sic) - Back Out and Alton Ellis - Breaking Up, Camel, Cousin, Dragon, Dread At The Controls, D-Roy, Dynamite and Digital B.

Benton End House & Gardens Private Tour with Dinner and Overnight stay at the Marquis, Layham Suffolk A unique opportunity, before it opens to the public, to visit Benton End House and Gardens in Hadleigh, Suffolk, the sixteenth century former home of celebrated artist-plantsman, Sir Cedric Morris and his partner, the artist and sculptor, Arthur Lett-Haines. The property is now owned by the Pinchbeck Charitable Trust which, along with the Garden Museum of London, is preparing to open it as a centre for the study of art and horticulture. In this beautiful, historic, half-timbered house, itself a wonderful example of typical Suffolk architecture, Sir Cedric and Lett established the East Anglian School of Painting and Drawing which was, in its time, to become one of the most original and influential centres for artists and writers of the 20th century. Amongst the long list of those who visited and worked there, were artists Lucien Freud, Francis Bacon, Christopher Wood, Paul and John Nash and Suffolk’s own Maggi Hambling, as well as the cookery writer Elizabeth David, the gardener/garden writer and owner of Sissinghurst Castle Vita Sackville-West, the florist Constance Spry, along with the musicians, Benjamin Britten and Peter Pears. Beth Chatto, who was a close and dear friend of Sir Cedric, credited him and the garden at Benton End with opening her eyes to the world of gardening and later established her own, now famous garden in nearby Essex. She is considered by many to have become one of the most accomplished plants women ever. Two guests will be given a private tour of the Gardens by Sarah Cook, former Sissinghurst Head Gardener, who holds the National Plant Collection of irises bred by Sir Cedric Morris. Along with Howard Nurseries, Sarah was awarded Gold at 2015 RHS Chelsea Flower Show, for a display of these fine, vintage irises bred by Sir Cedric. A tour of the house and tea will also be offered. The garden still contains a large number of bulbs grown by Sir Cedric and this is a unique opportunity to see it and the house before a conservation and renovation programme takes place. The best time to view would be from March to May 2021. The tour will also include a digital presentation of the garden as it was during Sir Cedric’s lifetime. To complete this unique experience, luxury hotel and restaurant, The Marquis at Layham, is offering overnight accommodation and dinner for two. With elegant country suites, contemporary British food and a comfortable stylish bar, The Marquis is the perfect place to enjoy all that the region has to offer. Situated near Benton End, with stunning views across the Brett Valley, those same views which often featured in paintings by, and were certainly enjoyed, by Sir Cedric, Lett-Haines and their many famous visitors and students. T&C’s Apply Final bidders to agree mutually convenient time and date for the Tour and Overnight stay (subject to availability), with Benton End House & Garden Trust, Sarah Cook and The Marquis Layham from Spring 2021 Subject to related government guidelines Experience may not be resold or re-auctioned Please note final bidders are advised to view the Gardens between March – May 2021 when they will be at their best Donated by: Benton End House & Garden Trust, Sarah Cook and The Marquis Layham https://bentonend.co.uk/ and https://themarquissuffolk.co.uk/

NO RESERVE δ Sam Taylor-Johnson (b.1967)Sergeant Wenninger and MeDigital pigment print in colours, 2004-2008, signed in black ink, numbered from the edition of 50 in pencil, on Hahnemuhle Fine Art paper, published by White Cube Gallery, London, with full margins, image 254 x 203mm (10 x 8in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.