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Damien Hirst (British, born 1965)Love all the feelings, 2016 with artist's stamp, hallmark, hologram and microdot, signed, titled, dated and numbered '161. Love all the feelings. 2016 Damien Hirst' (on sheet verso)enamel paint on handmade paper21 x 29.5cm (8 1/4 x 11 5/8in).Footnotes:ProvenanceWith HENI, LondonAcquired from the above by the present ownerPrivate Collection, U.K.Love all the feelings is part of the ambitious and pioneering project called The Currency which Damien Hirst embarked upon in 2016. Creating 10,000 works which were unique but almost indistinguishable, the pieces were originally offered for sale with each work corresponding to a unique NFT. Within two months each buyer had to choose either to keep the physical art work or the digital NFT, thereby actively participating in the project. As Hirst has commented: 'The Currency is an artwork, and anyone who buys it will participate in this work, it's not just about owning it. It is the most exciting project I have ever worked on by far.'Each piece is executed on handmade paper, and is numbered, titled, stamped and signed by the artist on the back, with a watermark, a microdot and a hologram containing a portrait of the artist. Hirst is famous for his innovative projects working in unusual mediums, be they sharks suspended in formaldehyde or mesmerising paintings using real butterfly wings, and The Currency is no less innovative. Expanding into the digital world with this project and inviting the owners of each piece to actively participate too, he invites us to think about the very concept of value, currency and art and how we - and they - interact in the world today.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A high-quality photo print depicting Blondie taken by photographer Martyn Goddard in 1976. The photo depicts the group posing during the shoot for the 'Best of Blondie' artwork. Measures 20 x 16". Signed by the photographer. Numbered 12/40. About The Photographer Martyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories.In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987. In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive rock bands and musicians.

A high-quality photo print depicting Debbie Harry taken by photographer Martyn Goddard in 1986. The photo depicts Debbie Harry posing with a microphone. Measures 20 x 24". Signed by the photographer. Numbered 09/25. About The Photographer Martyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories.In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987. In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive rock bands and musicians.

A high-quality photo print depicting Debbie Harry, taken by photographer Martyn Goddard in 1978. The photo depicts Debbie Harry with Martyn Goddard's tripod on a rooftop in NYC. Measures 20 x 16". Signed by the photographer. Numbered 07/40. About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few.He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019. In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive rock bands and musicians.

A high-quality photo print depicting Debbie Harry, taken by photographer Martyn Goddard in 1978. The photo depicts Debbie Harry posing with a record and would feature on promotional posters and on the picture disc release of 'Parallel Lines'. Measures 20 x 24". Signed by the photographer. Numbered 09/40.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive rock bands and musicians.

A high-quality photo print depicting Debbie Harry, taken by photographer Martyn Goddard in 1978. The photo depicts Debbie Harry in New York City. Measures 20 x 16". Signed by the photographer. Numbered 07/40.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive rock bands and musicians.

A high-quality photo print depicting Debbie Harry, taken by photographer Martyn Goddard in 1978. The photo depicts Debbie Harry posing in a revealing dress in a NYC cocktail bar. Measures 20 x 16". Signed by the photographer. Numbered 15/40.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive rock bands and musicians.

A high-quality photo print depicting Ian Dury, taken by photographer Martyn Goddard in 1980. The photo depicts Ian Dury on 'Ian's Bench'. Measures 20 x 16". Signed by the photographer. Numbered 10/40.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

A high-quality photo print depicting Echo and the Bunnymen, taken by photographer Martyn Goddard in 1980. The photo depicts the band onstage in Buxton. Measures 20 x 16". Signed by the photographer. Numbered 09/40.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

A high-quality photo print depicting Phil Collins, taken by photographer Martyn Goddard in 1981. The photo depicts Phil Collins onstage in Munich. Measures 14 x 11". Signed by the photographer. Numbered 05/50.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

A high-quality photo print depicting a contact sheet of images of Elton John, taken by photographer Martyn Goddard in 1982. The images depict Elton outside Air Studios. Measures 24 x 20". Signed by the photographer. Numbered 15/25.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

A high-quality photo print depicting George Michael, taken by photographer Martyn Goddard in 1987. The photo depicts George Michael during the video shoot for 'I Want Your Sex'. Measures 20 x 16". Signed by the photographer. Numbered 09/40.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

A high-quality photo print depicting George Michael, taken by photographer Martyn Goddard in 1987. The photo depicts George Michael and a model during the video shoot for 'I Want Your Sex'. Measures 20 x 24". Signed by the photographer. Numbered 17/40.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

A high-quality photo print depicting Freddie Mercury and Queen, taken by photographer Martyn Goddard in 1976. The photo depicts the band onstage in London at the Hammersmith Odeon. Measures 20 x 16". Signed by the photographer. Numbered 14/40.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

A high-quality photo print depicting Freddie Mercury, taken by photographer Martyn Goddard in 1977. The photo depicts Freddie Mercury at the piano during a performance at Southampton Gaumont Theatre. Measures 20 x 16". Signed by the photographer. Numbered 15/40.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

A high-quality photo print depicting Sham 69, taken by photographer Martyn Goddard in 1977. The photo depicts the group during a photo shoot for '..Borstal Breakout..'. Measures 14 x 11". Signed by the photographer. Numbered 05/50.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

A high-quality photo print depicting The Jam, taken by photographer Martyn Goddard in 1977. The photo would be used for the cover of debut album 'In The City'. Measures 15x 15". Signed by the photographer. Numbered 07/25.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

A high-quality photo print depicting The Jam, taken by photographer Martyn Goddard in September 1978. The photo would be used as the cover image for the single 'Down In the Tube Station at Midnight'. Measures 16 x 15". Signed by the photographer. Numbered 09/50.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

A high-quality photo print depicting The Jam, taken by photographer Martyn Goddard in 1977. The photo depicts the band posing for the cover image for the single David Watts / "A" Bomb In Wardour Street. Measures 20 x 16". Signed by the photographer. Numbered 04/40.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

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

A high-quality photo print depicting a triptych of images of Paul Weller, taken by photographer Martyn Goddard in 1977. The photos are from the 'In The City' shoot. Signed by the photographer. Numbered 05/10. Measures 70.5 x 36cm.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

A high-quality photo print depicting a still life scene, taken by photographer Martyn Goddard in 1979. The photo was used for the cover of The Cure's 'Three Imaginary Boys'. Measures 20 x 16". Signed by the photographer. Numbered 06/25. Martyn has previously said this about the shoot: "“The still life on the cover of The Cure’s debut album was conceived by Polydor sleeve designer Bill Smith. I had worked with Bill on The Jam’s In the City album and The Cure were another new act the label was about to promote. There was a problem however; the band didn’t want their portraits on the cover. We came up with using common household goods to represent the band members. The record’s title focusing in on “Imaginary” was a help with our final concept. I wanted to use the bright pink background as it would stand out in the point of sale record racks and I happened to have a roll of pink colorama paper in the studio.”"About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

A high-quality photo print depicting David Slyvian, taken by photographer Martyn Goddard in 1985. Measures 20 x 16". Signed by the photographer. Numbered 10/40.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

A high-quality photo print depicting U2, taken by photographer Martyn Goddard in 1980. The photo depicts the group in their rented house in London. Measures 20 x 16". Signed by the photographer. Numbered 20/40.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

A high-quality photo print depicting U2, taken by photographer Martyn Goddard in 1980. The photo depicts the band in their tour van. Measures 20 x 16". Signed by the photographer. Numbered 07/40.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

A high-quality photo print depicting George Michael, taken by photographer Martyn Goddard in 1986. The photo depicts George Michael during the video shoot for 'I'm Your Man'. Measures 20 x 16". Signed by the photographer. Numbered 07/40.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

A high-quality photo print depicting Wham, taken by photographer Martyn Goddard in 1985. The photo depicts the group during their trip to China, 1985. Measures 20 x 16". Signed by the photographer. Numbered 07/40.About The PhotographerMartyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance. He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019.In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive of rock bands and musicians.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

PAUL GAUGUIN (1848-1903)Paysage de Bretagne stamped with the artist's initials 'PGO' (lower left)watercolour monotype on paper heightened with gouache and watercolour30.4 x 21.7cm (11 15/16 x 8 9/16in).Executed circa 1894Footnotes:This work will be included in the forthcoming Paul Gauguin Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.Provenance(Possibly) Galerie Schmit, Paris.Marcel Heyndricx Collection (acquired in the 1930s-1940s).Private collection, France (by descent from the above).Previously unrecorded, this rare watercolour monotype is thought to date from Gauguin's intense spell of experimentation with the technique in 1894 and marks a significant moment of artistic development. Depicting the picturesque village of Pont-Aven in rural Brittany, the composition immediately recalls the artist's earlier works from his first visit to the area in the 1880s. Recently separated from his wife and having lost his lucrative financial career following the stock market crash, Gauguin chose to make the first of many visits to Brittany in the summer of 1886, drawn away from Paris not only by economic necessity but by the fascinating subject matter that the Breton people, their costumes and landscape offered. This physical distance from Paris offered Gauguin space to reject traditional academic artistic doctrine and the prevailing Impressionist style. Here his work evolved towards Cloisonnism in the manner of Émile Bernard, characterised by flat planes of vivid colour contained by bold outlines and a rejection of traditional perspective. Traces of these bold outlines remain in Paysage de Bretagne whereby the blue cernes of the monotype transfer separate areas of distinct colour. Green fields sit above one another while the winding path leads upwards rather than through the composition, emphasising the paper's two-dimensionality. Driven by a quest to find a more unspoilt Eden, Gauguin's well-documented travels to Panama, Martinique and then Tahiti followed, voyages which resulted in many of his best-known works. However, the artist returned to Paris in August 1893 disillusioned and penniless. Adopting an increasingly eccentric public persona, he walked around Paris in Polynesian dress and had an affair with a young woman known as 'Annah the Javanese', though she was in fact half-Indian and half-Malay. Swiftly tiring of the city and seeking a return to the region which had been so fruitful in his earlier career, together they travelled to Brittany. It was an ill-fated trip that was to be Gauguin's final visit to the area. On 25 May in the port of Concarneau, near Pont-Aven, a group of local sailors threw stones at Annah and harassed her; the resulting brawl left Gauguin badly beaten and with a fractured leg. For months his only solace was in the pain-dulling morphine and alcohol he imbibed; he was unable to walk and unable to work. Having eventually grown tired of the crippled and irascible artist, Annah returned to Paris, whereupon she ransacked Gauguin's studio home of his valuables, leaving only his artworks. Gauguin remained in both Pont-Aven and the more remote Le Poldu, alone and debilitated. Unable to shake the influence of the South Seas however he created his first watercolour monotypes, many of which looked back to Tahitian subjects. The present work is one of the few that roots the artist back in his homeland. Gauguin's decision to turn to printmaking was significant and indicative, according to Starr Figura, of a time of reflection for the artist, 'when he had recently completed a major body of paintings or sculptures or was otherwise at a crossroads. Printmaking often provided a crucial creative impetus when he had difficulty painting. [...] A major group of watercolor monotypes, a small body of watercolor and gouache monotypes from around 1896-1902, and a large body of oil transfer drawings from approximately 1899 to 1903 tended to serve as more informal, individual meditations on Gauguin's earlier themes' (S. Figura, Gauguin: Metamorphoses, exh. cat, New York, 2014, pp. 15-16).The 1894 watercolour monotypes reimagined scenes from the South Seas alongside more domestic still lifes and Pont-Aven landscapes such as the present work. The series is known to consist of approximately 34 works but, as the discovery of Paysage de Bretagne demonstrates, more are surely to be found: 'Gauguin's concern with the monotype has been neglected, largely because the evidence has been scattered or lost' (R.S. Field, Paul Gauguin: Monotypes, exh. cat., Philadelphia, 1973, p. 12). Further to this, the very categorisation of a work as a watercolour or monotype can be problematic, not least due to Gauguin's continued experimentation with media. In Noa Noa, a travelogue consisting of the artist's notes on his Tahitian experience and illustrated with ten woodcuts, there is, according to Richard Field, at least one watercolour which was originally mistaken for a monotype because of its grainy, diffuse appearance – however, it was found to be formed of two sheets of paper, Gauguin laying the thinner sheet over a finished watercolour to subtly obscure the composition.The precise technique employed by the artist for his 1894 series is not known, but various methods have been suggested. Gauguin held an exhibition in his studio in December that year which included several watercolour monotypes, which the critic Julien Leclercq described as 'a process of printing with water, [to which] he imparts to the watercolour the gravity, sumptuosity and depth which are for him, no matter what subject he chooses, the necessary condition of art' (Julien Leclercq quoted in ibid, p. 16).Richard Field feels the most likely technique was a simple transfer of wet watercolour from one sheet of paper to another, but more recent research by Peter Kort Zeggers suggests that at least some of the monotypes were created by 'placing a piece of glass over one of his existing drawings or watercolors; painting on top of the glass in watercolor or gouache, using the image below as a guide; and finally, pulling an impression on dampened paper' (S. Figura, op. cit. p. 26). These tracing lines were usually blue, as in the present work, and to these Gauguin would add additional colour and details not present in the original drawing to the surface of the glass. Pressing a sheet of paper on top of the glass would result in an image transfer which was often heightened with varying degrees of ink, watercolour and gouache. Gauguin was known to use a mix of further substances such as wax, resin, oil and gum, all of which created accidental surface finishes. Indeed, Paysage de Bretagne has a historic application of gum Arabic or similar material to the sky, which heightens the mottled effect from the transfer process and casts an opaque veil over the shimmering surface. The watercolour monotype allows a fusion of printmaking and drawing, the artist's hand very much felt in the heightened deft flecks of red paint to the haystack and the rainbow cascade of brush marks in the thatched roof. The random textures left by the original sheet however mark a move away from Gauguin's disciplined cloisonné style of the late 1880s: '[The watercolour monotypes] exploit the conflict between the astructural, textured color and the more disciplined design of the flat cernes. [...They are the] most delightful evocations in Gauguin's oeuvre' (R.S. Field, op. cit., p. 40).The fluidity of these watercolour monotypes has been read as a reaction to the artist's previous woodcuts which emphasised the decorative, with sharper lines. Gaugui... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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

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

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

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

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

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

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

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

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